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Beasley Broadcast Group shares finished Thursday’s trading at $1.97, rising 4.8% as the media company in eSports and radio programming disclosed an early look at its Q4 2020 results that are decidedly positive.

With the COVID-19 pandemic hammering revenue, any single-digit year-over-year dip can be viewed as a good thing. And, that’s where Beasley stands: the company generated net revenue of approximately $67.4 million to $67.9 million for the three months ended December 31, 2020. That compares to reported net revenue of $72.1 million for Q4 2019, representing a year-over-year decrease of between 5.8% and 6.5%.

For Q4, Beasley’s estimates a year-over-year decrease in commercial advertising revenue due to the ongoing impact of the COVID-19 pandemic, partially offset by growth in digital, esports and political revenue.

Meanwhile, Beasley says its Q4 “Station Operating Income,” a preferred non-GAAP financial measure, increased by approximately 23.1% to 28.8% year-over-year to approximately $19.2 million to $20.1 million. This compares to reported Q4 2019 SOI of $15.6 million.

Furthermore, Q4 2020 EBITDA increased by approximately 25.0% to 33.8% year-over-year to approximately $17.0 million to $18.2 million, compared to $13.6 million in Q4 2019.

How did Beasley do it? A reduction in operating expenses and corporate overhead,  realigning a company-wide cost structure, political advertising, and “an expected gain on a land sale” in Q4 2020 were noted.

What is that land sale? Look no further than Charlotte, where real estate developer Beauxwright purchased a 5.397 acre site utilized by expanded-band WBCN-AM 1660 and an adjacent 0.1 acre property for approximately $5 million.

Townhouses will pop up where the station’s single tower now sits, just north of Five Points Park in northern Charlotte.

WBCN-AM is dark. However, its “Fox Sports Charlotte” programming lives on via an FM translator fed from a HD multicast signal.

Network advertising sales executive Deidra Hoye has been named SVP/Ad Sales as part of a department-wide expansion at Sun & Fun Media’s radio syndication company Key Networks.

Hoye is based in Los Angeles and was previously VP/Network Sales for iHeartMedia-owned Premiere Networks. She had been with Premiere since 2001. Now, Hoye will oversee Key Networks’ newly expanded sales team.

Among the recent hires are VP/Eastern Sales Maggie Nugent Sisco, Vice President/Midwestern Sales Brian Pollina, and Supervisor of Sales Support & Operations Michelle McLynn.

Sisco joins Key Networks from Podcast One, where she was Vice President/Director of Sales, Eastern Region.

Pollina was previously with United Stations Radio Networks, where he was VP of Digital Assets and Midwest Sales for the last eight years of his 12-year career there.

McLynn joins Key Networks from Westwood One, where she was Affiliate Services Manager.

The Colorado cities of Aspen, Steamboat Springs and Vail are famous for their ski resorts.

In each of these locales, low-power TV stations have been licensed to serve local viewers.

Now, they are being snapped up by Ravi Kapur.

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In May 2015, the Rev. Denny Hazen passed away, leaving behind his wife, Marge.

Both were widely known across Northeast Ohio for their long-running broadcast ministry, which saw the launch of a TV program and ownership of radio stations.

Now, one of those FMs is being spun.

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“The proliferation and rising popularity of a myriad of digital channels over the past decade has made the measurement of media effectiveness increasingly complex,” says Mike Campbell, the head of international effectiveness at London-based Ebiquity.

In his view, the 2020s will be defined as a time when “a real shift to an effectiveness-led media planning strategy, incorporating both online and offline channels,” begins.

Campbell says, “As we likely head into a recession at the start of the decade, we’ll see a greater demand for, and investment in, analytics – something that traditionally happens during times of uncertainty.”

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She joined Hearst Television in 2017 to lead the central digital teams that curate and produce a broader palate of content for distribution through the station-branded sites, apps and social expressions.

Now, she’s being promoted to Senior Director and Managing Editor for Hearst Television’s central digital content teams.

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WEST PALM BEACH — As expected, the merger of ION Media with The E.W. Scripps Co. has led Scripps to initiate a migration plan that will bring its five Katz Networks multicast networks to newly acquired ION properties.

The moves begin on March 1.

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With the start of the 117th U.S. Congress, the House Energy and Commerce Republican Leader became Cathy McMorris Rodgers, who succeeds the now-retired Greg Walden.

On Thursday (1/14), Rodgers revealed that eight fellow GOP members will be seated with her on the powerful committee that maintains oversight of the FCC.

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Digital media measurement, data and analytics software platform DoubleVerify has received Media Rating Council accreditation for display and video rendered ad impression measurement and sophisticated invalid traffic (SIVT) filtration, including app fraud, in the Connected TV media environment.

“As marketers increasingly adopt Connected TV/OTT platforms for their ad investments, it becomes ever more critical for those investments to have the protection of MRC-accredited measurements,” said George W. Ivie, Executive Director and CEO of the MRC. “DV’s accreditation for its SIVT-filtered rendered ad impression measurement of both video and display ad creatives in these environments is an important step toward that goal.”

DoubleVerify is one of a select few companies in the industry accredited for both video and display impression measurement and SIVT in Connected TV.

Connected TV now reaches over 80% of U.S. households. This number is expected to grow to 86% by 2024; cord-cutter and cord-never households are expected to increase to 44% of the population during this same period, according to Leichtman Research Group. Although Connected TV ad spend increased 27% from 2019 to 2020, eMarketer data shows, ad spend does not yet fully reflect consumer demand for Connected TV.

“As more audiences flock to Connected TV and OTT, advertiser demand for greater transparency in these channels continues to accelerate,” Mark Zagorski, CEO of DoubleVerify, said. “Our mission is to give our clients the clarity they need to be confident in their media investments so they can take advantage of the opportunity CTV presents.”

DoubleVerify first received MRC accreditation in February 2013 for its tag-based measurement for its impression quality suite of services and desktop display viewability. In 2015, the MRC accredited DoubleVerify for desktop video ad viewability and invalid traffic for both desktop and mobile web, and in 2017, DoubleVerify received additional accreditation for the detection of invalid traffic within mobile apps.

More recently, the company became the first measurement provider to receive MRC accreditation for third-party integrated measurement on Facebook.

Note: RBR+TVBR does not use the term “CTV” for Connected TV, in order to eliminate confusion with Canadian broadcast TV network CTV.

The virtual CES 2021 conference and expo is in full swing, and Jacobs Media on Wednesday offered a three-hour midday tour of what’s hot for radio broadcasters.

Among those participating in the event was Joe D’Angelo, the senior vice president of broadcast at the parent of both DTS and HD Radio, Xperi.

What are Joe’s key takeaways from what he’s seen at CES 2021? Are there some exciting new and/or improved tech products of use not only for radio, but also TV, in the year ahead?

Joe shares all in this latest RBR+TVBR InFOCUS Podcast, presented by DOT.FM.

Listen to “The InFOCUS Podcast: Joe D’Angelo, Xperi” on Spreaker.

Any given enthusiast on any given subject has his or her favorite “make” and “model.” Fishermen can rattle off their preferred rod and reel combinations in an instant. The same is true with home theatre junkies. And bicyclists. And gardeners.

If, however, you want to engage in a fiery, passionate debate for the ages, get an engineer riled up about microphones!

Radio engineers have a well-established pallet of large-diaphragm studio microphones from which to choose. Over the years a few players have darted on and off the scene in their efforts to provide some sort of nuance or cost-effective solution.

One of the more recent contributions comes from PreSonus. Known mostly for their audio interfaces and mixing consoles, the Louisiana-based manufacturer does have a microphone selection. They offer drum kit mics, matched-pair condensers, an RTA mic, large-diaphragm side address, and very recently, a USB voiceover mic option.

Adding to that growing catalog, PreSonus entered the hardcore radio broadcaster arena with the new PD-70, which retails for $129.95.

What is it? Read on!

Bulletproof Ruggedness

A radio studio is the most unforgiving environment for a microphone. Energetic on-air talent are physical and loud, and the first recipient of that energy is the mic. It’s why studio microphones are heavy and robust. The PreSonus PD-70 holds its own in that regard.

It weighs 1.4 pounds and is nothing but steel. A built-in pop filter and outer foam windscreen foster a sleek design and more importantly, excellent plosive rejection. It has a hard-mount design, but handling noise is minimal due to the sheer weight and solid inner construction.

The most interesting rugged feature is the XLR jack construction. It is built firmly into the back end of the PD-70 and it’s not going anywhere. If ever a microphone could be called a “brick,” the PD-70 is it.

Tech Specs

The PD-70, from a performance perspective, wasn’t designed to reproduce or accentuate warmth and tone. Its sole purpose is to accentuate clarity.

The frequency response is a full 20 Hz to 20 kHz, but the HP rolloff happens at nearly 100 Hz and falls off fairly rapidly. The upper frequencies are accented beginning at 1 kHz, leveling off at +5 dB around 4 kHz and then rolling off at 11 kHz. This translates into a microphone that keeps voices out of the mud. It’s that simple.

When conducting A/B comparisons to other legacy “radio mics,” the PD-70 coloration lends itself to aiding in situations where vocal clarity and microphone technique are poor. The proximity effect is greatly reduced by the early 100 Hz high-pass rolloff. Additionally, the PD-70 exhibits some sort of magic as it pertains to the higher frequency response, in that “S” sounds are very detailed and clean.

The dynamic nature of the PD-70 and its aggressive off-axis rejection makes it very forgiving in less-than-perfect acoustic environments. Unlike some dynamic microphones, the PD-70 noise floor is virtually nonexistent. It has a very clean output and performs smoothly, using any preamp.

At Home

So where should the PD-70 go?

As the price of $129.95 suggests, PreSonus introduced it as an entry-level, budget-friendly studio mic solution. In testing and comparisons, however, it is competitive against long-standing industry stalwarts.

The PD-70 would stand out where novice voice talent is present. It is forgiving to poor mic technique, accommodating to untrained vocal talent (who generally don’t know how to project properly), friendly to bad acoustical environments and it can absorb physical abuse.

For voice talent who have deeper, warm voices and need a microphone that will reproduce that warmth, the PD-70 may not be what he or she is looking for. For everyone else, who needs clarity and accurate voice reproduction, the PD-70 is a top-notch, affordable choice.

Large-diaphragm dynamic microphones frequently are used on kick drums and guitar cabinets. The PD-70 may not necessarily be a kick drum mic. It would, however, perform well as a guitar microphone. Its frequency response rejects the “boomy” tones produced by guitar soundholes and accurately reproduces string sounds with clarity. When a soloist arrives in a studio to do a guitar performance, the PD-70 is an excellent choice.

As for me, my voice can be muddy for two reasons. It’s fairly deep, but also very asymmetrical. The asymmetry demonstrated itself using the PD-70, but it wasn’t as pronounced. Plus, the PD-70’s focus on clarity overcame the asymmetry effects very nicely.

Finally, for this review I asked a production director to spend some time with the PD-70. He conducted an A/B comparison against a very expensive industry standard. After the comparison, he immediately ordered a PD-70.

For information, contact PreSonus in Louisiana at +1-225-216-7887 or visit www.presonus.com.

The post PreSonus PD-70: A Little Different Flavor appeared first on Radio World.

WASHINGTON, D.C. — A coalition of news organizations today sent a letter to federal law enforcement agencies calling for greater transparency and timely, vital information about the January 6, 2021 insurgency by supporters of President Trump on the U.S. Capitol Building and the possibility of further violence — including at the upcoming inauguration of President-elect Joe Biden and Vice President-elect Kamala Harris.

“The agencies must share information about possible civil unrest in the days leading up to Inauguration Day, January 20, through frequent and regular in-person press briefings so the public and news outlets can be properly informed about viable threats and can take appropriate action to protect themselves,” the groups state in the letter.

The letter was addressed to Acting Attorney General Jeffrey Rosen, Federal Bureau of Investigation Director Christopher Wray, Department of Homeland Security Acting Secretary Pete Gayno, U.S. Capitol Police Acting Chief Yogananda Pittman, U.S. House of Representatives Acting Sergeant at Arms Timothy P. Blodgett and U.S. Senate Acting Sergeant at Arms Jennifer Hemingway.

Signing the letter are the NAB, Asian American Journalists Association, National Association of Black-Owned Broadcasters, National Association of Hispanic Journalists, National Newspaper Association, Native American Journalists Association, News Media Alliance, News Media for Open Government, News Leaders Association, Online News Association, Radio Television Digital News Association, Reporters Committee for Freedom of the Press and Society of Professional Journalists.

The owner of three FMs and an AM serving North Central Washington state has decided to put the AM and two of the FMs it owns on the market.

And, it has retained Greg Guy of Patrick Communications to find the right buyer — preferably a local one.

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For some 30 years, the 1540 kHz signal has been associated with Spanish-language programming targeting Salvadorans and other consumers of Hispanic heritage across the National Capital Region.

It has been associated with Alejandro Carrasco since 1997, and has been owned by Carrasco for two decades.

Now, Carrasco is selling the facility while retaining its simulcast partner — ensuring, for now, that “Radio América” continues serving the Washington, D.C. market.

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In December 2019, it debuted.

Now, this live TV streaming platform has given its subscribers access to Nexstar Media Group‘s WGN America cable channel — the home of NewsNation and Ashleigh Banfield.

As such, starting Friday (1/15) the cable network will be carried by Vidgo.

It’s just the latest deal to involve WGN America reached in the last two months, expanding its reach by 8.5 million subscribers as Nexstar has invested heavily in its news operations and forthcoming news magazine hosted by Banfield, which will take the 10pm Eastern time slot.

Financial terms of the distribution agreement were not disclosed.

“Today’s announcement continues the steady strategic expansion of WGN America,” said Sean Compton, President of the Networks Division. “We are excited to be adding Vidgo’s customers the network’s reach, and to be bringing NewsNation and Banfield to more viewers who can watch us whenever and wherever they desire.”

Vidgo markets itself as an option comparable to Dish’s Sling TV, and to Philo.

The Media Bureau, Video Division (Bureau) has before it a Notice of Proposed Rulemaking issued in response to a petition for rulemaking filed by Multimedia Holdings Corporation (Multimedia), licensee of KARE, channel 11, Minneapolis, Minnesota, requesting the substitution of channel 31 for channel 11 at Minneapolis in the DTV Table of Allotments. The Bureau had instituted a freeze on the acceptance of rulemaking petitions by full power television stations requesting channel substitutions in May 2011 and waived the freeze to consider Multimedia's proposal to substitute channel 31 at Minneapolis. TEGNA, Inc., filed comments in support of the petition reaffirming its commitment to applying for channel 31. The Bureau believes the public interest would be served by the substitution and will permit the station to better serve its viewers, who have experienced reception problems with VHF channel 11.

Yamaha has updated its MSP3 studio monitor with the introduction of the new MSP3A powered monitor speaker. Cosmetically, the new offering has a similar use of multiple input connectors, controls and compatibility with optional brackets, but Yamaha states the new monitor provides higher SPLs, lighter cabinet design and reportedly better audio quality — move intended to improve its appropriateness for users whose workflows include content from digital instruments and portable devices.

The MSP3A is the first Yamaha reference monitor to include the company’s Twisted Flare Port technology, intended to provide clearer and tighter low-end frequencies. The sound control technology applies aerodynamic sound analysis and flow visualization measurement to pinpoint and control noise-generating issues. Noise-generating air flow turbulence at both ends of the speaker port is reduced by changing how the port widens from input to output, adding a twist to it. According to Yamaha, suppressing turbulence reduces muddiness, lowering distortion in the low bass region, in turn aiding transition to the full range drivers.

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

A built-in 22 W power amplifier is optimized for the speaker unit, comprising a 4-inch woofer and a 0.8-inch tweeter. The cabinet weighs just under 8 pounds, improving portability and making it easier to reposition the unit in different room configurations.

“Clear and natural sound are the keys to creating immersive and memorable experiences when creating music or video content,” said Preston Gray, marketing director, Pro Audio at Yamaha. “The expanded capabilities of this new reference monitor give audio engineers the right tool for accurately matching audio with video in a range of production applications.”

With an MSRP of $250, the MSP3A is currently street-priced at $199 per monitor.

Info: https://usa.yamaha.com/products/proaudio

 

The post Yamaha Unveils MSP3A Studio Monitor appeared first on Radio World.