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Industry News

Streaming Revenue Helps ViacomCBS Soar With Street Beat

Radio+Television Business Report
4 years 1 month ago

When Viacom reunified with CBS Corporation, some industry observers may have questioned why the Viacom team — orchestrated by majority shareholder National Amusements, Inc. and one Shari Redstone — was given control over what was once known as Black Rock.

Thursday’s release of ViacomCBS’s Q1 2021 results illustrate just how correct that decision was. Streaming revenue is on fire, and that was a key catalyst for the company during the first three months of 2021.

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Adam Jacobson

Streaming Has Its Own Processing Needs

Radio World
4 years 1 month ago

 

Getty Images/Mehau Kulyk Science Photo Library

David Bialik consults to stations on their streaming and audio processing. He is an AES Fellow and award-winning leader who has held technical positions with Entercom, CBS, Bloomberg, United Broadcasting, Bonneville International and the National Association of Broadcasters.

This interview originally appeared in the ebook “Trends in Audio Processing for Radio.”

Radio World: What would you say is the most notable trend in processing?

David Bialik: An important development in the use of processors is the awareness that streaming requires different processing than “over-the-air.” While broadcasters want to be the “legally” loudest, streaming does not have to be the loudest, but they can be the clearest; and with commercials originating from various locations, matching loudness levels is extremely important. 

The current recommendation from the AES’ recommendation for Streaming Loudness (currently being revised) is –17 LKFS.

Stations (and engineers) are now understanding that one size of processing does not fit all. You should not use the same processing for over-the-air that you do for streams. Use a loudness meter. Orban released a free one that is quite good!

As far as features: Many processors are good and have good features. Bob Orban and Frank Foti have often joked that they make the gun but you do not have to shoot it. Do not process so aggressively that you cannot identify the instruments. You should always be able to hear the cymbals! Ask yourself if the artist wants to hear their audio clipped or not.

RW: How will the cloud and virtualization affect the processing sector? 

Bialik: Stations are hoping this will cost less and take up less real estate. Hopefully the benefit of a cloud architecture will create redundancy and eliminate a point of failure. 

It also makes your internet connection more important and the need for backup more critical.

RW: With so many people working remotely, what are the implications for managing processing today?

Bialik: Security will be important, of course. Routing will be incredibly important since a station will have to set a “Quality of Service” to guarantee that the audio always has the bandwidth needed.

Stations will want remote facilities to sound the same as studios. Remote users will need good acoustics, and be able to produce high-quality audio — we do not want 1K telephone sound.

RW: Content comes at us from so many locations. What role do loudness and LRA (loudness range) play? 

Bialik: This will be more important, especially for streaming where Direct Ad Insertion is being used. You do not want to be listening to content (at –17 LKFS) and then have commercials and interstitials played much louder. I have heard this happen at 6 dB louder at times. You will be knocked off your chair. 

RW: Are listeners, especially younger ones, moving toward greater fidelity because of their use of on-demand services and personal downloads? 

Bialik: Stations with a good dynamic range will always sound more appealing to the listener.

RW: There are committees at the Audio Engineering Society working on recommendations and guidelines for online audio content. What would you like to see from this work?

Bialik: I am chairing much of this. Loudness issues invite the listener to constantly adjust the level. If they are adjusting one control it is as easy to turn the content off. How will that help the TLH?

RW: AES loudness metrics are moving to a lower target level for content, streams, podcasts and on-demand file transfer, like metrics established for online and over-the-top video. Given current practices, could radio see loss of potential audience due to listener fatigue?

Bialik: I believe the lack of dynamic range will cause listener fatigue. Hopefully the content will have good dynamic range and good loudness levels. The level of audio-only streams is being targeted at –17 LKFS while video is at –24 LKFS. Within the short term future, loudness could be controlled by metadata. Yes we are talking a 7 dB difference. The recording industry is also pushing for –24 LKFS. This allows for more headroom as well.

RW: With new “hybrid” radio platforms coming out, a listener might tune to an FM signal in a market but then drive out of it, with the receiver switching to the station’s online stream. What matching challenges does this present?

Bialik: Stations that have to cover ads and sports blackouts will sound worse. 

RW: What else should we know?

Bialik: If everyone say streaming is the future, why not invest in the future now and do the best audio you can?

Read other recent articles about processing for radio broadcast applications.

The post Streaming Has Its Own Processing Needs appeared first on Radio World.

Paul McLane

The InFOCUS Podcast: Cynthia Hudson, CNN en Español

Radio+Television Business Report
4 years 1 month ago

News, in Spanish, credible news, has become essential to people’s lives.

How is CNN en Español meeting this challenge in the U.S. as a global news organization? SVP and Managing Director Cynthia Hudson shares all with RBR+TVBR Editor-in-Chief Adam R Jacobson in this InFOCUS Podcast, presented by dot.FM.

Listen to “The InFOCUS Podcast: Cynthia Hudson, CNN en Español” on Spreaker.

Adam Jacobson

A ‘New Nielsen’ With A Growth Promise Position

Radio+Television Business Report
4 years 1 month ago

New growth from new solutions. A new culture, driven by a growth mindset. A compelling financial model. 

Those are the key highlights provided in a sleek earnings presentation put together by Nielsen, as it released its first-quarter 2021 results. How did it do? Revenue was up, but did Nielsen beat Wall Street estimates?

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Adam Jacobson

Smart Speakers Usage Surge Seen Among U.S. Moms

Radio+Television Business Report
4 years 1 month ago

Just in time for Mother’s Day is a report that suggests buying a smart speaker for Momma isn’t a good idea. Why? She’s likely already got one, and uses it a lot.

That’s the basis of data analysis of moms and smart speakers from the Edison Research/Triton Digital series The Infinite Dial that also takes info from Edison’s The Social Habit.

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Adam Jacobson

A Host of Promotions In Beasley’s Home Market

Radio+Television Business Report
4 years 1 month ago

Beasley Media Group is headquartered in Southwest Florida, and its stations serving the region stretching from Fort Myers south to Marco Island has just made a flurry of staff promotions.

This includes the naming of a new Program Director at “96 K-Rock,” the venerable personality-based station.

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RBR-TVBR

FOX’s Fiscal Q3 Results Strong Despite Super Absence

Radio+Television Business Report
4 years 1 month ago

As the Cinco de Mayo Closing Bell rang on Wall Street, Fox Corporation released its fiscal third quarter financial results.

With comparable data to fiscal Q3 2020 difficult, as Fox today isn’t the same company as it was at the start of last year, net income attributable to shareholders came in at $567 million ($0.96 per share). This is up from $78 million ($0.13 per share).

On an adjusted basis, net income dipped to $523 million ($0.88), from $568 million ($0.93), namely due to the absence of a Super Bowl telecast.

What was the contribution of the Fox Television Stations to the mix?

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Adam Jacobson

The 2021 U.S. Broadband Forecast: ‘Lifted by Rising Digital Home Profiles’

Radio+Television Business Report
4 years 1 month ago

U.S. broadband providers are carrying considerable momentum out of the pandemic despite increased competition and impending service maturity with penetrations nearing 90% of occupied households.

That’s according to the updated forecast from Kagan, the research unit of S&P Global Market Intelligence staging the Kagan Media Summit on June 17 as a virtually delivered affair.

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RBR-TVBR

FCC Political File Consent Decrees Proliferate

Radio World
4 years 1 month ago

The author is editor in chief of Radio World.

The consent decree announcements involving online political files keep rolling out from the Federal Communications Commission. Radio World has learned that more than 2,100 radio stations in the United States now are covered by these agreements, which require station owners to put compliance plans in place.

The latest examples include Major Broadcasting Corp. for WYGO(FM) in Madisonville, Tenn.; Custer County Community Broadcasting for KMTA(AM) and KYUS(FM) in Miles City, Mont.; and San Luis Valley Broadcasting for stations KSLV(FM) in Del Norte, Colo., and KYDN(FM) in Monte Vista, Colo.

But these broadcasters are in good company. Many similar announcements have been coming out since last July, as we’ve reported, and have involved radio licensees of all shapes and sizes.

I’ve been curious about this project from the start. I reached out to the FCC staff for an update this week.

To start with, a commission spokesperson tells me that to date, the Audio Division of the Media Bureau has adopted approximately 130 consent decrees that cover approximately 250 stations. The stations had their license renewal applications put on hold pending FCC investigations; those holds were later lifted under the consent agreements.

But this doesn’t don’t tell the whole tale, because those numbers exclude the “Big Six” broadcast groups that first entered into consent decree agreements with the FCC last year. Those agreements were brokered with the help of the National Association of Broadcasters, and the FCC’s announcement about them last summer put this overall effort into the public eye.

The six broadcasters — iHeart Media, Alpha Media, Beasley, Cumulus, Entercom Radio and Salem Broadcasting — entered into consent decrees that require compliance reporting for all of the stations they own.

So if we include them, the number of consent decrees is about 136 but the number of stations covered by them is 2,135, including some that had not yet filed their own renewal applications.

It’s hard to give an exact number because in some cases, other owners also entered agreements that included not only stations with pending license renewals but some that had not yet filed. But it’s evident that the program has touched many broadcasters.

The consent decrees generally are all similar. A broadcaster acknowledges failure to comply with the rules for maintaining online political files, and it commits to a compliance plan and to report back later. The broadcaster avoids a financial fine. The FCC ends its investigation and removes the “hold” on the license renewal; it also acknowledges that the pandemic created exceptional circumstances for many broadcasters. (The FCC is not aware of any stations that were denied renewal for other reasons after a hold was lifted.)

To my eye, this program should be considered a success for both the FCC Media Bureau and the National Association of Broadcasters.

The regulator effectively gets the message out that it is serious about enforcing this particular set of rules and laws, with the clear implication that at some point in the future, more costly outcomes can be expected. Broadcasters avoid financial penalties and agree to follow rules they were supposed to be following all along. Meanwhile the industry’s largest broadcast association helps its members (and non-members) come into compliance and avoid fines.

I strongly suspect that failure to maintain political files properly (“derelictions” in the FCC’s language) have been the norm for a long time. So if we accept the premise that the political file rules are justified in the first place (a separate discussion), this outcome is also a win for the folks who developed the FCC’s program to put files online — though I’m sure plenty of broadcasters may have preferred not to have the commission looking directly into their paperwork all the time!

And I’d say that, in our current political climate, anything that tends to make our nation’s political process more transparent is a good thing.

The commission adopted rules requiring broadcasters to maintain public files about requests for political ad time more than 80 years ago. Political file obligations have been part of Section 315(e) of the Telecom Act since 2002. A full-power station’s political file is part of its public inspection file.

[Read more on this topic, “The FCC Can See Your Public File”]

Radio licensees must maintain information about requests to buy broadcast time from or on behalf of candidates for public office, or by an issue advertiser whose ad communicates a message relating to “a political matter of national importance,” and it must make that information available for public inspection.

Stations must place info about requests into their political files “as soon as possible.” Stations must maintain and make available information about all requests for broadcast time made by or on behalf of candidates for public office. And stations must upload the information to their online political files “as soon as possible,” meaning “immediately absent unusual circumstances.”

The commission has written that “It is crucial that stations maintain political files that are complete and up to date because the information in them directly affects, among other things, the statutory rights of opposing candidates to request equal opportunities.”

The post FCC Political File Consent Decrees Proliferate appeared first on Radio World.

Paul McLane

LECOM Extends Reach with Route 6 Extension

Radio+Television Business Report
4 years 1 month ago

In Northwest Pennsylvania and along Florida’s Suncoast region, the Lake Erie College of Osteopathic Medicine has become known as a purveyor of commercial-free Oldies radio.

Now, it is bolstering up its on-air offerings in the Keystone State.

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Adam Jacobson

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