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Industry News

Community Broadcaster: DJing the Generational Divide

Radio World
4 years 4 months ago

The author is executive director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

This was quite a wild week for news. Radio was asked to respond to events in Washington, the ongoing confusion about vaccination in communities, and the sundry local stories that come up each day. However, a particularly important study on radio should not be missed.

Many community broadcasters focus on volunteer recruitment and offering an assortment of programming. For generations, the reasoning has been “the more, the merrier” — the more voices on the air, the more access you create, the more support and word-of-mouth marketing your station can build. However, with generational change comes a change in thinking. More local stations are focusing on training and giving DJs a baseline of expectations. They recognize the hosts want to sound better, want to represent the station well, and stations are finding a lack of attention to what goes out over the air can damage community relationships and make engagement and revenue much more demanding.

[Read: Community Broadcaster: Distant Tension]

This week, NuVoodoo Media Services revealed its study of 3,500 radio listeners, aged 14–54, on a variety of topics. One area looked at a cornerstone of radio: the DJ. What people said may inform your training, or even get your station thinking differently about your hosts.

Among the more shocking things to come up? Millennials and Generation Z listeners feel stations would be better off without DJs, at least more than their older counterparts. By a lot.

In fact, almost 75% of Gen-Z gives DJs a “Meh,” noting they either have no use or are okay, but don’t add anything to listening. Millennials were slightly better, at 63% who felt the same way. 43% of Generation X audiences found DJs made listening more enjoyable, compared to just 26% of Gen-Z.

NuVoodoo promises to get more into these issues on an upcoming webinar, though to most observers in radio, what’s lending to these perceptions may be quite obvious.

Streaming services, podcasting and micro-content distributed on social media and platforms have changed how we perceive programming as well as listening experiences. Generation X’s formative media experiences weren’t in a world that was nearly as disintermediated. For subsequent generations, faster, shorter and on our terms are baselines, not bonuses. As a result, the days of the DJ with long stories or inane trivia may not be over, but seem destined for limited, older audiences. Surely there may be exceptions, but that seems the forecast.

Community media and local stations have long leaned on unique on-air personalities to foster relationships with audiences. As there are demographic shifts in how people listen to the programming a station puts out, however, we in radio must evolve. Thus, it is the responsibility of a station to think carefully through how hosts use their precious time on the microphone.

Every station or network will come up with their own solutions, but it is certain that many leaders may look at the length of breaks and what is being conveyed during that time. The million dollar question: how can you create that memorable moment for a listener that isn’t a turn-off or take up too much time? Future radio, in this regard, is very exciting.

These issues are more than DJs and personalities, but our community relationships and our bridge-building to new generations of listeners. No one has all the answers yet, but if you are in radio, how millennials and Gen-Z hear you is critical to your success.

The post Community Broadcaster: DJing the Generational Divide appeared first on Radio World.

Ernesto Aguilar

AEQ Codecs Deliver International Content From Minsk

Radio World
4 years 4 months ago
Sergio Sanchez with an AEQ Olympia commentary unit.

The author is R&D engineer at AEQ and was the technical coordinator for the project described.

This article appeared in Radio World’s “Trends in Codecs and STLs for 2020” ebook.

At times it seems that “media” is everywhere. Smartphones provide immediate content from seemingly every corner humans visit. Drones and small GoPro-style cameras add another omnipresent dimension. The world is awash in multimedia material that can be turned into usable/sellable content.

Designers of new buildings already pack them with media-friendly digital infrastructure. Hoping to take advantage of an opportunity, many owners of aging, media-constrained venues are refurbishing their facilities to take advantage of the growing media world.

Dynamo National Olympic Stadium is the largest multipurpose stadium in Minsk, Belarus. It was reconfigured a few years ago so it could hold not only football matches but also athletics and other kinds of events, making into a venue with an international scope. It was reopened in December 2017, in time to setup for the 2019 European Games.

This international profile is reflected by the attendance of sports journalists from all over the world for live broadcasting. With that expanded mission, Dynamo National Olympic Stadium managers selected AEQ commentary system with 150 positions, each one equipped with an AEQ Olympia commentary unit. This allows more than 150 international TV and radio stations to broadcast events from Minsk simultaneously. Each of those can customize its language, style and media personalities.

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

The whole stadium offers Dante-AES67 AoIP multichannel technology provided by AEQ equipment. A powerful AEQ BC2000D audio matrix was installed, allowing for centralization and distribution of all the audio signals produced in the building.

In order for the commentary positions to communicate with the rightsholder stations or RHBs for each event, 150 AEQ Phoenix Stratos audio codecs were installed. Each one is able to establish two bidirectional circuits between the station and the commentary units. One of them is normally used to carry the program and program feedback, while the other commonly operates as a coordination channel.

Banks of AEQ Phoenix Stratos codecs installed at Minsk Olympic Stadium.

Each codec has front-panel controls; however, it would be chaos if each codec operator could take control of the system. Fortunately there is a control software available so AEQ’s ControlPhoenix software application is being used to establish and supervise the up to 300 simultaneous connections that can be established with the 150 audio codecs.

AEQ Stratos is a suitable audio codec for this purpose because:

  • It is a dual codec, so the same device can establish the program and coordination circuits.
  • It is developed according to EBU N/ACIP standards, so it can communicate with most any third-party codec that may be in a broadcast facility inventory.
  • Besides operating with IP networks, it can also establish connections using synchronous ISDN and even V.35 lines, allowing for an alternative path to establish a link.
  • Stratos audio codec includes several state-of-the-art audio algorithms, such as Opus, the new standard for broadcast-quality audio communications, as well as legacy codecs for ISDN communications and guaranteed third-party compatibility, such as G.722 or MPEG2.
  • It offers both analog and AES/EBU digital input/output connectivity with external synchronization capability, plus ancillary data transport, seamlessly emulating RS-232 protocol over the IP audio stream and GPI/O connections for external signaling.
  • ControlPhoenix software provides full remote control of codec installations ranging from one to several hundred Phoenix family devices. Control is possible locally or from anywhere in the world, if so required, using an internet connection. This software application is provided for free with all AEQ Phoenix codecs while a license is only necessary to simultaneously manage more than two devices. It includes call list management, full configuration, real time VU meters, audio alarms, event logging, etc.

Eurovision Sport was the event’s broadcasting partner. Eurovision used the Phoenix Stratos audio codecs in order to send the audio from commentators speaking all the different languages throughout infrastructure.

Some of the most important international sports events held in the remodeled Minsk stadium include the Second European Games and The Match Europe vs. USA track and field competition.

The Second European Game featured 4,000 athletes from 50 European countries competing in 15 sports.

For those games the real-time broadcasting production used a total of 12 OB vans and more than 200 cameras. Seven hundred broadcasting professionals ensured that the signals were properly produced and reached the 190 rights-holding broadcasters around the globe. More than 600 live and nearly 800 recorded coverage hours were produced.

The Match Europe vs USA, conducted in September 2019, gathered 300 world-class athletes who competed in 37 different track and field events.

 

The post AEQ Codecs Deliver International Content From Minsk appeared first on Radio World.

Sergio Sanchez

Entering the Age of Audio Interactivity

Radio World
4 years 4 months ago

 

With advances in AI and machine learning, as well as the connectivity promised by 5G, the potential for smart speakers to start conversations isn’t far off.

 

The author of this commentary is CEO and founder of AdTonos.

Audio is an innately powerful and personal medium that delivers the soundtrack to consumer lives.

Michal Marcinik of AdTonos

When listeners tune in to their favorite radio stations, they build trusted relationships with presenters — feeling like they’re being spoken to directly. When music is streamed, keen subscribers can access meticulously curated playlists full of meaning and memories. And when a podcast is carefully selected, the audiences’ personal knowledge expands.

As we move deeper into 2021, audio is in the midst of an interactive transformation that will ensure the listening experience is even more personal and engaging.

Spurred on by the increased adoption and acceptance of voice assistants and smart speakers, this presents an exciting opportunity for advertisers to truly connect with listeners at a one-to-one level.

The acceleration of audio interactivity

Listening to audio is no longer a passive activity as consumers are increasingly comfortable integrating their voice assistants and smart speakers into their everyday lives. A Juniper report revealed that consumers are expected to interact with voice assistants on 8.4 billion devices across the globe by 2024, up from 4.2 billion at the end of 2020.

Smart speaker adoption is growing particularly quickly, indicating that users trust the technology and find it beneficial.

Worldwide smart speaker sales reached almost 147 million in 2019 — an increase of 70% on the previous year — and by 2027 the global smart speaker market is projected to be worth an impressive $19 billion. In the U.K., more than a quarter of consumers already own a smart speaker, and this proportion looked set to grow over the 2020 Christmas period, with almost 20% of people planning to gift a digitally connected device. Whether it’s Amazon’s Echo, Google’s Nest or Apple’s HomePod, smart speakers are becoming an accepted feature of the modern home.

Smart speakers and voice assistants can respond — in a conversational manner — to hundreds of different commands, meaning audio is gaining a strong sense of utility for users. Asking Siri for an update on lockdown restrictions or instructing Alexa to play a favorite radio show is no longer a novelty, but a practical and productive use of established technology.

And the audio landscape is set to develop in more complex ways, with a view to provide smart speaker users with greater flexibility, such as booking doctors’ appointments, purchasing event tickets or adding items to shopping lists.

Initiating two-way communication

Audio interactions are still largely initiated by the user, however with advances in artificial intelligence and machine learning, as well as the connectivity promised by the arrival of 5G, the potential for smart speakers to start the conversation first isn’t far off.

We’re already seeing brands experiment with the potential of two-way communication. For example, interaction triggers within audio ads can be inserted into commercial radio content, inviting the listener to respond using a pre-defined voice invocation and initiating the process of interaction between voice assistant and listener.

We developed our YoursTruly technology to do exactly this and deployed it for the first time last year in partnership with Octave, for Omnicom Media Group’s PHD client, Audi.

[Read: “AdTonos Promotes Interactive Audio Ads”]

When played through a smart speaker, the first ad of a commercial break featured a verbal call-to-action, to which interested listeners had the ability to engage with the voice assistant to complete a specific task, such as booking a test drive, before the listener was returned to the live radio station.

Raising the bar for listener engagement

Interactive audio advertising not only allows brands to nurture one-to-one customer relationships and deliver highly engaging advertising experiences, it also delivers valuable measurement data. Brands are able to see precisely how users interacted with their audio messaging and compare campaign results with other digital marketing channels. Additionally, interactive advertising provides publishers with a new way to monetize content, making audio even more attractive as an advertising medium.

Audio is already an incredibly emotive and engaging channel. As adoption of smart speakers and voice assistants escalates, the sense of utility will become more established and new technologies will further enable true two-way communication, welcoming a new age of audio interactivity.

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

The post Entering the Age of Audio Interactivity appeared first on Radio World.

Michal Marcinik

Pollnow Moves to Cumulus Montgomery

Radio World
4 years 4 months ago

iHeartMedia and Cumulus Media vet Don Pollnow is heading for Alabama’s capital city to oversee Cumulus’ six Montgomery radio stations. As the new vice president and market manager he’ll have his hands on WMXS(FM), WLWI(AM/FM), WMSP(AM), WXFX(FM) and WHHY(FM).

Pollnow comes over from iHeartMedia where he most recently was market president for Wichita, Kan.. He has been with Cumulus previously, running the Green Bay, Wis., operation.

He has also worked for NRG Media, Renda Broadcasting and LM Communications.

Send your people news to radioworld@futurenet.com.

 

The post Pollnow Moves to Cumulus Montgomery appeared first on Radio World.

RW Staff

TASCAM Releases Mic/Recorder Combo

Radio World
4 years 4 months ago

Packaging together a small digital recorder with its own TM-10L lavalier microphone, TASCAM has introduced the DR-10L.

Housed in small lav bodypack-style case, DR-10L specifics include 48 kHz/24-bit BWAV recording along with MP3 recording at both 128 kbps and 192 kbps. Recording is done to an SD card. Onboard features auto gain, a limiter and a low-cut filter.

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

An OLED backlit display details information about recording levels, SD card status and more. Chiclet buttons provide basic physical controls. The lavalier connects with a locking 3.5 mm-1/8-inch plug.

The DR-10L has a polyfile feature for recording a lower-resolution backup copy when activated.

It ships with iZotope RX Elements audio processing and noise removal software.

The DR-10L uses a single AAA battery. TASCAM says that with 10 hours of operation from one alkaline battery or fifteen hours via a lithium battery.

Info: www.tascam.com

 

The post TASCAM Releases Mic/Recorder Combo appeared first on Radio World.

RW Staff

SBS Launches A Big Senior Secured Notes Offering

Radio+Television Business Report
4 years 4 months ago

HIALEAH, FLA. — The nation’s largest Hispanic-owned media company superserving Latino audiences through radio, TV and digital properties has launched a senior secured notes offering.

The offering is designed expressly to repay its 12% senior secured notes … due four years ago.

BE SURE TO FOLLOW RBR+TVBR ON FACEBOOK!

 

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Adam Jacobson

SBS Also Releases Select Preliminary Q4 Results

Radio+Television Business Report
4 years 4 months ago

HIALEAH, FLA. — They’re just preliminary numbers, but they are certainly worth a gander.

Spanish Broadcasting System (SBS) on Friday offered a sneak peak of its Q4 2020 results. What does the company led by Raúl Alarcón Jr. have to say?

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Adam Jacobson

GroupM Teams With Uniliever On ‘Data Ethics Tool’

Radio+Television Business Report
4 years 4 months ago

GroupM released a blog post on Friday that shares more details on how it is operationalizing data ethics with a proprietary scoring logic, criteria, and standardization tool.

The topic could be of key interest to broadcast TV and radio executives. As such, we are sharing it in its entirety to RBR+TVBR Members.

Data collection in advertising is accelerating faster and the ability to responsibly use that data is becoming more and more crucial. Advertising’s responsibility is to ensure we are protecting the data of our customers, members and audiences.

As a result of the increased collection, we’ve seen increased privacy protection laws worldwide over the last couple of years. While that reflects the growing interests and concerns from consumers about how their data is used, the reality is that regulations and legislation are usually one step behind what consumers really want and how they’re feeling.

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Adam Jacobson

RAB: A Double-Digit Digital Revenue Rise for Radio

Radio+Television Business Report
4 years 4 months ago

With suspended or smaller quarterly dividends and double-digit ad revenue declines still being seen across the radio broadcasting industry’s big publicly traded players, one may mistakenly believe that all is not well with the oldest form of social media in the world.

The Radio Advertising Bureau has released new data that thwarts such chat.

“Years of refining digital strategies” paid off for the radio industry in 2020, it says.

BE SURE TO FOLLOW RBR+TVBR ON FACEBOOK!

According to RAB data compiled in association with Borrell Associates, digital ad revenue in 2020 hit $1.1 billion.

This accounts for greater than 14% of total ad sales.

Local radio stations saw digital sales increase nearly 12%, with growth forecast to accelerate 18% this year.

“The due diligence the radio industry has put into expanding its digital platforms and advertising offerings over the last few years contributed mightily to the 2020 bright spot of digital growth,” said RAB President/CEO Erica Farber.

And, says Gordon Borrell, “The pandemic actually delivered a gift to the radio industry last year. Stations saw very clearly how digital products can be a linchpin, especially when core-product sales are challenging. Digital kept the conversation going.”

The report also shined a light on how additive digital revenue can be for a radio station. The average station made $290,150 in digital revenue in 2020; the average market cluster made $1.3 million. The average revenue for the top five performers ranged from $2 million for top-performing clusters in the smallest of markets, to $17.8 million in the largest.

The findings are included in RAB and Borrell’s report, “Defying the Gravity of 2020, Radio’s Digital Sales Rise 11.8%.”

It is being released today to RAB members and analyzes online ad revenue from 3,621 radio stations, as well as survey responses from 944 local radio buyers and a survey of 238 radio managers.

Among the topline findings:

  • 80% of stations offer digital sales training at least once a month
  • 81% of stations are offering some form of digital services in addition to digital advertising
  • Nearly 2/3 of radio sellers try to include digital offerings in every sales pitch
  • More than half of stations flipped their sponsored events in 2020 to virtual events

The report and upcoming live-video presentation are both sponsored by Marketron.

RBR-TVBR

After Fourteen Years, KABQ-FM Says Aloha to Albuquerque

Radio+Television Business Report
4 years 4 months ago

On June 21, 2007, a group of AM and FM radio stations were placed into the Aloha Station Trust.

It involved properties owned by iHeartMedia predecessor Clear Channel Communications, which was forced to divest of the properties after it became a reconstituted operation through a now-infamous investment by private investment groups right before the great economic downturn of the late 2000s.

Nearly 14 years later, the last station to be placed in that trust, originally overseen by the late Jeanette Tully, is heading to a new owner.

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Adam Jacobson

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