Radio World

Jeff Welton

Jeff Welton is on a roll: At this spring’s NAB Show, the Nautel regional sales manager will receive the 2020 NAB Radio Engineering Achievement Award.

The National Association of Broadcasters created the the Engineering Achievement Awards in 1959. The program highlights peer-nominated radio and television professionals who have helped to advance broadcast engineering.

This is the third major industry award Welton will receive in as many years. In 2019, the Association of Public Radio Engineers chose Welton as the APRE Engineering Achievement Award honoree. In 2018, the Society of Broadcast Engineers named Welton as the James C. Wulliman  Educator of the Year.

At Nautel, Welton is in charge of transmitter sales and customer support for the central U.S. He has been with the company for three decades, first joining as customer service technician. 

Welton is also known for his internal and external educational efforts. He has developed training materials and webinars and also writes and speaks about digital radio and broadcast engineering. His byline has appeared in the 11th edition of the NAB Engineering Handbook (he wrote the “Facility Grounding Practice and Lightning Protection” chapter) as well as in Radio World and its ebooks, including our latest on transmitter trends.

Additionally, NAB will recognize Jim Stenberg with the 2020 NAB Television Engineering Achievement Award. (Learn about Stenberg on TVTechnology.com.) Both will receive their awards during NAB Show at Tuesday’s We Are Broadcasters Celebration.

Last year’s Radio Engineering Achievement Award honoree was Garrison Cavell, who was recognized alongside his wife Cindy, who took home the TV version of the award.

The post 2020 NAB Radio Engineering Achievement Award Goes to Jeff Welton appeared first on Radio World.

EEO debate, cybersecurity precautions, Italy’s digital radio, tips in AoIP, Promo Power and lots more.

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

FUTURE OF AM RADIO “Digital Sunrise” Webcast Available on Demand

This issue of RW includes a sampling of what we covered in our recent webcast (which you can also watch at any time).

 

PRODUCT EVALUATION AKG K275 and K371 Headphones

Rob Tavaglione slips on two new closed-back models and tells us what he heard.

 

Also in This Issue:

• Cybersecurity: Most People Don’t Have a Plan
• A Look Inside Italy’s Digital Radio Rollout
• How to Transition to AoIP in Five Steps

The post Inside the March 4 Issue of Radio World appeared first on Radio World.

With the 2020 Radiodays Europe just about four weeks away, organizers have announced that the conference will go ahead as planned in Lisbon, Portugal, even with concerns regarding the spread of coronavirus. The conference plans to institute a number of actions to ensure its attendees’ safety.

Radiodays Europe is working with the Portuguese Health Authorities Direção Geral de Saúde, the Lisbon Congress Centre and host venues to meet the guidelines set by the World Health Organization for COVD-19.

It also has provided key practices to try and prevent the spread of COVID-19, which include:

• Keeping a social distance, avoiding handshaking and kissing, etc.;
• Avoid touching eyes, nose and mouth;
• Wash hands regularly, well and for at least 20 seconds;
• Practice respiratory hygiene; and
• Seek medical care immediately if you have a fever, cough and difficulty breathing

To date, there are no travel restrictions for entering the Portugal. Authorities are asking that people with fever or symptoms check their health status before leaving their countries.

2020 Radiodays Europe is schedule for March 29–31.

The post Radiodays Europe Moving Ahead Amid Coronavirus Concern appeared first on Radio World.

Given world headlines about COVID-19, it’s not surprising that there is plenty of online chatter in the broadcast technology community, wondering about any impact on the NAB Show next month.

As we’ve reported, the show organizers have said the event is proceeding as planned; and they’ve laid out resources for planning and safety precautions.

[Read: LVCC Takes Precautions Against Coronavirus]

In response to subsequent questions from readers and vendors, Radio World has reached out to a sampling of radio industry exhibitors, specifically, to ask whether the coronavirus situation has affected their own planning for the Las Vegas event. And while video company AJA publicly has said it would withdraw, radio exhibitors that have replied to RW so far have said, on or off the record, some variation of “We plan to be there while monitoring the situation for further developments.”

RW will post the public responses below and add more as we receive them.

Q: What impact if any does the coronavirus situation have on your company’s plans to exhibit at the NAB Show?

GatesAir — President and Managing Director International Rich Redmond: “There are innumerable sensitivities to consider when it comes to global travel and the coronavirus, the most important of which have to do with the health and well-being of our employees, customers and colleagues. We are actively monitoring official health reports and will take the appropriate guidance and precautions outlined by the CDC and the World Health Organization. In the meantime, we anticipate that NAB will take place, and our plans and preparation for the show continue. We’re grateful that the Las Vegas Convention and Visitors Authority has taken steps to ensure the safest possible environment inside the LVCC, confirmed through recent industry reports.” Gates Air will be in Booth N3403.

Inovonics — President/CEO Ben Barber: “Currently we are fully committed to the NAB 2020 show and have not changed our plans at all. Each year we give out ‘Swag Bags’ with different items in it like a flashlight, USB charger and an Inovonics catalog. This year we will be adding hand sanitizer to the gifts! I think people will appreciate it. Viva Las Vegas!” Inovonics will be in Booth N6525.

Logitek Electronic Systems — Sales and Support Manager John Davis, “Logitek is monitoring updates from the CDC and NAB daily and is planning to attend the NAB Show. We have purchased extra cleaning supplies and hand sanitizer beyond what we usually bring with us to Las Vegas. Based on the current guidance, as long as we follow some common sense guidelines, we feel we should be at the show.” Logitek will be in Booth C2030.

Arrakis — Sales Engineer Ben Palmer. “The coronavirus is a significant concern, and we are hopeful the situation improves quickly. We still have time before the conference, and are hopeful that the virus can be contained before then. Other conferences have shut down for various reasons, and it is easy to see the wisdom in those decisions. We at Arrakis have always enjoyed visiting with our customers and friends at NAB each year, as well as creating new relationships, but we will respect whatever decision is made by NAB. Fortunately, conferences aren’t as needed as they once were. Customers can visit our website, speak with our dealers, sales and support staff, and get all they need to help with their purchase decisions. That all said, so long as NAB is not cancelled, Arrakis Systems is planning on attending.” Arrakis will be in Booth N3012.

The NAB Show drew 91,500 attendees last year, including about 24,000 from outside the U.S., according to NAB’s post-show tally.

Related: Here’s a link to the Centers of Disease Control page of guidance to organizers of large events.

 

The post What Radio Exhibitors at NAB Show Are Saying About Coronavirus appeared first on Radio World.

The “imminent loss” of four St. Louis-area AM radio stations has the MMTC concerned — and they are asking the FCC to do something about it.

The Multicultural Media, Telecom and Internet Council (MMTC) asked the Federal Communication Commission to provide emergency interim relief to preserve four radio stations and a construction permit by giving its subsidiary, MMTC Broadcasting, ownership and operating responsibility for the stations. The stations have been tangled up in the Bob Romanik imbroglio.

[Read: St. Louis Broadcaster Allegedly Controlled by a Felon]

Back in June 2019, four AM stations in the St. Louis market — KTFK, WQQW, KZQZ and KQQZ as well as the construction permit W275CS — had their renewal and assignment applications held up over several issues, including alleged misrepresentation issues and an alleged unauthorized transfer. When Entertainment Media Trust (EMT) applied for renewal of its licenses in 2012, a Petition to Deny was filed soon after, asserting that the stations were actually controlled by a convicted felon who was not named by the licensee in its applications. Soon after, EMT applied to assign the licenses to a newly formed trust (called EMT #2) but the same ownership concerns were raised. (An application was also filed for a new FM translator to rebroadcast WQQW.)

According to the FCC, a subsequent hearing raised key questions about an alleged undisclosed transfer of control of the stations and questioned whether EMT engaged in misrepresentation and/or lack of candor in its communications with the commission.

The hearing judge found that EMT failed to follow commission rules when addressing the questions at hand; as a result, the commission dismissed all of the applications.

But according to the MMTC, this means that unless emergency interim action is taken by the FCC by the end of March, these stations “will be irretrievably lost,” the MMTC said in response to the FCC ruling. The MMTC said it now “stand[s] ready to assist the commission in saving the stations.”

“The loss of four radio stations and a CP in the nation’s 24th radio market would be unprecedented and devastating,” the MMTC said in its letter. “Facilities such as these are entry points for new talent and entrepreneurship.” Often times stations like these serve underrepresented, minority, multilingual and religious constituencies, the group said.

The MMTC pointed to several previous court cases that have been used in the past to rescue stations such as these, but expressed concern that prior litigation routes would not work in this case, and as a result, MMTC said it is prepared to step in.

According to David Honig, who is president of MMTC as well as vice president of MMTC Broadcasting, the goal of the organization’s nonprofit subsidiary is to facilitate diverse ownership of broadcast stations. It has taken ownership of nine AM radio stations since 2008 and incubated new entrants at these stations by training them to become owners.

In this case, the MMTC Broadcasting group told the FCC that it would like to volunteer to assume ownership and operating responsibility for the stations.

“Our plan is to operate them as radio incubators, generally along the lines of the incubator plan approved by the commission in 2018,” the group said. “To execute this plan, MMTC Broadcasting would LMA the stations to Roberts Radio Broadcasting LLC, a minority-owned and family-owned company based in St. Louis,” which currently owns and operates an FM station in Jackson, Miss.

The MMTC reminded the FCC that is has broad authority to grant emergency relief to protect the interests of broadcast consumers, pointing to the operation of WLBT(TV) in Jackson, Miss., that was operated by the nonprofit Communications Improvement Inc. after the D.C. Circuit Court vacated WLBT’s license renewal. In that case, the agency turned to Communications Improvement to operate the station while conducting a hearing to select a new permanent licensee.

During Communications Improvement’s tenure at WLBT(TV), the station rose in the ratings; doubled the size of the news staff; and hired the its first African American general manager, news director and news anchors in Mississippi television, the MMTC said.

“Ultimately, in 1980, five competing applicants settled and, after 11 years of interim operation, a permanent and minority owned licensee took over,” the organization said.

While the WLBT(TV) scenario is not identical to the dilemma in St. Louis, it is close, MMTC said. “It shows how a nonprofit interim operator can heal an ailing facility to the great benefit of the general public.”

“MMTC is confident that the commission can swiftly evaluate the equities and arrive at a course of action that saves the stations by allowing MMTC Broadcasting to operate them as radio incubators on an interim basis, with an LMA to Roberts,” MMTC said. “As the D.C. Circuit observed in 1990, when service to the public should be preserved, it can be ‘reasonable, perhaps essential, therefore, that the commission grant an interim license to someone.’”

“Thus, if the commission invites it to do so, MMTC Broadcasting will file applications to serve as an interim operator,” Honig said.

Radio World will report on any response that comes from the commission.

 

The post MMTC Volunteers to Take Ownership of “Ailing” Stations appeared first on Radio World.

As the spread of the coronavirus continues around the world and has begun to spread more in the U.S., the Las Vegas Convention and Visitors Authority, which runs the Las Vegas Convention Center that will host the 2020 NAB Show, has revealed a number of efforts it is taking to help prevent the transmission of coronavirus.

To date, there have been no confirmed cases of COVID-19, the particular strand of coronavirus, in Clark County or the state of Nevada and there have been no domestic travel notices, precautions or guidance specific to travel. In addition, the LVCVA said that southern Nevada and resort properties have not been identified as being at higher risk for transmission.

Even so, LVCVA has announced that it is following CDC and Health District protocols for preventing spreading the disease, and has taken a number of steps at the Las Vegas Convention Center in that regard.

This includes:

•  Increased cleaning protocols, including more frequent wiping and disinfecting of touch points (door handles, elevator buttons, handrails, restroom stall doors and sinks) during occupied show hours;
•  Added additional hand sanitizer stations;
•  Increased the outside air intake/air change rate during occupied show hours;
•  Reinforced its standard employee health practices, including sending employees home and/or encouraging them to stay home if sick or demonstrating symptoms;
•  Reinforce its standard food safety awareness programs, including making alcohol-based hand gel/rub available at every food station and every table at food outlets; and
•  Continuing to participate in webinars and conference calls with the International Association of Venue Managers to stay up on new practices, protocols and guidance

LVCVA also shared efforts being made by authorities in southern Nevada and CDC recommended best practices for individuals.

The 2020 NAB Show is scheduled to take place April 18–22 at the Las Vegas Convention Center, and as of now the show is set to continue as planned.

However, some individual companies are taking their own actions that could impact travel to the NAB Show. Amazon has said that it is restricting all nonessential employee travel in the U.S. until the end of April.

The virus is also having an industry impact beyond the NAB Show. Sony has reportedly warned investors that production of both image sensors and electronics “could be affected enormously” if the virus continues to spread.

The post LVCC Takes Precautions Against Coronavirus appeared first on Radio World.

Usher is the host. Guest stars include Lizzo, Halsey and Justin Bieber. What’s this all about? It’s the 2020 iHeartRadio Music Awards live at the Shrine in Los Angeles with a national network television simulcast on Fox. 

The list of nominees for this seventh annual event is equally star-studded: Ariana Grande, Bad Bunny, Billie Eilish, Camila Cabello, Cardi B, Daddy Yankee, Dan + Shay, Drake, Ed Sheeran, El Fantasma, Halsey, J Balvin, Jonas Brothers, Justin Bieber, Khalid, Kygo, Lil Nas X, Lizzo, Luke Combs, Maren Morris, Post Malone, Selena Gomez, SHAED, Shawn Mendes, Snow, Summer Walker and Taylor Swift. 

Music fans are encouraged to participate by voting for winners in many categories: Best Fan Army, Best Lyrics, Best Cover Song, Best Music Video, Best Remix, the Social Star, Favorite Tour Photographer and Favorite Music Video Choreography. 

Wanna attend? Considering concert prices these days, it’s priced quite reasonably, ranging from $75 to $250. 

Come on … what is this — a commercial for the show? No, but I’d like you to view this as a model for creating awards to bestow as a local radio station. 

GIVE YOUR OWN AWARDS

Why are awards important? When we show appreciation with awards, the mere fact that we’re doing so positions the medium (you) as a leader, an authority, a vital entity to the community it serves. Radio stations are certainly accustomed to receiving awards, but we don’t put enough focus on giving awards.

The music award approach we are using as a model is reasonable on a local/regional basis and makes sense in markets with an active, supportive new music scene. Perhaps there’s even a local music organization with which you can partner. 

Behold, your award program creation checklist: 

• A name that simply explains the award. 
• Credible host(s) to deliver authenticity, celebrity and audience.
• Media partners, such as a local TV station, newspaper or website. 
• A broad selection of nominees who will spread the word about their nomination. Create enough categories so you’ll have multiple winners. 
• Judges who are admired or connected and can activate their circle. 
• On-air promotion of the award that includes an audience voting element. 
• External public relations outreach, maybe hiring a local PR firm. 
• Advertising support — perhaps inexpensively on a highly targeted social media platform.
  A live awards ceremony that people can attend in person, hear on-air, comment on social media, watch streamed on television or via Facebook, YouTube or an app. 
• A wrap-up of winners on-air that runs for several days after the event. Make certain to capture pictures and video for distribution. 

Perhaps music awards don’t make sense for your format, or you’re in a relatively small market. No worries. Awards are universally appealing, and there are plenty of other ways to achieve this fun and exciting form of connection and entertainment. 

Instead, your station will want to brainstorm other themes that resonate with your local audience.

Striking an emotional chord is important. 

Visual arts such as photography or painting can generate a lot of interest. 

Teaching, coaching and mentoring are hot topics for families. 

Environmental issues loom large on the minds of many young people, so creating a local “Environmental Action Award” will resonate in certain communities. 

Awards take time to establish, so consider a multi-year approach. You’ll know when you’re on to something if your awards catch on outside your typical sphere of influence. 

There was a time when local radio stations embodied these attributes just by existing at an organic level, but this should no longer be taken for granted. Stations must intelligently and actively assert ourselves as a major arbiter of what’s important in the community. The most challenging part is that we also must earn the role by openly recognizing major talent — music or otherwise — in our communities.

The post Awards for Your Community’s Best appeared first on Radio World.

The comments here were posted to social media by readers of the Radio World ebook “Radio Engineering in Crisis.” Read it at www.radioworld.com/ebooks.

“That’s a good read. I like Gary Kline’s contribution around interviewing new engineers, specifically around site and equipment condition. As an engineer the condition of equipment is usually high on my priority list, especially if I am being called in to fix something urgently. ”

 

“The status quo is in serious danger, but radio will adapt to the engineering shortage. I can foresee entire stations moving into the cloud, and a greater reliance on manufacturers’ field service. The broadcast engineer of the future will likely become a data center technician or a frequent flier, and there will be many fewer of us. ”

 

“Ditching the high-power RF may be possible around urban areas, but rural areas will get the shaft. Due to terrain shielding, DSL is the only option with 800k download and 300k upload … using remnants of the old Ma Bell co-ax system. Executives at the top still get their big raises and perks annually, but rural areas are ignored. Cellular service … I essentially live in a cellular ‘white area’ … and the FCC doesn’t care about serving rural areas … the FCC talks loud and says and does nothing. ”

 

“This has been a serious problem for a while. It is getting worse as more technologists retire. Employers need to increase pay and incentives to turn this around. ”

 

“Broadcast engineers are an endangered species, there is no doubt. I’m grateful to have worked in a time when at least some management respected and valued their tech staff. The thought of being tied to a pager and having a dozen sites to worry over is not appealing to anyone with ‘a life.’ I loved working on transmitters (in well-cared-for sites) and designing user-friendly broadcast studios, but that was ‘back in the day’ when such settings weren’t uncommon (at least in this market). Seeing the neglected TX sites owned by venture capitalists, I’m glad to be retired. ”

 

“I learned about RF as a teenager with ham radio. That helped me with my first phone and AM/FM transmitters. After college I drifted into TV post. But I still have a love for RF. Is there a future for young RF inclined engineers? Does it take an IEEE degree and will it pay above scale? ”

 

“To attract broadcast radio engineers, the industry needs to respect the job position and compensate accordingly. Turn to the cell industry for your compensation and benefit template, then sweeten the deal a bit more. ”

 

“You can’t get engineers or engineering groups involved in changing the mindset of management. That has to come from other management groups, otherwise it looks like a self-serving exercise. It will take a change of mindset at the local, regional and corporate management levels. This is a problem that has been warned about for decades and it is currently on the cusp of crisis. In 10 years, it will be too late. ”

 

“One must continue to listen, learn and love their chosen professional calling. This requires licensing certification and continuing education to stay on top of their game. ”

“I was working for an AM/FM combo when in college and fully expected to stay in the business. Then industry came calling with a 50% premium to go with them. Never looked back and it appears things headed down hill after that day. I still have my license but that doesn’t seem to be important anymore. As industry has done, most maintenance is contracted out to manufacturers now, so if I were to be in the business, I’d look at the OEM for work. MBAs have decided it doesn’t cost as much to do that. ”

 

“There’s much more RF work in mobile networks, home/metro internet and emergency communications, automotive systems, industrial IoT, military and even space systems. In practice, it may or may not require a degree, depending on level of design or debug or deep sales activity vs just installing. ”

 

“The other challenge is senior broadcast techs who are tired and can’t really be bothered passing the baton to new engineers. I was involved in a short-term project where I saw many of the broadcast techs were 60+ years old. There’s nothing wrong with that; however … their energy levels were fading, they were no longer excited to be at the forefront … Meanwhile company management had no succession ideas because to them it wasn’t a problem. To me, it’s all about the seven traits of a good engineer, including continuous learning, serving as mentors, good tech and listening skills — these are key to empowering the next generation of people who will need to be both IT techs and broadcast engineers for a sustainable future. ”

The post “It Will Take a Change of Mindset” appeared first on Radio World.

GatesAir has appointed three new members to its worldwide sales team. These latest hires are focusing respectively on the Caribbean and Latin America; Europe, Middle East and Africa; and Asia-Pacific regions.

Antonio Satta

Antonio Satta joins GatesAir’s CALA team as sales director, Brazil. Reporting to Felipe Luna, GatesAir’s managing director, CALA region, Satta brings nearly 15 years of broadcast and telecommunications experience to his new role.

Previously he was with Screen Service Broadcasting Technologies for 11 years, most of which were spent in Brazil as managing director.

GatesAir says that as well as direct-end customer relationships, Satta will work closely with Foccus Digital, GatesAir’s long-time Brazilian partner.

Matt Smith

In addition, Matt Smith joins the GatesAir’s EMEA team as regional sales director, covering a diverse geography across Western Europe, the Nordics and southern Africa. Reporting to Andy McClelland, GatesAir’s managing director, EMEA, Smith brings more than 15 years of industry experience to GatesAir.

According to the company, he held roles of increasing responsibility over his years at Envivio and Harmonic, where he most recently served as director, key accounts for the United Kingdom and Ireland.

Smith will focus on business growth and managing go-to-market initiatives across nearly 30 countries, with an added goal of strengthening GatesAir’s partner network and reseller base throughout his territory.

Oscar Hu

Finally, Oscar Hu joins GatesAir’s APAC team as regional sales manager, Southeast Asia. Reporting to Jacky Yee, GatesAir’s head of sales, APAC, Hu will focus on raising GatesAir’s visibility and market share across most of Southeast Asia (and parts of East Asia and Micronesia), including Cambodia, Indonesia, Japan, Philippines, Singapore, Thailand and Vietnam.

Hu brings nearly 15 years of broadcast industry experience to his new position, and most recently served as sales manager for Digital Broadcast Asia Pacific.

“GatesAir’s main international initiative has been to establish a stronger global presence, and that strategy included hiring experienced resources with a regional presence that would bring us closer to our customers,” said Rich Redmond, president and managing director, international, GatesAir.

“With a stronger global foundation now in place, we continue to invest in the right talent with the appropriate skillsets that will help broadcasters navigate challenging digital transitions, and develop new business opportunities for over-the-air content delivery.”

The post GatesAir Boosts Global Sales Team appeared first on Radio World.

ANTWERP, Belgium — Radio 2 Antwerpen recently inaugurated new “pop-up” studios.

Els Broekmans is a VRT Radio 2 Antwerpen presenter. Credit: mmpress 

“The basic idea was to bring our regional studios to where people live and work, increasing the station’s visibility,” said Dirk Somers, head of Radio 2’s partners and infrastructure department.

“It was also a cost-savings operation. Before, Radio 2 was housed in buildings with huge studios and space for over 30 people. Today, we have compact, cost-effective and efficient working landscapes in Leuven, Hasselt, Kortrijk and Antwerp.”

“Presenting while standing up is a bonus and results in better breathing,” said presenter Els Broekmans. Credit: Joost Joossen

Boosting the regional station’s visibility was a crucial element in the whole process, echoes Steven Cauwenberg, region-manager for Radio 2 Antwerpen. “The past 41 years, the Antwerp regional studio was located in the back part of De Singel arts center. Today, we broadcast from a glass house, located in the very cradle of the city, within walking distance from the River Scheldt and the town hall,” he said.

“Our neighbors in the Beacon (a smart community and hub that houses more than 60 startups focused on AI and IoT innovation) add value to the location. This is where digital creatives, developing smart-city applications like self-driving vehicles, or elements that could become interesting for radio are located. There’s quite some potential in future synergies or cross-pollination here.”

POP-UP RADIO STATION

Radio 2 Antwerpen’s space for news and digital content. Credit: Joost Joossen

Bearing in mind a possible future relocation, the broadcast site’s infrastructure was conceived as a pop-up studio landscape. “The Beacon building was supposed to be replaced by a new real estate project,” added Somers. “We signed a five-year rental agreement but I gather that, considering the success of the site and its total occupancy, the agreement may be extended”.

The broadcaster initiated the project for the new studio in early 2019, with parameters like visibility, open office structure and user-friendliness playing a crucial role.

The new facilities offer plenty of daylight in the open office space. Credit: Joost Joossen

“Radio 2’s regional programs run on weekdays from 6–8 a.m. and 12–13 p.m., plus three regional news inserts in Radio 2’s national programs,” explained Cauwenberg. “When we designed the studios, we calculated the maximum double use of the rooms. The main on-air studio has no specific ‘Radio 2’ branding or imaging, so other channels can use it. In addition, it’s possible to use the production studio as an on-air facility and our interview studio also serves as a meeting room.”

The 350-square-meter (app. 3,800 square feet) open office landscape with huge windows offers plenty of daylight and looks out on a lively square. The on-air studio and the two production cells are housed in Flexboxes — a 100% plug-and-play concept designed by office furniture manufacturer Ahrend.

Steven Cauwenberg (left) is region manager for Radio 2 Antwerpen. Geert Cantens is engineer with VRT Labo Radio. Credit: mmpress

The cabins are designed to offer flexible, modular and functional room-in-room operations. The acoustically insulated Flexboxes, equipped with mains, data connection, LED-lighting and air circulation, were optimized for radio use. Whereas the two production boxes were standard, the on-air studio cube was tailor-made and equipped with air conditioning.

“Alongside the three studio-boxes the work floor is split in a production section for audio production, and a news section for digital and radio content, plus two national news journalists operating from Antwerp as regional hub,” said Cauwenberg.

HEIGHT-ADJUSTABLE DESKS

A DHD 52/XC2 core powers the main on-air studio. There are two DHD 52/MX mixer frames at the presenter position and one mixer for the news host or program sidekick.

“The entire configuration is packed in three racks,” said Geert Cantens, engineer with VRT Labo Radio. Credit: mmpress

“Two presenters in one self-op studio is new — before, the presenter and news host worked in separate studios,” explained Geert Cantens, engineer with VRT Labo Radio.

Another novelty for Radio 2 Antwerpen is the integration of the Broadcast Bionics PhoneBOX SIP telephone system “Until recently, the Antwerp studio used an ISDN-based telephone system with analog lines. PhoneBOX is fully IP-based allowing recording, editing and the transfer of telephone content from a PC. On the journalists office desk, a small DHD module is used for preliminary talks and switching PhoneBOX footage/material to the main studio, boosting the news flow’s flexibility. PhoneBOX is not only the main hub to receive telephone calls, but can also receives LUCI calls from reporter smartphones.”

The transportable Flexboxes are the basis for Radio 2’s pop-up principle. Credit: mmpress

The on-air staff also works from height-adjustable desks — Radio 2 Antwerpen was the last studio with seated presenter positions. “Apart from the fact that we’re really in the middle of the action, quite a different vibe. presenting while standing up is a bonus, and results in better breathing,” said presenter Els Broekmans. “Radio 2’s former tagline, ‘Altijd dicht bij jou’ [‘Always Close to You’] has become true and this reflects in our presentation.”

Although most processing takes place within the DHD engine, an Empirical Labs Distressor was added in the equipment rack. “It has become a standard component for our on-air studios and engineers have become used to the settings,” commented Cantens. “We also use DHD’s internal automatic mic mixer feature for studio guests.”

The on-air studio is equipped with a Dalet Plus playout system, connected with VRT’s database in Brussels as well as Genelec 8240A monitors and Neumann U89 microphones. Two silent PCs are located under the presenter desk. “The whole concept had to be economical. We stepped away from the expensive and complex KVM connection to the engine room,” Cantens explained.

CROSS-TALK STUDIO

“It was crucial that the on-air and production studios had the same functionalities and layout,” continued Cauwenberg.

The production booth’s configuration is identical to the on-air studio’s setup. Credit: mmpress

“All studios are self-op — for many people with a journalistic background, this is a next step ahead. That’s why our production booth is identical to the main studio,” he said.

The production Flexbox has a back-up on-air studio, and Cauwenberg underlined the multipurpose aspect of the studio, for use by other VRT channels or programs.

The broadcaster uses a third booth so a guest can be in the Antwerp studio and the reporter in another VRT studio, thus not having to travel between different cities. “We had this option before, but we’ve added a Sennheiser HMD26 headset, an Axis camera and a big display,” Cauwenberg said.

“This allows us to interview people in Antwerp face-to-face, offering a clean feed for any VRT channel, without them having to travel to Brussels. And the room also serves as meeting room.”

The three studios are connected with the DHD 52/XC2 core in the technical area — the signal is routed to VRT’s line center by means of a redundant fiber-optic link.

It was system integrator Amptec who won the public tender for the cabling and installation of the new studio landscape. The company also took on the integration of the studios in Leuven, Kortrijk and Hasselt.

“The main challenge was that the configuration had to be designed in view of a future relocation,” said Jasper Willems, broadcast project engineer with Amptec.

“Both the presenter desk as well as the three racks in the machine room can be disconnected — just put in place the horizontal cabling and the studio can fairly easily be relocated … plug and play!”

The post Radio 2 Antwerpen Inaugurates New Pop-up Studios appeared first on Radio World.

Stakeholders weighed in Feb. 28 after the FCC voted to proceed with a public auction of C-Band spectrum for 5G, an item that had prompted heated debate from the Hill and elsewhere.

“The U.S. must win the race to 5G,” said House Energy and Commerce Committee ranking member Rep. Greg Walden (R-Ore.) and Communications Subcommittee ranking member Rep. Bob Latta (R-Ohio) in a joint statement. “It’s simple: either we lead the way, bring along other like-minded countries, and write the rules on advanced technologies, or we have them dictated to us by China. We know that only the first option will be written with free-market principles in mind. I’m encouraged chairman Pai and the FCC share this mindset and I commend their progress on the C-Band auction order.”

“ACA Connects praises chairman Pai and the FCC on the adoption of an order today that strikes an appropriate balance between clearing a large portion of the C-Band for 5G use and protecting incumbent users of the spectrum,” said ACA President Matthew Polka. “This proceeding turned out to be one of the most challenging undertakings of any FCC chairman’s tenure, and Chairman Pai and his team proved once again they know how to get things done.”

[Read: FCC Preps Big Spectrum Moves]

The C-Band is used by satellite companies to deliver programming to broadcasters and cable operators, so the FCC is having to free up 280 MHz of the lower portion of the band, move incumbents to the upper part, and make sure that new wireless broadband users of the freed-up spectrum don’t interfere with those incumbents.

“Today’s vote is another major step toward unleashing mid-band spectrum for 5G,” said AT&T EVP Joan Marsh. “Making the C-Band available for mobile flexible use will provide a vital resource for deploying next generation wireless networks and securing U.S. 5G leadership. We look forward to reading the details of the item and continuing to work with the commission to ensure a successful auction and effective transition.”

“The FCC’s vote today is a great success for the future of 5G in America. We cannot afford to wait any longer to roll out 5G nationwide in America and the approval of a public auction of the spectrum is a great step to unleashing American innovation,” said 5G Action Chairman Mike Rogers. “China has a head start on cornering 5G, but with this vote we are one step closer to ensuring we don’t lose the race. Getting 5G right is critical to our country’s long term economic and national security and I applaud the FCC’s and Chairman Pai’s actions today.”

“While surely there will be much quibbling about various facets of the FCC’s decision, to my mind, Chairman Pai and his Republican colleagues deserve much credit for proposing a sound way forward,” said Free State Foundation President Randolph May. “Absent the willingness to consider somewhat novel approaches to address the need to repurpose this midband spectrum sooner rather than later, I suspect we’d still be stuck in neutral — and in today’s technologically dynamic and competitive marketplace environment, being stuck in neutral doesn’t advance overall consumer welfare or the national interest.”

“I applaud the commission for voting in favor of the C-Band auction rules,” said Competitive Carriers Association President Steven K. Berry. “C-Band spectrum provides incredible potential for all carriers — both large and small — to deploy next-generation technologies, and a public auction of this invaluable resource is certainly the right decision. An auction of 280 megahertz will go a long way to helping meet consumers’ insatiable demand for more. While we would have liked to have seen a limit on spectrum aggregation to further promote competition, we commend the commission for its work on this enormously complex issue and look forward to a robust auction in the near future.”

 

The post D.C. Reacts to FCC C-Band Vote appeared first on Radio World.

The Intercollegiate Broadcasting System will host its 80th High School & College Media Conference March 6–7 in New York. 

Ahead of the event, IBS President Chris Thomas and IBS NYC Co-Coordinator Shawn Novatt told Radio World that the event would feature guest speakers including iHeartMedia Division President Scott Hopeck, Z100’s Maxwell, WCBS(FM)’s Race Taylor, New 102.7FM’s morning show team, Cox Media Group Long Island’s promotions/marketing and sales team and many others.

The Hotel Pennsylvania-hosted conference will cover topics ranging from production, on-air and show preparation, podcasting, sales, production and more in order to teach attendees how to improve their student media operations. 

IBS events are for member stations only; however, all college and high school media outlets are eligible for membership. Attendance costs $110 per person or $660 for groups of six or more people. 

The post IBS to Host High School & College Media Conference for This Weekend appeared first on Radio World.

“StudioHub is back, baby!” Angry Audio founder Michael “Catfish” Dosch announced in a Monday press release. 

Radio World reported in October that Dosch’s new company planned to acquire the StudioHub line of R-J45 adapters, cables and studio accessories from Radio Systems. That has now gone through. 

“We purchased the IP to all of the products formerly manufactured by Radio Systems under the Radio Systems and StudioHub brands,” Dosch told RW Monday. “We bought the StudioHub brand and trademarks, but did not buy the Radio Systems brand. We also purchased all remaining inventory of Radio Systems.”

The terms were not disclosed. It was a three-party business transaction between Angry Audio, Radio Systems and Michael Sirkis, who owned most of the IP for the products manufactured by Radio Systems.  

Earlier, Radio Systems had announced that it would no longer manufacture its own equipment but would instead serve as Lawo’s exclusive U.S. distributor. 

Angry Audio is now offering the StudioHub products on its website at its own brand page, https://angryaudio.com/studiohub/. 

Dosch said Angry Audio is manufacturing most of the more popular Radio Systems products. Angry Audio is headquartered in Nashville, Tenn. The adapters and cables are manufactured in China; electronics products are assembled and tested in Nashville from parts sourced mostly from China. 

Angry Audio is not continuing the Millenium console line. “We will however, provide spare parts support for owners of Millenium consoles on a ‘best effort’ basis, meaning as long as we have, or can reasonably obtain, inventory,” Dosch said.

The post StudioHub Products Now Available From Angry Audio appeared first on Radio World.

From Radio World’s “Who’s Buying What” department: Canadian broadcaster Bell Media says it has signed a deal to pilot Veritone Essentials and Veritone Attribute artificial intelligence solutions at three dozen of its radio and television stations for several years. 

In the announcement, Bell Media Vice President of National Radio Sales Dean explained the Veritone deployments enable “real-time campaign optimization” in addition to “attribution and effectiveness metrics.”

Rutherford said, “We are now able to see campaigns as they air, including preproduced, live, and in-show executions. This allows us to provide up-to-the-minute analytics with a new level of transparency, enabling our local and national advertising partners and sponsors to better measure campaign effectiveness and return on investment.”

[Read more: Radio Just Got Smarter Thanks to AI]

For example, the Veritone Attribute app demonstrates correlations between advertisements and web traffic within a select time frame via “intuitive dashboards and reports.”

Bell Media has 109 licensed radio stations in 58 markets in Canada.

Send your Who’s Buying What news to radioworld@futurenet.com.

The post Bell Media Chooses Veritone for AI Ad Solutions appeared first on Radio World.

With three national and several local DAB+ multiplexes on air today in Italy, about 83% of the Italian population can receive digital radio broadcasts. The March issue takes a look at how one of the national consortiums, DAB Italia, is working to expand the country’s digital services.

This month we also highlight BR Verkehr in Germany and detail the station’s use of an integrated newsroom system to help ensure the broadcast of timely traffic alerts.

Read the March issue of Radio World International here!

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

COMMENTARY

Sound Ideas. Sound Decisions

The sound of radio is changing and the industry needs to listen

PRODUCT EVALUATION

MicPort Pro2 Delivers the Smartphone Audio Goods

CEntrance has a pro-grade recording interface for radio reporters and voiceover artists

ALSO IN THIS ISSUE

BR Verkehr Puts Focus on Traffic

Kenya’s Simba Radio Selects Lawo

Buyer’s Guide: Sports Reporting & Remote Gear

The post Inside the March issue of Radio World International appeared first on Radio World.

Seemingly a new NAB Show tradition, once again Inovonics has a new INOmini SiteStreamer available for NAB attendees.

The Sofia 567 SiteStreamer+ focuses on monitoring the AM band (520–1710 kHz) and then offering an analog feed, AES3 digital feed (44.1 or 48 kHz), Dante AES67 AoIP network and web streaming (MP3 or Ogg 16–48 kHz and 32–256 kHz). It can be installed at a transmitter site or any place where an AM signal needs to be monitored.

SNMP and email messaging is supported as is remote operation via the web. Alarms include audio loss, low signal and AM reception loss.

The Sofia 567 can entertain up to 10 listeners via the internet. The StationRotation feature allows the 567 to monitor a programmed series of stations.

It is in the familiar rackmountable INOmini half-rack box.

NAB Show Booth: N6525 Info: www.inovonicsbroadcast.com

The post NAB Sneak Peek: Inovonics Sofia 567 to Visit NAB Show appeared first on Radio World.

BOSTON — For approximately 10 years, I worked for the New England Patriots football team. I didn’t have any radio skills when I began, but over the course of my first five years, I learned how to be an engineer and how to produce great radio. About a year ago, I decided to venture out on my own as an independent engineer, working with radio and podcasting clients.

I now work with several organizations, and much of my time is spent working with Boston College. I oversee their football, basketball and hockey programming in a chief engineering role. Additionally, I do color commentary for their away basketball games. I played basketball all through college and studied journalism, so working as a color commentator is a natural fit.

Recently, I purchased an Access NX (and finally retired my old Access 2USB, which I had owned for seven years). To broadcast college sports games, we connect with IMG Learfield, which owns over 100 Access units. When it’s time to connect, I get in touch with my guy, find out which studio he’s working from, select his Access unit from a dropdown menu and hit connect. It’s that simple. 

The beauty of Access is once we set up connection presets with IMG, we can now see all the different units they have online. So when it’s time to connect, I can see the status of all their Access units, and I don’t need to enter additional information at any point.

When I was introduced to Access, I was really intimidated. I was originally taught to use ISDN, and I wasn’t sure what to do when IP codecs started to take over. I didn’t want to let go of my ISDN, but after getting some pretty simple instructions and diving into the user manual, I discovered that IP codecs are even easier to use than ISDN.

CONNECTIONS

Not to mention, IP codecs are much more convenient to travel with. IP connections don’t take up a ton of bandwidth, so as long as you’re not sharing your connection with anything, you’re all set. Most arenas these days have a dedicated network for handling home and visiting radio, so when I’m traveling around the country, there’s usually reliable high-speed internet. Because networks are solid, it’s very rare that I get a lot of dropped packets or struggle to connect. IP networks are everywhere now, which makes IP codecs very easy to use.

When I began buying equipment to start working independently, I ultimately chose to buy a Comrex Access because I preferred the user interface. I also like having the portable Access mixer available. 

I usually travel with a large Mackie audio mixer, and rarely use the Access mixer, but if I ever need a very bare-bones set up, it’s a great solution. I also regularly send it out with talent if they won’t have access to an engineer. It’s plug-and-play and takes no real tech experience to set up; all they need is the Access, mixer, microphones and some headsets.

[New firmware available for Comrex Access codecs]

In my opinion, Access is the best IP codec I’ve worked with, and arguably the best one in the market. In the eight years I’ve been using one, I’ve never had a major problem. If I have anything minor, I know that I can call the support team and get dedicated, knowledgeable experts who will be able to answer my questions.

Comrex loaner units are also a lifesaver. I once had one for three weeks, when my unit was acting up right before the Super Bowl. Comrex took my Access in for repair and gave me a lovely portable travel unit as a loan, free of charge, no questions asked. There are very few places in this line of work, or in any line of work, that give you that level of attention to detail and customer service.

For information, contact Chris Crump at Comrex in Massachusetts at 1-978-784-1776 or visit www.comrex.com.

The post User Report: Comrex Access Delivers College Sports appeared first on Radio World.

FM spectrum is desirable. If you want proof, just look at the comments from those who operate so-called Franken FM stations, which are fighting to sustain their business operations and stretch out their life expectancy in the face of an FCC deadline.  

An LPTV coalition wants the FCC to allow dual digital LPTV and analog audio signals.

There are two dozen or so low-power TV stations on analog Channel 6 that air limited visual programming but primarily target radio listeners with their audio content on 87.7 MHz, just below the standard FM band and receivable on consumer radios. 

These operators believe that their “radio” stations are serving local audiences, and sometimes niche minority populations, with programming and lifesaving information.    

Opponents to the dual-mode operation, including National Public Radio, say the stations have flouted FCC rules and are misusing the spectrum. In addition, NPR has voiced concerns about interference to stations in the adjacent reserved band. 

Licensees of these LPTV6 stations are hoping to avoid their radio demise on July 13, 2021, the deadline the FCC has set for all LPTVs to terminate analog services. That termination effectively will silence those audio signals.

DEFENDING THE PRACTICE

The FCC in a public notice in December asked stakeholders and interested parties for additional feedback on whether LPTV stations should be allowed to operate in this way. The commission specifically asked whether digital LPTVs should be allowed to operate analog radio services as ancillary or supplementary services.

The intent of the ancillary service rule is to permit DTV stations, including LPTVs, to use a portion of their bandwidth to provide ancillary services on a supplemental basis. When a TV station provides such services and charges the consumer for the specialized service, they pay a regulatory fee of 5% of ancillary revenues made to the FCC.

This is not the first time the commission has taken input about FM6 stations; it asked these questions back in 2014 without taking subsequent action, and it is now “refreshing” its record.

(More than a decade ago, radio engineers in online discussions began calling such stations “Franken FMs,” referring to an unholy mashup reminiscent of Frankenstein’s monster; the term was picked up by Radio World and subsequently has found broader use, including among the latest filed comments. Some operators consider the term pejorative.)

The LPTV Spectrum Rights Coalition is a defender of the practice. In fact, the group says it was instrumental in obtaining a five-year extension of the analog sunset.

“There are no legal or technical barriers to extending the authorization of currently operating analog Channel 6 LPTV stations to offer an analog 87.7 FM audio service after the LPTV digital transition,” it told the FCC in its comments. It said the commission just needs to modify two rules. 

“Specifically, the FCC can amend its rules to allow currently operating analog TV6 LPTV stations to: (1) continue their analog TV transmissions after the digital transition on a authorized basis; and (2) utilize independent aural and visual transmitters, all subject to the existing requirement that they adhere to existing FCC rules which require they transmit a digital video signal that can be received by an ATSC receiver. Further, the FCC can carefully tailor these rules so they only apply to stations currently operating on analog Channel 6.”

The coalition wants the FCC to allow a dual digital LPTV and analog audio signal. “The FCC should authorize currently operating analog Channel 6 LPTV stations to continue using a portion of their spectrum to provide an analog aural service on 87.7 FM following the digital transition.”

The coalition said it doesn’t believe the FM6 stations should be charged the 5% ancillary fee for airing the FM signal. 

“The 87.7 FM programmers and their LPTV licensee owner are providing the signal free to the public, and should not be charged any fee for doing what is allowable [under] existing rulemaking. Whether a programming service is paying the station licensee a fee to air their programming is irrelevant, and all that matters is that the 87.7 FM signal is free to the public.”

“VITAL” COMPONENT

In essence, operators of FM6 stations are asking for an “analog carve-out” for their 87.7 MHz signal as the TV digital transition continues. 

La Invasora produces a format that uses the WTBS(LP) 87.7 FM signal to reach a Spanish-language audience in Atlanta. The ancillary audio service is positioned as the “musical mix channel of Mexican Regional and Pop music for Atlanta.”

Prism Broadcasting Network, licensee of WTBS(LP), supports grandfathering analog 87.7 FM LPTV stations so that they may continue their “valuable and unique” local programming. 

“It is only fair that these ongoing successful programming ventures be allowed to continue to serve their local communities with their local programming,” Prism stated in comments.

El Sabor Lazer Radio is a service of Delta Media Corp., broadcasting its Spanish-language programming in Lafayette, La., where it says it is the only commercial Hispanic radio station.

El Sabor Lazer Radio is run by Delta Media Corp., broadcasting Spanish-language programming in Lafayette, La.

Similarly, AlmaVision Hispanic Network, licensee of TV station WEYS(LP) in Miami, operates AlmaVision Radio on 87.7. It told the FCC that WEYS provides ethnic programming using the FM signal to reach a potential audience of 2.2 million Spanish speakers.

“AlmaVision Hispanic Network supports the grandfathering of analog 87.7 FM LPTV stations such as WEYS(LP) so that they may continue to provide their valuable and unique local programming. It is unquestionably in the public interest that the FCC permit these ongoing successful programming ventures to continue to serve their communities with their local programming,” according to the broadcaster. 

In addition to providing Spanish programming and music, the Miami broadcaster said it provides emergency alerts in Spanish and has considerable local support from sponsors of content and local events, as well as advertisers.

“The station is a vital religious, educational and civic component of the Spanish-speaking community in the Miami metro area,” according to AlmaVision Hispanic Network.      

Meanwhile, Lovcom Inc. is the licensee of KSHW(LP) television in Sheridan, Wyo., broadcasting sports news and commentary for audio listeners over 87.7 FM. The station is listed as a radio affiliate on the websites of Westwood One and the Colorado Rockies Radio Network.

KSHW(LP) wrote: “The station has a loyal following of listeners who would be harmed should the commission move forward with the elimination of analog LPTV service and not provide Lovcom with the ability to distribute its signal on an ancillary or supplemental basis after the digital transition.

“The impending LPTV digital transition does not have to lead to KSHW(LP)’s existing listeners losing access to programming that they listen to on a daily basis. Allowing LPTV stations to continue to operate an analog FM radio-type service on an ancillary or supplementary basis would be a permissible and efficient use of the spectrum,” it stated, in comments filed by communications attorney John Garziglia of Womble Bond Dickinson on behalf of Lovcom. 

Educational Media Foundation is a notable name among those supporting the FM6 stations. EMF is a Christian noncommercial broadcaster that holds licenses for some 300 full-power noncommercial educational broadcast radio stations, many of which operate in the reserved band. But in addition to its full-power stations, EMF airs programming on the analog audio channel of KBKF(LP), San Jose, Calif.

EMF said it sees “no technological or policy reason for ending FM-on-LPTV service and encourages the commission to allow 87.7 MHz San Jose — and stations like it — to continue using Channel 6 to deliver an audio signal after July 13, 2021.”

It concluded: “FM-on-LPTV stations are already operating and not causing interference at the lowest end of the FM band, with the closest NCE channels at 88.1 MHz being second-adjacent and sufficiently protected from interference.” 

NPR WEIGHS IN

National Public Radio has taken a strong stance against FM6 stations. 

NPR said that authorizing low-power Channel 6 TV stations to operate analog FM radio services after the final digital television conversion deadline would be misguided. It calls Franken FMs “a misuse of public airwaves.” 

NPR and the public radio community believe they have significant stake in this; they believe these stations pose an ongoing threat of harmful interference to the adjacent FM band reserved for NCE stations.

“So-called Franken FM stations exploit regulatory gaps to transmit a silent video signal for TV receivers and an unrelated audio service for reception by FM radios tuned to 87.7, with each Franken FM occupying 30 times the spectrum a traditional FM station uses.”

If the FCC does not kill off these stations outright, NPR says, it must develop new rules to make sure they don’t interfere with noncom signals as well as ensuring that their primary video signal can be received by DTV receiver. 

But the LPTV Spectrum Rights Coalition downplayed the issue of interference that has been raised by opponents.

“These concerns are both highly exaggerated within these proceedings and are easily managed in real-world field engineering work. There currently over 20 LPTV stations transmitting analog audio carriers available on 87.7 FM, yet the coalition is not aware of any outstanding complaints about actual interference between the audio signal transmitted by these analog LPTV stations and nearby FM stations on Channels 201 or 202.”

QUESTION OF FAIRNESS

Multicultural Radio Broadcasting Inc. operates radio stations in Los Angeles and New York City. It wrote: “At the heart of this matter are issues of basic fairness. The public was never given notice or a fair opportunity to apply for Channel 6 LPTV stations with the understanding that those stations could fill a dual role as a television and radio station. 

“Likewise, AM and FM stations in communities where Franken FM stations operate are forced to compete with Channel 6 radio stations that were not authorized to provide FM service. Moreover, these Channel 6 radio stations compete directly with radio stations on an uneven playing field because Franken FMs are not subject to the same regulatory and financial obligations as other full service stations.”

Effectively, Franken FMs operate with the same power as a Class A full-service FM station, according to Multicultural.

Other detractors say FM6 stations are not EAS-compliant and that they pay lower fees to copyright agencies, such as BMI and ASCAP, creating an unlevel competitive situation for other FMs that do. 

Common Frequency Inc., a non-profit that promotes community and college radio, wrote: “The commission writes, ‘Historically, some analog LPTV stations licensed on Channel 6 have operated with very limited visual programming and an audio signal that is programmed like a radio station.’ This is a polite way of stating that these LPTV facilities have ignored Section 73.682 of the commission’s rules and have been broadcasting at 300% of the allowable audio modulation to market itself as a radio station at 87.7 MHz on the FM dial instead of a television station. 

“The issue here is continuing this service … would require an aberrant special carve-out of new rules to fit within the commission’s current rules if operated as an FM station.”

The National Association of Broadcasters has never established a position on the FM6 issue, according to a spokesman. 

Reply comments in MB Docket No. 03-185 were due to the FCC in early February.

The post FCC Weighs the Future of FM6 Stations appeared first on Radio World.

The ABU Digital Broadcasting Symposium 2020 is taking place March 2–5 at Hotel Istana in Kuala Lumpur.

This year’s theme is “Collaborate and Innovate.” The primary role of DBS 2020, say organizers, is to “help broadcasters in the region make a smooth transition to digital broadcasting and introduce them to the latest range of technologies on the market.”

Held annually in Kuala Lumpur, DBS consists of a conference, an exhibition floor, masterclasses and workshops. In 2019, it attracted 1,254 participants from 377 organizations in 59 countries. They included 82 speakers and 60 exhibiting companies.

The organizers announced in February they would go on with the event despite the recent outbreak of COVID-19. Director of Technology & Innovation Ahmed Nadeem explained they were “monitoring the situation and following guidelines from local authorities and agencies,” and “taking all necessary safety precautions.”

SAFETY MEASURES

He said these include working closely with Hotel Istana Kuala Lumpur to ensure specific safety measures; increased disinfection across all high-volume touch points; and the availability of hand sanitizer around the event. They are also encouraging a “no-handshake policy” for attendees and say the hotel has set up a protocol for anyone feeling unwell.

This year’s event will consist of a three-day conference on March 3–5 and an exhibition floor on the same days, along with a range of workshops and masterclasses. The conference’s 12 sessions will focus on topics of strong interest to broadcasters, with speakers from the region and beyond.

The conference aims to address the ongoing challenges facing the broadcasting industry and help find solutions that will enable broadcasters to remain relevant and take informed decisions.

“The industry confronts challenges both in terms of keeping its audience and the fragility of broadcasters’ business models,” explains the ABU.

“New technologies and advanced solutions, which are fast being rolled out by tech-savvy organizations, are disrupting the usual flow of media distribution. Media consumption is becoming more and more personal and the use of digital technologies to understand the preference of audiences is key to developing an edge over the competition,” it said.

“Broadcasters need to be agile and adopt a more mediacentric approach, taking advantage of the convergence of technologies and the new digital innovations in media delivery, intelligence and business operations.”

The symposium will address challenges, suggest solutions and share experiences related to digital transition, technology implementation, creative content ideas, along with enhancing user experiences.

It will explore opportunities the changing media business can provide and find effective ways for broadcast and media organizations to collaborate and futureproof their operations.

DBS 2020 will feature a best booth award, to be decided by participants. The winner will receive a free booth in 2021.

The post ABU DBS 2020 Starts This Week appeared first on Radio World.

In 1976, WOHO(AM) was second in the ratings to the legacy market leader in Toledo, Ohio, WSPD(AM), a stuffy bastion of Frank Sinatra records and call-in recipe shows pushed by air talent well past its prime. At the time, Ken Deutsch served as WOHO’s “outgoing program director.” Here, he recalls some of the efforts and misadventures the station embarked on while attempting to unseat its chief rival.

“I want you to get rid of that bubblegum crap we’re playing, and fire those rock jocks!” shouted our general manager. “Do it now!”

And with that subtle directive from the GM, Toledo’s WOHO(AM) began the transition from a successful top-40 operation to an adult news and talk format. 

We did this by gradually adding more information segments and nighttime talk shows, and by tweaking what music we did play to reflect adult tastes. At that time, AMs around the country were heading in this direction in order to reach a more desirable demographic for advertisers: 18–49. 

But our GM failed to predict the cost of this upgrade, and how long it would take to change our image in the mind of the public. 

Rock n’ roll disc jockeys were relatively cheap; skilled and experienced news people were expensive, and we had many to hire. To get the message about our format change out to the public, we also had to invest in billboards, newspaper ads and TV spots, some of which couldn’t be traded out, no matter how we tried.   

After about six months we sent an intern out on the streets to take an unofficial survey on what people thought of the new WOHO. Most “Joe and Jane Lunch Pails” (as our general manager referred to our listeners) thought WOHO was still top 40, and several mentioned the names of jocks who had not been at the station for over a year. Uh oh. 

It looked like it might take a while longer to convert those people who had been listening to WSPD(AM) for most of their lives.  

The GM put up with the high costs for about a year — which I estimated was one third of the time it would have taken to change public perceptions — before he exploded in his office one day while looking at some financials. 

“Ken, what the hell have you done to our station? We were doing great playing the teen hits, and we were making money like crazy! Now look at this!” he shouted while shoving a balance sheet in my face, “I told you that switching to an adult format was a bad idea!”  

I looked at him standing there, veins popping out on his forehead, and it was at that moment that I made a decision: to just let him yell at me until his anger subsided. The next few months were difficult as our GM put increasing pressure on everyone to get the ratings up, something that was largely out of our hands. That would just take time. 

Then our beloved GM, who as you may have guessed ran more on raw emotion than research, let me know he was bringing in a “consultant” to tweak our programming. 

By that, he meant he was hiring a hatchet man to dismantle the news format and get us back into top 40, no matter who got crushed. 

INTRODUCING PUNKIE

Shortly thereafter I met this guru, whom I’ll call “Punkie.” He was a California rock jock with no programming credentials, and he brought with him a character called “Timmy the Frog,” who existed as a sound effect on a cart. 

During his air shift, Punkie talked to Timmy and spewed jive talk. Punkie didn’t have a title at our station, but he seemed to have the power to make whatever changes he liked to our personnel and our music. 

I ran an aircheck of Punkie one day to preserve his shtick for posterity. 

 

“More More More,” and the Andrea True Connection, and here comes Timmy the Frog —

(Sound effect: ribbit ribbit splash) 

Hanging around in the WO-HO porcelain palace in the WO-HO powder room at 3:02, baby. We also have the Disco Lady —

(Sound effect: lady sighing suggestively) 

Oh, right in my ear, dear! I love it! 

(Starts next record)  

You’re in a giving mood, I’m in a taking mood, I’m in a shaking mood, I’m in a quaking mood, baby. I’m in a mood that’s so good I got to deliver, man! I got to give give give, I got it all to live. Starbuck and “Moonlight Feels Right” at WOHO.

One of Punkie’s first acts was to fire the news writers and the woman who worked part time handling traffic reports on the air. This left our afternoon anchor, whom we’ll call “Lawrence,” bereft of support. 

Lawrence calmly approached Punkie and told him that without these people he was unable to do his job, and furthermore that it was unfair to his staff to fire them so abruptly.      

Punkie’s response to Lawrence: “Oh, I see, you got an integrity thing going on. I can dig that.” 

But within three weeks the adult news and talk format had been dismantled, and we were back to bubblegum. It was the collapse of a two-year experiment.  

I lost track of the station after that because I had already given my notice. But listen, if you see Punkie, or Timmy the Frog for that matter, give them my regards.

Ken Deutsch is a writer based in Sarasota, Fla. You can reach him at kenrdeutsch@gmail.com.  

The post Adventures in 1970s AM: Helloooo, Punkie! appeared first on Radio World.