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Radio World

LinkUp Chooses IDC MAP System

Radio World
3 years 4 months ago

International Datacasting Corp. said it was picked by LinkUp Communications Corp. to provide a migration path for radio networks that use legacy ABR satellite receivers originally made by ComStream, Radyne, Comtech and IDC.

“While these units enjoyed widespread industry acceptance and ran reliably for over 30 years, they reached end-of-support several years ago,” IDC said in an announcement.

It said LinkUp is providing a replacement technology package based on the IDC MAP system, as well as installation and configuration services.

MAP Pro Audio Receiver Front and Rear Panels

The distribution package features the MAP line of audio products made by IDC. It said its systems offer “a simple, flexible and cost-effective upgrade path.”

IDC is owned by Novra Technologies Inc. The announcement was made by Gary Carter, VP business development and products for Novra Group/IDC, and Mark Johnson, president of LinkUp Communications.

“For networks looking for a turnkey service to streamline and outsource their uplink operations, LinkUp offers a hosted service based on the IDC MAP system from their newly acquired teleport in Denver,” IDC noted.

Submit business announcements to radioworld@futurenet.com.

The post LinkUp Chooses IDC MAP System appeared first on Radio World.

RW Staff

Russian Broadcasters Leave EBU

Radio World
3 years 4 months ago

Russia’s State Television and Radio Broadcasting Co. (VGTRK), Channel One and the Ostankino radio house have pulled out of the European Broadcasting Union effective today, Feb. 26.

The move comes after the EBU Executive Board’s decision on Feb. 25 to bar Russian acts from participating in the 2022 Eurovision Song Contest. That decision was in response to Russia’s invasion of Ukraine on Feb. 24.

According to the EBU’s statement, “The decision reflects concern that, in light of the unprecedented crisis in Ukraine, the inclusion of a Russian entry in this year’s Contest would bring the competition into disrepute.”

The recommendation to bar Russia from Eurovision came from the EBU’s Reference Group and was supported by its Television Committee.

[See Our Global News Page]

According to a report from the Russian news service TASS, the broadcasters said their exit from the EBU was “a response measure” to what “we view as an improper political sacrifice at the music forum which has always emphasized its non-political status.”

The EBU emphasized that it “consulted widely” among its membership before making the decision, and reaffirmed its apolitical goal of upholding the values of public-service broadcasting.

“We remain dedicated to protecting the values of a cultural competition which promotes international exchange and understanding, brings audiences together, celebrates diversity through music and unites Europe on one stage,” the EBU stated.

Eurovision 2022 is scheduled for May 10–14 in Turin, Italy.

VGTRK joined the EBU in 1993, followed by Channel One in 1995 and Ostankino in 1996. Russia first participated in Eurovision in 1994. In 2008, the Russian entry, “Believe” by Dima Bilan, won the contest.

The post Russian Broadcasters Leave EBU appeared first on Radio World.

T. Carter Ross

Global Names Ladisa to DAX Sales Post

Radio World
3 years 4 months ago

Global named Ryan Ladisa as its VP of sales for Canada for its digital advertising platform DAX.

He comes over from Media.Monks, where he was SVP of growth for North America.

“A veteran in the Canadian advertising and technology business, Ladisa brings over 20 years of experience across outdoor, television, programmatic and technology,” Global wrote in the announcement.

[Visit Radio World’s People News Page]

DAX is a digital audio advertising exchange “connecting brands with audiences at scale across music, radio and podcasts.” Global launched it in the United States in 2018. Publisher brands on the platform include TuneIn, LiveXLive, AccuRadio and Beasley.

Global, headquartered in London, is a media and entertainment group and describes itself as Europe’s largest radio company; it also has a large outdoor advertising business in the U.K. and Europe.

Send your people news to radioworld@futurenet.com.

The post Global Names Ladisa to DAX Sales Post appeared first on Radio World.

RW Staff

A Simple Streaming Glossary

Radio World
3 years 4 months ago

A recent Radio World ebook explores the world of streaming for radio. In this excerpt David Bialik lays out some commonly heard terms.

The following may help you navigate the language around streaming. It is not intended to be comprehensive but to give you a head start in this growing medium with new technology emerging daily.

  • AAC — Audio Coding, an audio coding format for lossy digital audio compression. Usually preferred Advanced over MP3, it promises comparable or better quality at lower bitrates. AAC has been standardized by ISO and IEC as part of the MPEG-2 and MPEG-4 specifications.
  • Ad Delivery Network — An on-demand file serving network that can deliver commercial content for the streamer.
  • Ad Replacement — When ads broadcast over the air are replaced with different content on the stream.
  • AES TD1004 — The Audio Engineering Society’s Recommendation for Loudness of Audio Streaming and Network File Playback. These recommendations primarily are intended for “radio-like” mono and stereo streams.
  • Bitrate — Bitrate = Sample rate X bits per sample used to encode the music. The number of bits per sample also depends on the number of audio channels.
  • CDN — Content Delivery Network, a scalable distributer of streams.
  • Client-Side Ad Insertion (CSAI) — Advertising that only happens within the website or app streaming your content. Banners, video pre-rolls, other items specific to a player or page.
  • CMAF — A container format (see below).
  • Codec — Digital audio compression algorithm used.
  • Container Format — Otherwise known as a wrapper, this may contain the audio and video plus all the associated metadata (i,e. MP4, CMAF). The container carries the payload (audio, video, or data files).
  • Cuepoint — A marker residing in the metadata, triggering a new action.
  • Decoder — A component that is part of the player, used to reassemble the content.
  • Direct Ad Insertion (DAI) — Personalized ad replacement that is unique to the listener. This can be based on listener location, browsing preferences, etc.
  • Encoder — The system used to take the content and send it to the stream, usually by compressing your linear audio into an MP3 or AAC stream.

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

  • Encoding Format — The method of converting to a digital format (i.e., AAC, MP3)
  • FLAC — Free Lossless Audio Codec, a compressed audio format with no loss of quality.
  • FLV — Flash Video Format, a container file format used to deliver digital video content over the internet via Adobe Flash Player.
  • HE-AAC / HE-AAC v2 / AAC+ — “High-Efficiency AAC,” a lossy audio codec for low bit rate streaming, expanding on the quality vs. size gains made by standard AAC.
  • HLS — HTML Live Streaming, a high-quality transport format used by Apple.
  • Icecast — A streaming media project released as free software, maintained by the Xiph.org Foundation.
  • ID3 or ID3 tag — A metadata format that stores information (Title, Artist, etc.). This may be called the data container.
  • Injected content — Content from another source, usually replacing other content.
  • Interstitial — One or more recorded elements used in stream production (i.e., bumpers, jingles, promos, etc.)
  • LKFS — “Loudness, K-weighted, relative to full scale.” A standard loudness measurement. Sometimes referred as LUFS.
  • Lossless Streams — A high-bitrate non-compressed stream.
  • Lossy Streams — Digitally compressed sampled streams (i.e., MP3/AAC).
  • LUFS — “Loudness units relative to full scale,” synonymous with LKFS.
  • Metadata — The data stream that accompanies the media content. This can hold the “Now Playing” information, commercial cues, time code or any other information needed to play the stream.
  • MP3 — An audio coding format for lossy digital audio compression developed by Fraunhofer and Bell Labs. This supports very low bit rates.
  • MP4 — One of the earliest digital video file formats. Can be used for high-quality video or audio while maintaining relatively small file sizes.
  • MPEG-DASH — Dynamic Adaptive Streaming over HTTP, an adaptive bitrate streaming technique that allows for high quality of content. This is comparable to HLS.
  • Now Playing Information — “What the stream is playing” can be displayed, usually sent by metadata.
  • Ogg — A container format.
  • Ogg Vorbis — An audio coding format with lossy audio compression.
  • Player — The program used on the audience side to play the content; it could be an app.
  • Podcast — A digital audio file that can be downloaded to a personal device and/or player.
  • RTMP — Real Time Messaging Protocol, a TCP-based protocol that maintains persistent connections and also allows communication with low latency. This allows for a stream to be delivered correctly.
  • Server-Side Ad Insertion (SSAI) — Advertising added to audio as it is streamed or delivered, rather than from the studio playout. Ads become part of the audio itself.
  • Shoutcast — A software application that allows anyone to stream audio over the internet.
  • Total Line Reporting — When the stream and over-the-air product are the same and no segments are substituted.
  • Transport Format — How the stream is delivered (e.g. HLS, Icecast, rtmp)
  • xHE-AAC — A lossy audio codec for low bit rate streaming. It also is used by Digital Radio Mondiale (DRM).

David Bialik is a consultant; co-chair of the AES Technical Committee for Broadcast and Online Delivery; and chair of the Metadata Usage Working Group at the NRSC. He is former director of stream operations for CBS Radio and Entercom.

The post A Simple Streaming Glossary appeared first on Radio World.

David Bialik

Toyota to Make HD Radio Standard in U.S.

Radio World
3 years 4 months ago
The 2022 Toyota Corolla

Toyota will include HD Radio as a standard feature in its next-generation infotainment system in the U.S., which means nearly all new Toyota cars in the country will have an HD Radio in future.

Xperi announced the development this past week while releasing its financial results for the fourth quarter and past year.

“Toyota has been a valued customer for some time, although the extent of their prior implementation was in mid-line and upper-end vehicles,” said CEO Jon Kirchner during an investor call.

[See Our Business and Law Page]

“I think this represents a decision recognizing the importance of HD Radio in the broader infotainment suite. It’s representative of the continued progress we make with the HD Radio ecosystem in North America, and it lays a foundation as well for follow-on next-generation entertainment features, which ties in with what we’re doing with DTS AutoStage.”

On that front, Xperi said 16 car companies are testing its DTS AutoStage technology in Europe, North America and Asia. “Multiple partners, including two major OEMs, are in advanced stages of testing.”

Radio people know Xperi largely as the parent of HD Radio and DTS AutoStage, but it has numerous other businesses including IP licensing, pay TV, consumer electronics, driver monitoring and TiVo.

Overall, Kirchner said the recent quarter was “solid” and that the company “continued to successfully deliver against the key strategic objectives we set following our merger with TiVo nearly two years ago.”

Revenue in the quarter was $214.4 million, compared to $433.9 million for the period in 2020, which included prior revenue from Xperi’s Comcast agreement. Xperi said quarterly revenue without that earlier adjustment was up 2% in Q4. The company posted a loss per share of 14 cents using GAAP calculations and earnings per share of 30 cents using non-GAAP.

For the year 2021 Xperi reported revenue of $877.7 million, down from $892 million the year before. It reported a GAAP loss per share of 53 cents and a non-GAAP earnings per share of $2.03. It said it had “returned over $100 million to stockholders through dividends and share repurchases” in 2021.

The post Toyota to Make HD Radio Standard in U.S. appeared first on Radio World.

Paul McLane

Webcast Series Explores “Running Radio Today”

Radio World
3 years 4 months ago

A new Radio World webcast series, beginning in March, will help managers and engineers get a better grasp on technologies that can advance their organization’s goals.

The series “Running Radio Today: Produce, Deliver, Profit” is free. Produced by Radio World and hosted by Editor in Chief Paul McLane, it will have three parts, one per month focused on a different part of the radio broadcast business mission and workflow.

Each part features presentations from leading technology vendors, plus a roundtable discussion with Paul and a co-host from the broadcast engineering community.

The first of the series on March 17, “Produce,” will focus on trends and tools for how radio content is created. The 2020s have brought streamlined studio workflows, centralized network designs and expanded remote capabilities. What are the implications for content creation, from the microphone and automation system to the control surface and AoIP network? Discussing those questions with Paul will be technology experts from sponsors Telos Alliance, RCS and Comrex. Co-hosting will be Jason Ornellas, regional director of engineering for Bonneville International and past recipient of the Radio World Excellence in Engineering Award.

The second webcast on April 14, “Deliver,” is about how distribution of content is changing. What should radio managers know about advances in transmission, codecs, streaming and other technologies that deliver your content to the listener? Is your station up to date? Joining us for this will be experts from sponsors Synthax/Digigram, Xperi, Wheatstone and Comrex. Paul’s co-host will be Rob Bertrand, chief technology officer of WAMU in Washington.

And the third webcast on May 18, “Profit,” will focus on monetization and the use of technology that helps generate revenue for radio. Several new tools are available today to maximize all business operations of radio. We’ll find out how modern tech has infiltrated the ledgers and is improving the bottom line from companies including Marketron. Other participants will be announced soon.

Registration for Part 1 is now open.

The post Webcast Series Explores “Running Radio Today” appeared first on Radio World.

RW Staff

Calrec Type R Serves Community Stations

Radio World
3 years 4 months ago
The Calrec Type R Console at Eldos FM

From the Radio World Who’s Buying What page: Calrec said South African community radio stations are using its Type R for Radio consoles with the help of funding from the South African Media Development and Diversity Agency and systems integrator Experience Audio Solutions.

“The MDDA works with the South African government to assist in developing community and small commercial media across the country and provides funding and media education for local community operators,” Calrec wrote.

“More than 20 community radio stations have put in requests for quotes to upgrade their technology,” it stated. Eldos FM in Johannesburg is among those taking delivery of a Type R through MDDA funding. Southside FM in Durban is being outfitted with a Type R, and Giyani FM is planned.

Experience Audio Solutions works with Calrec’s South African distributor Wild & Marr on these projects.

“There are 285 licensed community radio stations in South Africa, 212 on air, and 156 funded by the MDAA. Community radio listenership in South Africa garners roughly 8 million people,” Calrec wrote.

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

The post Calrec Type R Serves Community Stations appeared first on Radio World.

RW Staff

Gigi Sohn FCC Nomination Vote Scheduled

Radio World
3 years 4 months ago

Senate Commerce Committee Chair Maria Cantwell (D-Wash.) has set March 3 for a vote in her committee on the nomination of Gigi Sohn for the open Democratic seat on the FCC.

Commerce has chief oversight of communications issues.

Sohn has had two nomination hearings but as yet no vote in the committee on whether to favorably report her to the full Senate for a confirmation vote.

Signaling that there would not be enough Democratic votes to secure a favorable report of her nomination to the full Senate, the scheduled February 2 vote on her nomination was pulled from that executive session.

The post Gigi Sohn FCC Nomination Vote Scheduled appeared first on Radio World.

John Eggerton

CARIAD Joins RadioDNS

Radio World
3 years 4 months ago

CARIAD, the software arm of the Volkswagen Group, has joined RadioDNS.

“Audi were innovators in the automotive sector for hybrid radio, using the RadioDNS standards to enable new experiences of radio for drivers in connected vehicles,” RadioDNS wrote in its announcement. Audi is a member of the Volkswagen Group.

“Functionality like the unique ‘range extender,’ which switches seamlessly between broadcast radio and IP streaming, uses our standards to get the required stream information directly from radio stations. CARIAD will now continue to work with RadioDNS to implement and develop standards for their hybrid radio offering, which will be available in Volkswagen Group’s connected vehicles.”

The announcement was made by RadioDNS Project Director Nick Piggott and CARIAD Development Engineer Christian Winter.

Winter said, “Many vehicles in the premium segment of the group are already using RadioDNS technology and we are looking forward to bringing hybrid radio solutions to the volume segment.”

Other organizations joining RadioDNS recently include Hubbard, Gracenote, G&L and NXP.

The post CARIAD Joins RadioDNS appeared first on Radio World.

RW Staff

Radio Sintonía Connects With Talent

Radio World
3 years 4 months ago

Radio World Buyer’s Guide articles are intended to help readers understand why their colleagues chose particular products to solve various technical situations. This month’s articles focus on products for radio remotes and sports.

Radio Sintonía with its AEQ Talent audio codec readying for a broadcast from the village of Betancuria on Fuerteventura.

Radio Sintonía is the reference station on the FM band for the island of Fuerteventura in the Canary Islands, which recently was the subject of intensive news coverage due to a volcanic eruption on the neighboring island of La Palma.

“We transmit on six different frequencies to provide the best geographical coverage possible to reach our listeners,” said Technical Director Iván Travieso Gómez.

“Our budget is limited, but we are devoted to serve the community and we focus on making what we call ‘street radio,’ with coverage of local sports, events and tourism on the island.”

The station obtained the AEQ Talent audio codec in 2020, but unlike many stations, it wasn’t concerned primarily with “radio from home.”

“Even if we also have been producing programs from home during pandemic lockdowns, we focus on taking the radio out into the street to interact with our community. Also, out in the open, COVID is less contagious than indoors. Further, the fantastic climate of the Canary Islands allows both sports or other events to take place outdoors.”

While the codec is suitable for personal use, the station seldom uses it for a one-man show.

“Talent has an ancillary line and Bluetooth connections. Therefore, we can use it as an ‘OB unit.’ Sometimes we connect it to a 16-channel live sound console, a headphone amplifier, some wireless microphones and a 3G/4G router and we take the radio out to any plaza or town square.”

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

Through the Bluetooth link to a smartphone, the team can receive calls and make them part of the program, usually using WhatsApp, which Travieso Gómez said provides very good sound quality.

He likes the simplicity of the Talent control surface and the fact that its Talent Pilot app allows them to manage the unit from a phone.

On the studio PC, the free ControlPhoenix application is installed, which allows him to manage the Talent codec in the field as well as the Phoenix rack-mounted codec at the studio. “We can monitor the status of both in real time and, if required, intervene to modify some configuration parameters or resolve other issues.”

The application shows the connection status and VU meters of both audio inputs and outputs. It also allows them to route signals to the headphones and control the gain.

Radio Sintonía uses the Opus algorithm included in AEQ’s codecs and the free registration on its SIP server. “It saves us from having to complicate our lives setting up one of our own, an effort and cost that is beyond our budget and capacity.”

Travieso Gómez said the Talent has helped the station stay close to its listeners and even improve its audience figures.

Info: www.aeq.es, email AEQ sales or call +34 91 686 1300

The post Radio Sintonía Connects With Talent appeared first on Radio World.

RW Staff

Radio Ratings Overtake TV in Some Demos

Radio World
3 years 4 months ago

The balance of power between radio listenership and live and time-shifted television viewing continues to tip in radio’s advantage, with greater reach and average audience among persons 18–34 and trending in the same direction for 18–49s. That’s based on Nielsen Media findings.

Radio sales executives have long battled TV for advertising dollars and now the shift in audience size should help give radio more of an edge when it comes to head-to-head evaluations.

Nielsen’s Q2 2021 Total Audience Report shows AM/FM radio’s weekly reach among persons 18–34 is 12% greater than television in terms of average audience, according to the marketing team at Cumulus Media.

Pierre Bouvard, chief insights officer at Cumulus Media and Westwood One, highlights the Nielsen findings in an online video and blog post posted this week. In it he outlines the latest in TV and AM/FM radio audiences using data from Nielsen’s Total Audience Report, Edison Research’s “Share of Ear,” and examples from Nielsen Media Impact.

“The most surprising finding is that TV is being beaten by radio in ratings 18–34. In an average week 82% of 18–34 Americans are being reached by radio. Only 57% are reached by linear TV in a week. So that means that nearly half of 18–34 year old are not reached by linear television,” Bouvard said in the video.

Bouvard continues: “In the 18–49 data you can really see the full collapse of linear television. In 2018 when you look at reach 82% of 18–49 were watching at least some linear TV in a week. That has now shrunk down to 66%.”

TV’s continued viewing slide is evident, according to Nielsen’s report on Q2 2021. For instance, persons 18–49 TV audiences are down 38% since 2018. “Today, one of out of three American persons 18–49 never watch linear TV in a typical week, Bouvard said.”

When Bouvard compares radio and television, the numbers are even more striking when you consider radio’s gains in the 18–49 demographic. Weekly reach for AM/FM radio in the demo is 85% but only 66% for TV, according to the video presentation. Radio is also closing the gap in daily time spent with TV in Q2 2021 with only 30 minutes separating the two mediums.

Bouvard said AM/FM radio is poised to overtake live and time-shifted TV in average audience 18–49 by 2025; assuming current patterns projections hold true. And that changeover has already occurred when considering the 18–49 Hispanic population, Bouvard said.

“AM/FM radio beats TV among Hispanics 18–49. Radio has a massive reach advantage over linear TV. It’s 90% to 67%,” Bouvard said.

Bouvard goes on to explain the collapse of linear television, saying linear TV erosion is fueled by cord cutting and streaming. “For those who stream, half say it has replaced traditional TV,” he said. “There are three types of TV households: cordless, cord tepid and cord content.”

Bouvard concludes his presentation with an added bonus for radio time sellers from the Nielsen Media report: “AM/FM radio continues to have a dominant 76% share of ad-supported audio. When introduced into a TV media plan, AM/FM radio generates an extraordinary increase in campaign reach.”

Randy J. Stine has spent the past 40 years working in audio production and broadcast radio news. He joined Radio World in 1997 and covers new technology and regulatory issues. He has a B.A. in journalism from Michigan State University.

The post Radio Ratings Overtake TV in Some Demos appeared first on Radio World.

Randy J. Stine

Sinon to Be Honored for Digital Leadership

Radio World
3 years 4 months ago
Jeremy Sinon

Hubbard Radio’s Jeremy Sinon will be honored at the NAB Show in April with the association’s Digital Leadership Award.

Sinon is vice president of digital strategy for Hubbard Radio. The award goes to someone who has played “a significant role in transforming a traditional broadcast business to succeed on digital media platforms in a measurable way.”

“Sinon conceptualized, designed and led a team to build Hubbard’s robust proprietary streaming platform,” NAB wrote.

“Accessible through the web and various individual station mobile apps, this unified platform offers Hubbard listeners an exceptional user experience where they can connect with their favorite station and be rewarded for the time they spend listening and interacting. Hubbard stations then also have an opportunity to communicate directly with audiences via notifications, provide effective marketing for clients and build listener databases.”

He also oversees the company’s podcasting work, including the launch of a local podcasting app platform being piloted in Minneapolis and Washington, D.C.

The post Sinon to Be Honored for Digital Leadership appeared first on Radio World.

RW Staff

Radio Leaders to Examine Industry Evolution at NAB Show

Radio World
3 years 4 months ago
iHeartMedia Chairman & CEO Bob Pittman (left) and Audacy President & CEO David J. Field

CEOs of two of the largest radio companies in the U.S. will talk about the transformation of the radio industry and what the future holds in an upcoming session at the 2022 NAB Show in Las Vegas this April.

CEOs David Field of Audacy and Bob Pittman of iHeartMedia will discuss how their businesses have evolved in response to the pandemic and what lies ahead for radio during “Transforming Radio in the Audio Renaissance,” Monday, April 25, at 2 pm.

Field and Pittman will share the stage with new NAB President and CEO Curtis LeGeyt to talk about the evolution of the industry, how stations can embrace change and how to create a diversified asset portfolio that can change along with the media marketplace.

Field has served as chairman, president and CEO of Audacy since 2002. Audacy is a developer of original audio content and one of the nation’s largest podcast publishers. The company, formerly Entercom, evolved from 15 stations to a multiplatform audio and entertainment company with more than 230 stations in 47 markets.

Pittman serves as chairman and CEO of iHeartMedia, an audio company with more consumer reach in the U.S. than any other media outlet, the company said. Podcasting is also iHeartMedia’s forte, and the company counts itself as the nation’s largest podcasting publisher.

The session will be one of several focused on audio technology and the radio industry at the upcoming NAB Show, set to be held in Las Vegas April 23–27, 2022, after a two-year hiatus brought on by the COVID-19 pandemic. LeGeyt told Radio World sister publication TV Technology that despite the current omicron wave, he is 100% confident the show will go on as scheduled.

“I think … that there is a lot of pent up demand — both on the exhibitor side and the attendee side — for an in-person show where business actually gets done,” he said.

The post Radio Leaders to Examine Industry Evolution at NAB Show appeared first on Radio World.

Susan Ashworth

MPX in the Digital Age: A New Ebook

Radio World
3 years 4 months ago

A new Radio World ebook explores what radio engineers and managers should know about MPX in 2022.

It explores what MPX is and why broadcasters should care — the benefits and cost savings; the impact on infrastructure/signal chain integrity and security.

Is there an engineering advantage? What “flavors” of MPX are there? How have MPX and its applications evolved in recent years? What are important considerations in creating an MPX path over IP, and what misconceptions do users have about it?

Veteran engineering consultant Ed Bukont and experts from sponsors Telos Alliance, WorldCast Systems, Digigram and Thimeo Audio Technology provide insights into this important topic.

Read it here.

The post MPX in the Digital Age: A New Ebook appeared first on Radio World.

RW Staff

Organizations Join Forces to Create World Radio Alliance

Radio World
3 years 4 months ago

Promoting the power and reach of radio around the globe is the goal of the newly formed World Radio Alliance.

In celebration of World Radio Day 2022, trade associations in the U.S., Europe, Canada and Australia joined forces to form the new alliance. The group of 14 trade organizations represents radio companies and radio advertising bureaus, such as the Radio Advertising Bureau in the United States, Radio Connects in Canada and Radiocentre in the United Kingdom. The Association of European Radios, which represents 5,000 commercial radio stations across Europe, is also supporting the effort.

Lucy Barrett, client director at Radiocentre, will serve as inaugural president and will steer the group’s activities. Barrett will work in tandem with new World Radio Alliance Vice President Caroline Gianias, president of Radio Connects in Canada.

“The time is absolutely right to join forces and speak with a collective voice,” said Barrett. “Over the last decade we have seen the rise of more commercial audio formats such as music streaming services and podcasts, yet commercial radio’s dominance in the sector remains pretty much intact. As the world has become smaller, with media decisions often taken across whole regions and continents, it’s crucial we come together to tell the success story of radio in a consistent and unified manner.”

The group officially launched on Feb. 10, a few days before World Radio Day on Feb. 13, with the below video compilation highlighting the strength of radio. The organization’s website also includes resources such as testimonials and research tools.

The 14 inaugural members of the World Radio Alliance are:

  • Associació Catalana de Ràdio (Catalonia, Spain)
  • Audify (Netherlands)
  • Bureau de la Radio (France)
  • Commercial Radio Australia)
  • egta – Association of Television and Radio Sales Houses
  • FCP – Assoradio (Italy)
  • Radio Advertising Bureau (United States)
  • Radio Connects (Canada)
  • Radio Zentrale (Germany)
  • Radiocentre (United Kingdom)
  • Radiocentre Ireland
  • RadioMedia (Finland)
  • Verband Österreichischer Privatsender (Austria)
  • VIA – Association of AV Media (Belgium)

The post Organizations Join Forces to Create World Radio Alliance appeared first on Radio World.

Susan Ashworth

EBU Summit Closes With ‘Great Debate’ Over Radio Distribution

Radio World
3 years 4 months ago

One in a series of articles about the recently concluded EBU Digital Radio Summit.

When should radio leave AM and FM? Will DAB radios ever be cheap enough to woo consumers away from FM? Is IP distribution the future of radio or not?

These contentious questions were bandied about during the EBU Digital Radio Summit’s closing session, “The Great Debate: The future of radio distribution,” on Feb. 16 2022.

The Great Debate Panel (clockwise from upper left): Darko Ratkaj, Hanns Wolter, Peter Mac Avock, Lindsey Mack andx Roland Beutler

The Great Debate was moderated by EBU Senior Project Manager Darko Ratkaj. He began the session by asking Dr. Roland Beutler, who oversees distribution strategy at German regional public service broadcaster Südwestrundfunk, for his views on radio’s best distribution strategy.

Beutler pulled no punches in his reply. “I believe it’s necessary to shut down FM in order to reduce distribution costs,” he said. “Now the question is, how can you do that? How can you vacate the FM band, and how can you make it available to other services?”

In his home country of Germany, Beutler said that politicians need to make the case for a replacement service on the FM band that would win public support.

“One thing I could see is PPDR [Public Protection and Disaster Relief communications used by first responders], because they are using similar frequency ranges already,” he said. A second FM band user could be Smart City data services, for connecting to gas meters and other devices by radio.

Lindsey Mack was more measured when stating her view as BBC senior manager of DAB & BBC Sounds external affairs. “We do plan to close AM mid-2020s,” she said, due to a “consistent decline in listening making it really not viable, and we assume that trend will continue.”

According to Mack, the threshold for both the BBC and U.K. commercial AM stations to start winding down is when AM listenership falls to 3% of total U.K. listenership.

However, matters are not so clear when it comes to shutting down FM in Britain. “This is always a topic that causes quite a lot of alarm especially in the U.K. … and the reason for that is 36% of radio listening is still via FM,” said Mack.

“It remains really valuable to many listeners, particularly those who are older and vulnerable, and to those who may live in areas with limited DAB and/or broadband coverage, and also to the car listener where 50% of car listening is still tuned to analog,” she said.

“In terms of broadcast radio distribution, FM still dominates,” noted Peter Mac Avock, the EBU’s head of distribution, platforms and services. It also remains popular with local broadcasters as a vehicle for selling local advertising, aided by cheap, ubiquitous receivers. In fact, when the cost of FM and DAB receivers are compared head-to-head, “FM is dirt cheap,” he said.

On the other hand, DAB provides much more content variety for listeners and better advertising sales options for broadcasters, said Hanns Wolter, technical director at DAB Italia.

“If you have [targeted] local advertising, you will be able to deliver it locally [via DAB],” said Wolter. “You don’t need to go on the internet and compete with a hundred thousand IP stations. You’ll be able to get directly to your listener.”

At this point, Ratkaj stirred the pot by asking “if advocating DAB as an AM/FM replacement” and overall “good technology” actually makes much sense, given the belief that “it appears to be a transitional technology to an IP paradise — an IP-only future?”

On this point, the debaters agreed that the answer to this distribution question was not at all clear. For her part, Mack said she sees radio’s path lying in “a mixed future with broadcast and IP.”

Her uncertainty was echoed by Mac Avock. “It’s too early to call it,” he said. “It’s easy to say that it’s all going to be IP-based in the future, but there’s a whole host of problems associated with IP distribution. … IP will be a factor, for sure. How big? I don’t know.”

The only sure conclusion to be drawn from the Great Distribution Debate is that it will continue for years to come. As to whether broadcast will continue to hold its own against IP or not? Mac Avock’s summed up the current situation up nicely. “I’m not backing either horse for now.”

Related stories:
  • Human Connection Draws in Younger Listeners
  • In-Car Listening Influenced by More Than Music Taste
  • How CBC Radio Manages Its Wealth of Digital Content

James Careless is an award-winning freelance journalist with experience in radio/TV broadcasting as well as A/V equipment, system design and integration. He has written for Radio World, TV Tech, Systems Contractor News and AV Technology among others. Broadcast credits include CBC Radio, NPR and NBC News. He co-produces/co-hosts the “CDR Radio podcast” and is a two-time winner of the PBI Media Award for Excellence.

The post EBU Summit Closes With ‘Great Debate’ Over Radio Distribution appeared first on Radio World.

James Careless

iHeartMedia Dishes on Latest Financial News

Radio World
3 years 4 months ago

Top executives at iHeartMedia say the trajectory of its revenue is up even as it searches for ways to better monetize its digital assets.

Results released Wednesday, Feb. 23, show consolidated revenues for iHeartMedia were $1.062 billion in the fourth quarter of 2021, a year-over-year climb of about 14%, according to the company’s filing with the U.S. Securities and Exchange Commission.

Chairman/CEO Bob Pittman called it “another strong quarter and … a very strong year” and said the numbers reflect the “continuing digital transformation of iHeartMedia into a data-led digital business with important new platforms like podcasting built on the unparalleled scale and audience reach of our broadcast radio assets.”

He expects continued growth in 2022.

For the quarter, the company posted net profits of $111.9 million, compared to $2.9 million in Q4 2020.

Of the company’s three reportable segments, the multiplatform group, which includes its 850 radio stations, reported revenue growth of 9% in the final quarter of 2021 compared to the previous year. The segment, which also includes it network operations and live events, had $726.3 million in revenue in Q4 2021.

Pittman called the multiplatform group “a growth engine for the company” as the company continues to climb back to revenue totals established prior to the onset of the COVID pandemic. For comparison, iHeartMedia said its multiplatform group had revenue of nearly $849 million in Q4 of 2019 pre-pandemic compared to $726,292 in Q4 last year, a decline of 14.4% over the two-year span.

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iHeartMedia’s eye-popping podcast revenue growth continued in its Q4, according to the latest financial report. The digital audio group in the quarter grew revenue to $273.2 million, which was up by nearly 59% in Q4 compared YoY. Within that group podcast revenue was up 130% to $97 million in the final quarter of 2021.

“This company doesn’t have an audience issue. What we have is a monetization issue, and that is where we are focusing our efforts,” Pittman added.

Digital revenue growth continues to outpace that of iHeartMedia’s other groups, Pittman said on the earnings call. “In Q4 2021, digital revenue represented 26% of total company revenue compared to Q1 of 2019 when it represented under 10%. Clear evidence of our continued digital transformation,” he said.

The company recently announced it will use synthetic voice technology to extend its podcasting segment. iHeartMedia will use Veritone’s voice-cloning tool to convert English-language podcast series into multiple languages, dialects and accents for distribution across the iHeartPodcast Network. The company also recently announced an investment in the Sounders audio intelligence platform, which the company is using to match potential advertisers with podcast audiences.

Its Audio and Media Services Group, which includes which includes Katz Media Group and RCS, reported $65.5 million in revenue in the final quarter, a substantial drop from last quarter of 2020 when the segment recorded about $100 million in revenue. However, Rich Bressler, iHeartMedia president, COO and CFO, said that the dip was partly attributable to lower political ad spending.

Year-end numbers:

For the year ending Dec. 31, 2021, the company totaled $3.5 billion in consolidated revenue, up 21% YoY compared to $2.9 billion in 2020. The multiplatform group revenue grew by 13% YoY to nearly $2.5 billion in 2021.

The company posted a net loss for 2021 of about $158.4 million, which was down dramatically from its net loss the year before of $1.9 billion.

iHeartMedia’s capital expenditures for the year were $183.4 million compared to just $85.2 million in 2020. The company says its capital expenditures increased primarily due to its real estate consolidation initiatives aimed at reducing its structural cost base.

Bressler said iHeartMedia expects to have cap ex spending of between $150 million and $165 million in 2022.

iHeartMedia’s operating cash flow nearly doubled in Q4 2021 to $134 million, which it credited to consolidating real estate assets in certain markets. Cash on hand at the end of the quarter was $352.1 million. The broadcaster’s balance sheet listed $5.73 billion in total debt and $5.38 billion of net debt as of Dec. 31, 2021.

The post iHeartMedia Dishes on Latest Financial News appeared first on Radio World.

Randy J. Stine

NAB Opens Application Window for 2023 Broadcast Leadership Training Program

Radio World
3 years 4 months ago

The NAB Leadership Foundation has announced that it is now accepting applications for the 2023 Broadcast Leadership Training (BLT) program through May 31.

The BLT program is designed to prepare senior-level broadcast executives to advance as group executives or station owners. Women and people of color are encouraged to apply.

Now in its 23rd year, BLT is an executive MBA-style program that teaches the fundamentals of purchasing, owning and operating radio and television stations. As the foremost executive training initiative for the broadcast industry, the 10-month program prepares aspiring broadcast station owners and executives with the working knowledge to further their careers.

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The 2023 Broadcast Leadership Training program will consist of weekend sessions held in-person at the NAB Headquarters in Washington, D.C. The starting session will be held in September 2022.

Broadcast professionals from all areas of the industry, including general managers, experienced sales managers and seasoned department heads, as well as regional and corporate executives, are encouraged to apply. Fellowship opportunities are available for women and people of color, the NAB Leadership Foundation (NABLF) said.

“These talented broadcasters join the long list of industry leaders with roots in the BLT program,” said NAB Foundation president Michelle Duke. ” We look forward to watching their careers grow from this success and witnessing the positive impacts as new and diverse leadership advances our industry.”

With this class, more than 350 participants have graduated from the program. The 2021 Broadcast Leadership Training Class graduates are:

  • Melissa Begay, Operations Director, Native Public Media
  • Robert Brooks, Digital Solutions Specialist, WHUR-FM
  • Cathy Cangiano, Senior Vice President and Market Manager, Bonneville Seattle Media Group
  • Thomas Ciprari, Station Manager, KTMF-TV, ABC Fox 23/Cowles Publishing Co.
  • Leon Clark, Vice President and General Manager, KGTV ABC10/The E.W. Scripps Co.
  • Tina Commodore, News Director, WFTV-TV/Cox Media Group
  • Kate Doty, Director of Talent and Team Development, Morgan Murphy Media
  • Susie Doucette-Pyle, Vice President and General Sales Manager, KRIV-TV Fox 26, KTXH My20/Fox Television Stations
  • Alfredo Duran, President and Founder, Duran Media Management Services
  • Blanca Esparza-Pap, Station Manager, Arizona’s Family, 3TV/ CBS 5
  • Mariana Ferro, Regional Vice President, Sales Manager – National Sales, Univision Communications
  • Andrew Givens, Station Manager and Director of Sales, KMSS-TV, FOX 33/Mission Broadcasting Inc.
  • Ben Hart, President and General Manager, WJCL ABC/Hearst Television
  • Charity Holman, Station Manager and General Sales Manager, WVVA-TV/Quincy Media Inc.
  • Andre Holmes, Vice President, Financial Analysis, Gray Television
  • Kari Jacobs, President and General Manager, 10 Tampa Bay/TEGNA
  • Kim Parker, Vice President and Chief Financial Officer, Graham Media Group
  • Nicole Ovadia, Vice President, Client Success, HOT97, WBLS, WLIB/Emmis Communications

The 2021 and 2022 program sponsors included: Beasley Media Group, Bonneville International Corp. Cox Media Group, Fox Television Stations, Futuri Media, Graham Media Group, Gray Television, Hearst Television, Legend Communications, NAB, The Nielsen Foundation, Meredith Corp., Morgan, Murphy Media, The E.W. Scripps Co., Quincy Media Inc., TEGNA, Univision Communications, ViacomCBS.

The organization also said that 2022 class is currently underway. They will attend the NAB Show in April and graduate in June.

For more information about the NAB Leadership Foundation or the BLT program, please visit, nabfoundation.org.

The post NAB Opens Application Window for 2023 Broadcast Leadership Training Program appeared first on Radio World.

George Winslow

How CBC Radio Manages Its Wealth of Digital Content

Radio World
3 years 4 months ago

One in a series of articles about the recently concluded EBU Digital Radio Summit.

CBC’s Julie McCambly (left) and Kevin Siu

Canada’s public radio and television services have gone from being broadcast-only platforms to distributors of a substantial amount of live and on-demand content in cyberspace.

CBC Listen is the home for the CBC’s online audio content, while CBC Gem hosts the TV content. CBC.ca is the overarching structure for all things digital at CBC/Radio-Canada.

During the online EBU Digital Radio Summit held on Feb. 16, 2022, CBC’s Julie McCambley and Kevin Siu explained how Canada’s public broadcaster produces and serves programming and podcasts in a session entitled, “What to do with all of that content?”

McCambley is senior manager of planning & operations for CBC Listen, and Siu is CBC’s senior director of OTT video & audio for CBC Gem & CBC Listen.

From on air to on demand
Every week, CBC Radio produces and broadcasts 70 live local shows across the country for Radio One, its spoken word service. This content is broadcast on the CBC’s FM service, made available live on CBC Listen, and also provided to some third-party broadcasters.

CBC Radio’s local on-air content is a natural resource for after-the-fact, on-demand listening. This being said, “what we’ve learned from experience is not to publish on-demand versions of an entire show when it comes to local,” McCambly said.

Instead, the real value for listeners lies in selecting, posting, and promoting specific interviews and other show segments as standalone content. “That means local segments make up a significant portion of what we call our on-demand listening offer,” she said.

On average, each local show produces two segments per day for CBC Listen.

“Once the show has gone to air, the technician who operated the show will work with the digital producer to identify segments that they want to upload to CBC Listen,” said McCambly. “Then they’ll repackage those segments to make sure that they are clean from a ‘rights’ perspective, and then they’ll publish them into CBC Listen. They’ll also make a version that’s available for third parties.”

For the hour of work it takes to repackage two local segments for on-demand listening, CBC Listen (and sometimes CBC.ca too) gets content that will attract listeners for about a week, McCambly said.

A similar process is used to repackage network-produced on-air content for the web, after it has been broadcast in all of Canada’s six time zones.

Web-only content
In addition to repurposing broadcast content for the web, CBC Radio also produces a special web-only version of the national newscast “The World This Hour” and a variety of podcasts.

So the CBC has 94 podcasts available for on-demand listening. The topics they cover include range from true crime and human interest stories to investigative reporting, history, and more. Some CBC podcasts are original productions, while others are repurposed from CBC Radio programs.

Under Canadian law, CBC Radio isn’t allowed to make money from advertising. But its online platforms can. “We do monetize our podcasts,” said McCambly. “We monetize them by making a pre-roll and mid-roll available for advertising.”

Looking Ahead
With so much online content on offer, CBC Radio’s goal moving forward is to raise awareness of its content and give more people access to it.

Achieving these goals means answering questions such as “how do we improve the discoverability?” said Kevin Siu, and “how do we streamline our technical infrastructure … to allow us to move more quickly?”

In response to the first question, CBC Radio is launching a free membership platform for CBC Listen users to boost their use of CBC online content.

“One of the benefits that we see for users is to be able to get access to either exclusive content or to content early on,” Siu said. In the crowded world of cyber streaming, any tactic that boosts listener loyalty is a plus.

Related stories:
  • Human Connection Draws in Younger Listeners
  • In-Car Listening Influenced by More Than Music Taste
  • How CBC Radio Manages Its Wealth of Digital Content

James Careless is an award-winning freelance journalist with experience in radio/TV broadcasting as well as A/V equipment, system design and integration. He has written for Radio World, TV Tech, Systems Contractor News and AV Technology among others. Broadcast credits include CBC Radio, NPR and NBC News. He co-produces/co-hosts the “CDR Radio podcast” and is a two-time winner of the PBI Media Award for Excellence.

The post How CBC Radio Manages Its Wealth of Digital Content appeared first on Radio World.

James Careless

NPR Gets Extra Funding to Cover Ukraine Crisis

Radio World
3 years 4 months ago

To cover the political and military confrontation between Russia and Ukraine, NPR is getting a half-million dollars in emergency funding from the Corporation for Public Broadcasting.

CPB approved the grant Tuesday.

The money will help NPR add staff and resources. The broadcaster has had reporters in Ukraine since January and said it will use the funds to pay for increased staff there and for security and travel to the region.

NPR President/CEO John Lansing called the situation “one of the most complex and consequential stories of our time.”

CPB President/CEO Patrician Harrison said in the announcement, “As Russia accelerates its use of misinformation and disinformation in its invasion of democratic Ukraine, CPB is proud to support NPR reporters in their difficult and potentially dangerous work in bringing fact-based news and information to audiences in the United States and around the world.”

The post NPR Gets Extra Funding to Cover Ukraine Crisis appeared first on Radio World.

RW Staff

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