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TORONTO — Imagine Communications has expanded its storage portfolio with the release of Versio IOX Express NAS, providing broadcast and production facilities with “a high-availability shared storage solution that enables on-air scalability and pay-as-you-go expansion.”

The ability to manage a system from tens or hundreds of miles away is no longer a luxury, but a necessity.

That’s why Imagine believes Versio IOX Express offers all the tools needed for simple and effective storage management, whether onsite or working remotely.

The products are offered in bundles of predefined capacity and bandwidth and are delivered with software and hardware ready for immediate deployment. For 24/7 broadcasters, Versio IOX Express provides a flexible path forward, enabling scaling of capacity or bandwidth ― without having to take the system off air.

“Our goal in developing Versio IOX Express was to hit all the technical requirements we know broadcasters demand, but do it at an unprecedented price point,” said Steve Reynolds, President of Imagine Communications. “With the latest addition to our IOX portfolio, we can now offer our customers affordable, high-availability storage, delivered as defined, packaged solutions with all the software installed. All they need to do on site is connect the network and start delivering content.”

Powered by the EditShare EFS solution, built on Hewlett Packard Enterprise (HPE) enterprise-grade hardware, Versio IOX Express is designed to sustain prolonged operation in the most demanding environments. True shared storage access eliminates the need for resource-intensive asset transfers, making it ideal for fast-turnaround environments such as news and sports. Coupled with the parity stack and RAID protection, Versio IOX Express guarantees the fastest client recovery time of less than 20ms, providing effectively uninterrupted service to on-air playback servers or editing applications.

Versio IOX Express is offered in predefined bundles, allowing users to choose capacity and parity stack topology to suit their needs. This simplifies the order process and makes pricing transparent. Users can choose from a single device, relying on the internal RAID-6 protection; a 1+1 configuration with stack mirroring; or a high-availability N+1 single-stack parity architecture. Available options include configurations that provide as much as tens of gigabits per second of assured bandwidth across the network, even during degraded or rebuilding modes, guaranteeing the performance required in high-pressure applications.

— RBR+TVBR Canadian News Desk, in North York, Ontario

U.K. singer YungBlud took over L.A.’s Troubadour with Mötley Crüe ’s Tommy Lee and Jane’s Addiction’s Dave Navarro and Chris Chaney for the one-year anniversary of his live HD livestream, “The YungBlud Show,” produced by Bulldog DM. Photo: Tom Pallant

In the 12 months since the World Health Organization declared the global COVID-19 outbreak a pandemic, the music livestream production business has chalked up some remarkable records and is now looking toward what could be a bright future. Livestreaming is not new, of course, but when venues were shuttered last year, a surge in virtual concerts helped fans scratch the live music itch while artists were able to earn some income in an otherwise lackluster year.

“The pandemic certainly accelerated the music industry’s adoption of livestreaming, in terms of artist awareness, artists’ willingness to explore it and fans’ interest in it,” says game entrepreneur Gordon Su, CEO of Sessions, which launched in April 2020. Su co-founded the interactive livestreaming platform with Pandora founder Tim Westergren, aiming to help both established and up-and-coming artists build their audiences and generate income.

Livestreaming certainly exploded this past year. Europe’s Tomorrowland EDM festival in July attracted a pay-per-view audience of over one million, more than doubling 2019’s in-person attendance. In October, BTS sold 993,000 livestream concert tickets, offsetting some of the revenue the K-pop band lost when it had to cancel a 40-date tour. More recently, on Valentine’s Day, Justin Bieber’s live performance on TikTok attracted more than four million unique views.

Taking Notice
Billboard and Pollstar have taken notice, both launching new charts tracking artists’ livestream tallies. And as Billboard recently reported, U.S. consumers spent $610 million on virtual concerts in 2020, more than they forked over for either music downloads or CDs.

Livestream production studio Sessions handled a Valentine’s Day Eve livestream by CeeLo Green, followed by an online meet-and-greet, direct from his living room in Atlanta. Photo: Alysse Gafkjen/Sessions

The concert industry has also cottoned on to livestream production. In January, entertainment juggernaut Live Nation acquired a majority stake in streaming platform Veeps, which launched in 2017. On Mar. 22, Todd Rundgren wrapped a novel 25-show virtual tour, performing and streaming live from Chicago at 8 p.m. local time at each city on the route.

While many practitioners have been working in the field for 10, even 20 years, livestreaming came to most people’s attention around 2015, when Twitter introduced Periscope. Established platforms, including Facebook, YouTube and Twitch, soon followed suit with new live streaming products.

Over the past year, the number of companies offering music livestreaming suddenly went through the roof. “This time last year, I had three to five competitors. Now there are estimated to be between 100 and 200 pay-per-view livestreaming companies, just for music,” says John Petrocelli, founder and CEO of Bulldog DM.

Music producer and musician Kerry Brown was one of those launching a new company, Rolling Live Studios, in June. He’s no Johnny-come-lately; as one example, he partnered with Roland to do its first global livestream for 909 Day in 2016.

“For years, I was pitching promoters and artists to do virtual meet and greets, aftershows and ancillaries; no one wanted to listen,” says Brown. “They either thought it would be pennies compared to the dollars they were making, or it would take away from the live experience.”

When COVID initially closed everything down, he says, “It was interesting how unprepared the big players were for this, and still are, including the network guys. Very few people know how to do it.”

Indeed, livestream production requires some expertise with the technologies, but while the tech may be too daunting for some artists and their teams, others have jumped in with both feet.

Bee’s Knees
“TourGigs has been in concert filming and livestreaming since 2013,” says company COO Sean Barnicle. TourGigs did more than 190 sets of livestreams in 2019, many in collaboration with sister streaming technology company Gigcasters. Clients include Umphrey’s McGee, with whom they have done more than 100 shows, and String Cheese Incident — “bands that are very adventurous and technologically savvy,” he says.

“A really full-sounding stereo mix is still the bee’s knees for us,” says Barnicle, who is also exploring the potential of Dolby Atmos. “Someone like [Umphrey’s McGee FOH engineer] Chris Mitchell knows how to mic shows to make it interesting. You want some crowd and ambient mics, but you want control of the levels. Chris has it dialed, but if we don’t know the band, more than half the time, we will bring in an audio person and do a submix.”

As the founder of Livestream Remote, Stephen Tucker has mixed 40 concerts and 280 streams in the last year. That included an “UnderCover” gig by Parisian artist Francesca (pictured), who he mixed from New York by using Zoom’s remote-control capabilities. Photo: The Control Room

Sessions works similarly, says Guy Streit, head of production. Clients’ engineers need to remember, he says, “They’re not mixing to the front-of-house; they’re mixing to a broadcast. We have producers that are with them, virtually, to listen in and make sure that the mixes are to our standard.”

“We work with the artist’s team to make sure that their sound and look and how they want to present themselves carries through in the best way to the audience,” adds Jesse Dondero, director, program management and production. That extends to the rising artists admitted to the Sessions platform, each of whom is paired with a coach. “They review the streams and give them guidance. We also have tips and tricks for anyone getting started,” he says, such as how to improve their audio or use a virtual mixer.

Stephen Tucker, a broadcast and streaming veteran, launched his Livestream Remote operation shortly after lockdown. “Since May, we’ve done 280 streams, 40 concerts,” he says. That includes work with Daniel Kramer’s “UnderCover” series, where two bands cover each other’s songs. Kramer, Tucker and a third partner have now formed The Control Room, a livestream production, branding and marketing strategy company that sits between producers and distributors in the chain.

One UnderCover artist was in France. “I mixed her rig in Paris from my studio,” Tucker says, using Zoom’s remote-control capabilities. He was an early adopter of remote control and uses it on his own “Morningside Sessions” show. “I send my sound engineers my virtual board. I have them mix my show and do the cues, and I just host.”

TourGigs has performed similar technological feats, says Barnicle. Adam Robinson, Josh Groban’s engineer, mixed an L.A. show from his home in Chicago. “The audio was going from Los Angeles to Chicago on the internet, then back to Los Angeles to be married to the video. The video went to our operations center in Texas and from our servers to the globe. They had to do some math, but they got it to work — and it was amazing.”

Livestreaming is a powerful marketing tool, especially as artists prepare for the world to reopen, post-pandemic. Bulldog DM helped with Bieber’s TikTok stream, says Petrocelli. As a free stream following right on the heels of Bieber’s New Year’s Eve pay-per-view event, “If I’m one of those four million [viewers], I’m buying a ticket to his show,” he says. Bieber’s world tour begins June 2 in San Diego, Calif.

Advantages
Unlike broadcast television, livestream production allows platforms to analyze viewers’ data, and to a granular level, identify who in what country watched on which type and brand of device using what operating system. TourGigs has been working with some major artists during the pandemic, doing drive-in shows or performing in empty clubs or Hollywood soundstages. “When they threw it out there, the whole world got back to us,” says Barnicle. The data showed that Trans-Siberian Orchestra was watched in 101 countries, Josh Groban in 85, Billy Gibbons in more than 60 and Air Supply in over 40, he reports — a broader reach than any physical world tour.

Sessions’ Hank Williams Jr. livestream did almost as well financially as the physical show, underlining possibilities for post-pandemic hybrid concerts Photo: Sessions

Virtual concerts have now become so ubiquitous that Rolling Live is producing a constant flow. “We do all the streams for the Bowery Electric out of New York City,” says Brown. “What started as an iPhone in Jesse Malin’s apartment is now eight cameras, a video switcher and a full production crew, almost every day, doing ticketed live streams.”

That has allowed Brown to focus on big curated events, like “A Bowie Celebration,” a 74th birthday special that mirrored Bowie’s 50th at Madison Square Garden and included 40 Bowie band alumni. “It was a global livestream with some of the most iconic musicians in the world paying tribute to one of the most iconic artists in the world,” says Brown.

For the celebration, Rolling Live worked with Logitech company Streamlabs, which develops fan engagement software. Brown has now formed a business partnership with the company.

Fan engagement, which comes to music livestream production from the gaming world, is key to the Sessions platform, even for hybrid shows, where there is also an audience in the venue. “We did one with Hank Williams, Jr. where the livestream did almost as well as the physical show, financially,” says Su. “The potential of the hybrid show is not just the extended reach, but also the potential of that interactivity, both from virtual fans tuning in but also fans in the space being able to interact live with the artist in real time.”

For Barnicle, it also goes beyond commerce. “Music heals, motivates and consoles and does things that have been crucial in this period. We really do believe we’re playing a role in helping get this art and music out to the world.”

 

The post Livestream Production: From Emerging Format to Industry Cornerstone appeared first on Radio World.

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

The start of summer is officially June 20, though you may not know it from the number of outings afoot. For stations, that will require evaluation of a critical safety consideration: face coverings.

Some weeks back, I noted in Radio World some of the top-line issues radio stations that had previously been closed would have to meditate on before reopening to staff, volunteers and the public. From cleaning and entrance protocols to vaccination requirements, radio stations will have many matters to decide about.

[Read: Community Broadcaster: Going to the Doges]

Masks are another subject entirely. They create in us some anxiety because face coverings almost always signify being in close quarters with others. The notion of contact with possible illness heightens stress. In some circles, masks have also become a flashpoint in an old-school culture war.

Earlier in May, the Centers for Disease Control and Prevention said fully vaccinated individuals could safely not wear face coverings indoors, prompting dozens of states to lift restrictions for masking during indoor activities. However, most Americans say they will continue to be cautious.

For radio stations with staff and/or volunteers, the conversation may be partially resolved by understanding how many people are vaccinated and overall infection rates locally. In the case of radio stations that welcome guests or the public into their facilities, management decisions get more complex. Is it better to require face coverings until vaccination rates grow in a community? What about taking into account vulnerable communities such as young children who can’t get vaccinated yet or those with health complications?

As is always the case in local health questions, stations should talk with city, county and state leaders to help determine the right course of action. You will want to understand your area’s latest infection numbers as well as progress on and availability of vaccinations. If your state has particular edicts in place, your station should confirm that whatever policy you choose adheres to state and county rules, especially if they forbid specific business restrictions. Your station may want to inquire about how local businesses or nonprofits are handling mask requirements and, when lifted, how operations are changing. For instance, are there new methods for air circulation, or limits to the number of people in spaces?

Communication and signage about mask rules in your studios and building are also important. If you will have requirements, it is wise to ensure there are signs, notices on your website for guests, and contact with your staff and volunteers about station policy. Similarly, if your station will allow staff, volunteers and guests to take their masks off, it is vital that you share word of this in the same fashion. Getting out in front with messaging will reduce confusion.

Although lately it seems like the pandemic ended, it is remains a specter in many communities. Face coverings are still critical in preventing the spread of the virus. But, if community trends say it is time to reassess your station’s guidelines around masks, you may do so with prudence.

 

The post Community Broadcaster: Masks Off appeared first on Radio World.

An image from the media kit for WDCN(LP) near Washington, D.C.

The future of “Franken FM” stations remains in serious doubt because the operators of those stations, along with any other low-power Channel 6 TV broadcasters, face a deadline of July 13 to cease analog broadcasting and begin digital TV transmission.

As of mid-May the Federal Communications Commission had not answered requests to allow TV stations that present themselves as radio stations on 87.7 MHz to continue analog broadcasts on that frequency.

Some proponents don’t think they actually need further permission.

The FCC was notified by one LPTV station that it had converted to digital but plans to continue FM6 operations too. Venture Technologies Group, licensee of KBKF(LD) in San Jose, Calif., hopes its correspondence will help clarify the commission’s stance. It also operates FM6 signals in Los Angeles, Chicago, San Diego and Sacramento.

The FCC confirmed to Radio World that it had received KBKF’s notification, which it described as a “request,” and said it was “being considered and remains pending,” a spokesperson said in April.

The TV station began ATSC 3.0 digital operations in February. “The station is in compliance with the ATSC 3.0 rules for digital LPTV stations,” wrote Venture Technologies.

“The ancillary or supplementary audio signal occupies a portion of the remaining bandwidth assigned to the station as part of its DTV channel.”

It continued: “The licensee provided notice to all potentially affected Channel 5, Channel 6, 87.7 FM and 88.1 FM stations in San Jose-San Francisco-Oakland and adjoining DMAs that it was beginning digital service with ATSC 3.0 video and an ancillary audio signal. None of these stations has reported any interference or other issues to the licensee. Should any unexpected interference occur, the licensee will promptly take remedial action, including termination of all or part of the station’s signal, if necessary.”

Paul Koplin, president of Venture Technologies Group, said, “We believe the FCC’s existing rules permit the use of an analog audio carrier on an ancillary or supplementary basis under these circumstances.”

KBFK airs contemporary Christian music from the Air1 Radio Network from the Educational Media Foundation.

EMF in March urged the FCC to “act expeditiously” on the FM6 proceeding because stations need to be able to plan “to avoid a potential unhappy surprise should their audiences lose service that they have enjoyed for many years.”

“Uncertainty” created by FCC

Meanwhile, the Preserve Community Programming Coalition (PCPC), which represents half-dozen LPTV Channel 6 stations, said the earlier ATSC 1.0 digital television standard did not contemplate the use of less than a full 6 MHz.

“Under the ATSC 3.0 standard, the DTV signal can occupy as little as 5.509 MHz, leaving room for an analog audio carrier that does not in any way derogate the station’s DTV signal. The KBKF(LD) application describes this configuration, but prior FCC approval is not required to offer an ancillary or supplementary service.”

According to PCPC, the language of the FCC’s rules permit digital LPTV stations “to offer services of any nature” including audio as long as they “do not derogate DTV broadcast stations’ obligations” to transmit at least one over-the-air video program signal at no direct charge to viewer.

“In fact, the rule goes on to state that services may be provided on a broadcast, point-to-point or point-to-multipoint basis — meaning they do not need to be part of the primary ATSC television signal,” a PCPC spokesperson said.

The group believes that no further FCC action is required, though it hopes the commission will clarify its position.

“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,” it wrote in comments to the commission.

A PCPC spokesperson added, “Given the uncertainty that the FCC has created … the commission should reassure the underserved listeners these stations serve that their 87.7 FM stations are not going away.”

Legitimacy question

The so-called Franken FM phenomenon has sparked radio industry debate about the legitimacy of the operations. There are two dozen or so such stations in the United States. Their leaders say they are serving the public interest by carving out a radio niche and have found a profitable business model in doing so.

These Channel 6 LPTVs air limited visual programming to meet their license requirements while transmitting an audio signal programmed and branded as a radio station. The FCC has an open rulemaking on whether to permit FM6 operations to continue on an ancillary or supplementary basis after the July date.

It asked for additional feedback in a public notice in December whether digital LPTVs should be allowed to operate analog radio services. The FCC first asked the very same question in 2014.

Operators of FM6 stations have lobbied for several years to be able to maintain an analog output on 87.7 even while converting to a digital TV6 service. But their outlook seemed to dim when the Media Bureau released a Public Notice this year reminding LPTV stations on Channel 6 that their deadline to terminate all analog operations was “fast approaching.”

LPTVs were allowed to request an extension to complete their digital TV facilities beyond July 13, but such extensions do not allow for continued radio operations beyond that date, the FCC said.

FM6 advocates met with Media Bureau Chief Michelle Carey in March to discuss “the process for converting existing analog Channel 6 stations to digital in the absence of a decision by the commission on whether to permit digital LPTV stations to operate analog FM radio type services on an ancillary or supplementary basis,” according to an ex parte summary.

Public interest

Critics of the LPTV FM6 stations, including National Public Radio, have consistently argued that the FM6 stations are a misuse of public airwaves since their TV licenses were not issued with radio service in mind. In addition, they pose an ongoing threat of harmful interference to public radio stations in the adjacent FM band reserved for noncommercial educational broadcast stations.

NPR commented previously: “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.”

But PCPC claims the FM6 stations “don’t fit in any regulatory box.” It dismisses the interference argument, saying that Channel 6 stations have been broadcasting audio on 87.7 MHz since the 1950s without causing interference to other services, and further that “there has never been a documented case of any Franken FM interfering with another radio or TV station.”

Supporters also say FM6 programming often focuses on underserved ethnic and minority communities who historically have had limited access to the airwaves.

For example, an 87.7 FM station in New York serves the Korean community, while a station at 87.7 MHz in Los Angeles targets Latino audiences. In Sacramento, an FM6 provides programming for the Russian community.

In Chicago an FM6 station airs a soft AC and oldies format on 87.7 and claims to average a weekly cume of over a half million people.

“A voice and lifeline”

WDCN(LP) “La Nueva 87.7 FM” is a low-powered Spanish-language station with offices in Rockville, Md., and a radio signal that covers much of Washington, D.C. It is owned by Signal Above LLC, which says Washington is the country’s 13th largest and most affluent Hispanic market.

Wray Fitch, managing member of Signal Above, says the station has targeted the market with Spanish-language radio programming for 11 years. It broadcasts a community bulletin board on its video signal.

“This should be the moment when all small businesses are encouraged, especially those that are serving as a voice and lifeline to underserved communities. These small businesses and the focused broadcast services they provide are a night light, if not a beacon along the path of COVID recovery and flourishing to all these small communities.  That light should not be unplugged,” Fitch wrote in an email to Radio World.

Fitch said he has requested an extension for the digital TV migration since WDCN’s digital facilities will not be completed by the July deadline.

“We plan to timely construct our digital Channel 6. We are negotiating for equipment, tower space and hiring tower crews. The engineering has been completed,” he said.

Snycom Media Group operates KXDP(LP) in Denver, which is branded as La Invasora 87.7 FM and serves the local Hispanic community.

“We are the only station in Denver that broadcasts live news, traffic and weather reports in Spanish,” said Christopher Blair, owner of KXDP. “Our intentions are to continue to serve our listeners as we have in the past. We are hoping the FCC has the wisdom to realize we are essential lifelines to our communities.”

KXDP, which broadcasts music videos on its TV signal, has yet to build its LPTV digital facilities; it too requested an extension from the FCC.

“We focus on the local community. We identify needy families during Christmas, Thanksgiving and other times and help them with cash or presents. And provide no charge, weekly on-air time for Alcoholics Anonymous to come to our studio and extend an invitation to those who may have the need to attend meetings,” Blair said.

Daniel Melendez, president of Omega Media Broadcasting, licensee of KIPS(LP) in Beaumont, Texas, said his station is the only Spanish-language radio station in the city and is important for public safety.

“We are in an area with tons of hurricane activity and our station has been essential to bring the community detailed information. We also have been able to help with community services,” Melendez said.

KIPS(LP) transmits video loops on its TV signal and plays Spanish music on 87.7 MHz, Melendez said. He has requested an extension to transition its digital facilities and hopes there will be some kind of provision to extend the station’s analog aural services too.

The post Time Running Out for FM6 Stations? appeared first on Radio World.

June is Microphone Month at Radio World. Here’s one in a series of interviews with people who work in and around radio, about the kinds of mics they love and why.

Rob Byers is director, Broadcast and Media Operations, at Minnesota Public Radio and American Public Media.

Radio World: What’s your favorite kind of microphone for on-air work? 

Rob Byers: In a good-sounding, well-treated room, a quality large-diaphragm condenser can sound wonderful on the voice. Combine that with an onboard high-pass filter and you get a natural, clear and present sound.

In a room that doesn’t sound so great, a dynamic might be the ticket, though they usually require tonal shaping. There are some traditional choices when it comes to dynamic mics in radio, but I find they sound too muddy and unnatural to my ears. I prefer to reach for a mic that reduces proximity effect and provides clarity in the low mids.

RW: How about for remote work and/or specialty applications like live venues?

Byers: It’s incredibly application-specific! A choice of microphone will be driven not just by what is being recorded — the environment plays a critical role. The size and ambient noise level of a space can influence a mic choice, as can factors like weather, mobility, and any potential risk to the gear.

Working outdoors, some accessories are essential. Proper wind protection is well worth the investment, as are ways to mitigate vibrations. Backups — even for microphones — are essential. And don’t forget that a dynamic omni can be a great tool in windy, wet, less-than-ideal weather conditions!

RW: Tips about using and buying mics for radio applications?

Byers: The high-pass filter is your friend. It can mitigate many issues like vibration, low-frequency muddiness, HVAC rumble or wind and plosive problems. Engage it at the mic, which will prevent these issues from ever reaching the preamp.

Second, when choosing a mic for voice work, find a mic that achieves — out of the box — clarity in the low mids. The 100–400Hz range makes all the difference in intelligibility and naturalness.

Read more of Radio World’s coverage of microphones.

 

The post Working With Mics: Rob Byers appeared first on Radio World.

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Changes to American copyright law as it relates to music licensing and sound recording is expected to have a significant impact on libraries and archives that preserve sound recordings.

That’s the consensus of a new report published by the National Recording Preservation Board of the Library of Congress. Back in 2018, Congress passed some of the most significant legislative reforms to American copyright law in the last 20 years in the form of the Orrin G. Hatch-Bob Goodlatte Music Modernization Act. According to the Library of Congress, the act fundamentally reshapes music licensing and the legal status of sound recordings made before 1972 by bringing these recordings under federal copyright law for the first time.

[Read: Glimpsing History Through New Digitized Radio Programs]

The law addresses music modernization in three sections: the Musical Works Modernization Act, the Classics Protection and Access Act, and the Allocation for Music Producers Act. The Library of Congress report — called the Orrin Hatch-Bob Goodlatte Music Modernization Act: A Guide for Sound Recordings Collectors” — offers clarification on each section of the law it as it applies to curators of recordings and provides a summary of the legislation and its implementation. “It will serve to guide holders of recordings in their efforts to preserve sound recordings and make them accessible through digital streaming,” the Library of Congress said in a release on May 27.

One of the most significant changes implemented by the act is the fact that recordings made before 1972 will now be under federal protection for the first time. The law also creates rolling terms of protection that enable historical recordings to enter the public domain beginning in 2022.

In addition, the law establishes new responsibilities for libraries, archives, museums and individuals who hold sound recording collections. In addition to creating a public domain for sound recordings, the law created new rights and procedures for institutions to obtain a license to stream holdings and revised the process of licensing music performed on recordings, often known as underlying works.

The new law attempts to provide uniform procedures to license recordings for streaming, which vary depending on the age and type of the recording. The act also establishes new requirements and processes in terms of streaming audio through an interactive service where listeners select content (as opposed to the preset content found on over the air radio for example).

The report also offers a series of tools and resources including guidance for owners of sound recordings who offer digital streaming services of their collection, information for streamers of educational audio programming, and an explanation of how the law impacts sections of copyright law applicable to libraries and archives.

 

The post Report Offers Guidance on Music Modernization Act appeared first on Radio World.

While much attention is focused on ATSC 3.0’s advanced emergency alerting capabilities like geo-targeting warnings and TV wakeup, retired Lt. Gen. Reynold Hoover illustrated precisely why the technology’s ability to disseminate information post-event may ultimately prove to be its most valuable quality in an emergency. He delivered his remarks on May 25 during the first day of the virtual 2021 AWARN Summit.

“Ladies and gentlemen, for the last 15 minutes we’ve actually been working a missile launch from North Korea,” Hoover said. “We detected a launch of a Hwasong-15, which is an ICBM. It has a max range, we estimate, of about 13,000 kilometers, which takes in the entire United States.”

“NORAD [North American Aerospace Defense Command] has assessed this launch as a threat to the United States. NorthCom [U.S. Northern Command] has launched our ground-based interceptors. We’re reporting flight as nominal. We estimate now impact in 14 minutes,” said Hoover, who among a long list of career accomplishments served as chief of staff at FEMA and integrated the agency into Homeland Security following the Sept. 11, 2001, attacks as well as being a driving force behind the adoption of IPAWS (the Integrated Public Alert & Warning System).

[Read: Rosenworcel Wants to “Revitalize” CSRIC]

Surprising Ron Prater, executive director of Big City Emergency Managers who moderated the session before the keynote, the lieutenant general said, “Ron, let me ask you, the mic’s going hot in 30 seconds. We have NORAD telling us 14 minutes to impact. What are you going to tell the public, and what do you want them to do?”

Clearly caught off guard, Prater said he is not an alert originator. “I would personally just panic, and then I would probably call Becky [Rebecca Baudendistel, director of public warning for the New York City Office of Emergency Management and a prior panelist] in New York City and ask her what to do.”

Hoover responded: “OK, Becca. Thirteen minutes to impact…. What are you going to tell people, and what do you want him to do?”

Taking a few seconds to digest the situation, Baudendistel replied: “I think, you know, the first thing is we need to do is address the problem as quickly as possible and put in a trusted source in that message to make sure they [the public] know[s] this is not just Becca saying this. This is coming from… the officials on this call.”

Hoover persisted in his description of the missile flight status. “Sure, sure. OK. So, NORAD now says impact is going to be on the West Coast, and impact is estimated at about 15 minutes.”

Shifting gears, Hoover recounted the Jan. 13, 2017, emergency warning issued in Hawaii that a missile strike was imminent. Public alerts explicitly stated the warning was not a drill and to seek shelter, he said.

“What do you think they [the public] did?” asked Hoover. In the 38 minutes it took the state to rescind the alert and issue a message telling people the emergency warning was false, many people panicked.

“There was chaos. People panicked in the streets. People said their last goodbyes. People, you know, went to get their kids. They were hiding in the bathrooms. They didn’t know what to do. They were searching for more answers.”

Going back to Baudendistel, Hoover resumed the description of the hypothetical missile attack. “Now NORAD advises that missile impact is imminent and most likely [will strike] Seattle, Wash. … Becca, is that going to change anything… [regarding] what you are going to tell people? Impact is imminent.”

Baudendistel replied: “I don’t think so. I’m not sure what else they can do at that point.”

Building on her observation, Hoover explained that in cases like the one in the roleplaying exercise, it is important to tell people what you want them to do, know who is going to communicate that message and how that message will be conveyed.

“And is that message going to cause more panic and harm than good?” he asked. “Certainly, we saw in Hawaii…panic, and we saw chaos. People didn’t know what to do.”

Continuing with the scenario, Hoover reported the missile struck Seattle, knocking out all communications and power in the area, collapsing bridges and highways, shutting down rail and auto traffic and causing general devastation.

“It seems to me that that is where ATSC 3.0 and that is where what we think of NextGen TV, and that is where what we think of IPAWS 2.0 … comes into play,” said Hoover.

“Because it’s post disaster in an event like that that is going to save more lives than the chaos we created [in Hawaii].”

Acknowledging the emergency management community wants to warn in advance of an event what and when it can, Hoover said in “a catastrophic, no-notice event,” it’s important to tell people exactly what to do, where to go and what steps they can take to save lives in its aftermath.

Hoover illustrated what he meant drawing on the work of Genie Chance, a journalist and radio broadcaster, during the 1964 Alaskan Earthquake.

Chance, who was running an errand with her son during the quake, drove to the public safety headquarters and using the VHF radio she had in her car began submitting reports to KENI radio.

“What does she say?” asked Hoover. “She says things like, ‘John Lawson, your family is at the Ross’s house, and they want you to know they’re safe, and they would like you to come there as soon as you can.’

“Things like, ‘The city manager is asking all department heads to report to him at the public safety building immediately.’

“Things like, ‘All engineers and pipefitters please report to the maintenance building in downtown Anchorage immediately.’”

IPAWS, ATSC 3.0 and other technologies need to be survivable “in any situation” to relay these sorts of critical messages following a catastrophe, he said.

“We are going to save more lives when we think about how we can apply ATSC 3.0 post-event than in some cases we might have saved pre-event with a warning that might cause chaos.”

“I would urge you, as you think about all of the great capabilities of NextGen TV and the broadcast capabilities that we have, we need to think how it’s going to survive post-blast or how it’s going to survive post-earthquake, … and we need to think about how that system is going to work in the future post-incident because that’s where I think… we’re going to end up saving lives,” he said.

 

The post Retired General Underscores Life-Saving Potential of ATSC 3.0 appeared first on Radio World.

Univision’s Uforia is bringing back its experiential virtual music series Uforia Live.

This year the Uforia Music Series in-person shows will include Livestreams.

“Music’s ability to bring us together has been one of the bright spots of the last year and our new digital reality has allowed us to explore new ways to experience awe-inspiring
performances,” said Jesus Lara, President of Radio at Univision. “As we mark the return of
Uforia Live, we are thrilled to partner with Rocket Mortgage to give Latin music fans more of the exclusive, live virtual concert experiences they have come to love and expect from Uforia,”

Uforia Live is an extension of Univision’s Uforia brand. Uforia also features an audio network of 58 O&O radio stations and 212 affiliates.

— Rob Dumke

A veteran technology executive and the CEO of global athletic apparel company Lululemon Athletica Inc. are the newest members of the Walt Disney Company Board of Directors.

BE SURE TO FOLLOW RBR+TVBR ON TWITTER!

 

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With the Memorial Day holiday weekend coming in hours, Miami-based Spanish Broadcasting System (SBS) early Friday released its first quarter 2021 results, ahead of an earnings call for analysts and investors in six days.

How did the multimedia company targeting U.S. Hispanics perform in the first three months of the year?

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By Rob Dumke

Charter Communications‘ Spectrum Community Investment Loan Fund has invested $1 million in the Carolina Small Business Development Fund (CSBDF).

The nonprofit certified community development financial institution (CDFI) will provide low-interest loans to small businesses in Charter’s North Carolina service area.

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In much of Connecticut, Rocker “I-95” is perhaps used more than the actual Interstate highway traversing the southern portion of the Constitution State. It’s a heritage station based in Danbury, and has a Country sibling that is today one-third of a Hudson Valley-focused Country station.

Both FMs have a new Market President and Chief Revenue Officer.

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Podcasting is definitely the audio flavor of the times.

And to take advantage of that a podcasting services provider, Podcastle, has added to its audio tool chest.

According to the company, clients can now edit audio, convert text into podcasts and create usable audio clips from video and other audio sources.

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

Podcastle founder and CEO Artavazd Yeritsyan said, “Although many tools have come onto the market for photo and video editing, audio technologies have been less accessible. We believe that audio will continue to be one of the fastest-growing and influential categories in storytelling.” He added, “Our goal is to remove barriers so that people can focus on creating interesting content and not have to worry about complex or expensive software to do it.”

As a further demonstration of widespread interest in the podcasting sector, the company announced funding from venture capital firm Sierra Ventures last year.

Info: https://podcastle.ai

 

The post Podcastle Pushes New Tools appeared first on Radio World.

Stacey Kauffman

Audacy, the former Entercom, has announced some personnel changes in its San Francisco and Sacramento operations.

Current Audacy Sacramento Market Manager Stacey Kauffman will assume the role of regional vice president and market manager for Audacy Northern California. She will oversee KGMZ(AM), KLLC(HD2), KITS(FM), KLLC(FM), KCBS(AM), KRBQ9FM) and KGMZ(FM) in San Francisco.

[Visit Radio World’s People News Page]

She succeeds Greg Nemitz and will report to Regional President Doug Abernethy. Kauffman has been with Entercom/Audacy since 2015. She has also worked for Hubbard Broadcasting, Radio One and Susquehanna Radio.

Kauffman announced that Kieran Geffert has been promoted to vice president of sales for Sacramento and San Francisco. Geffert will handle sales throughout northern California. Geffert started with KCBS(AM) when it was part of CBS Radio.

Send your people news to radioworld@futurenet.com.

 

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Connected TV adoption has exploded. But how are advertisers fairing amid the transition from linear to what in the U.S. is called “CTV”?

That’s a question Innovid and Digiday believe they have the answer to, as it has released the results of a survey of 100+ brand marketers and agency execs’ thoughts on the state of Connected TV advertising.

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