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Commission adopts Order waiving sponsorship identification requirements through June 30, 2020 to promote the airing of COVID-19 public service announcements

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Thanks for Dick Taylor’s commentary “Invest in People and Programming, Not More Signals.” If I may use an analogy here: Ocean City, U.S.A., is expanding its boardwalk to accommodate more commercial space for eateries.

Sounds great, right? There is the promise of more variety of food offerings for increasingly diverse populations, young and old. We’ll finally have room for more Asian, Latin, Caribbean and Middle Eastern fare that a number of people have been requesting, for decades.

Here’s the problem. The new spaces are being taken by chain restaurants, with no room for “mom and pop” independent vendors. The “new spaces” will only be an extension of what is already available, up and down the boardwalk: everyone’s favorite Italian and Mexican chain restaurants and another “Big Marty’s” burgers, greasy fries and funnel cake, all because “it sells.”

[Check Out More Letters at Radio World’s Reader’s Forum Section]

Sound familiar? That’s exactly how commercial radio has operated since 1996. As with retail in Ocean City, it has nothing to do with adding more variety to the radio dial and everything to do with who controls the radio real estate under current rules and regulations.

We can thank the National Association of Broadcasters for the rider it succeeded in tacking on to the 1996 Telecommunications Act, signed by President Clinton, which increased the number of radio stations that one entity can own in any given radio market in the country (eight stations per major market, and now they want even more station per market). What this did in effect was reduce programming choices across the radio dial, slash payrolls and with it send more and more talented people out on the street.

When I hear someone say they think expanding the number of radio stations we have will improve anything, I laugh, given the current ownership rules. The “big boys” like iHeart own all the “blowtorch” signals everywhere and they homogenize everything they get their hands on.

Under the current “playing field,” expanding the number of radio stations we’d have would only expand the mundane. Instead of “57 channels with nothing on,” we’d have “88 channels with nothing on.” No imagination, no freedom for innovative people, just the same tainted focus group-driven pap.

For just once, I wish “gurus” like iHeart’s Bob Pittman would take a peek back to a time before FM radio became king in the radio marketing world in the 1960s, when circular polarization had just been perfected, but before that groundbreaking technical breakthrough pushed FM radio into the limelight. It was a time when the “inmates ran the asylum” with “underground FM” radio, before the top 40 radio doctors arrived around 1973. It was the most spontaneous, creative and fun time in the history of commercial radio. That is the kind of investment in people and programming that I think Dick Taylor is hinting at in his article; not to dredge up those old album rock tracks, but to bring back that wide-open spirit that has sorely been missing since that contrived “superstars” format arrived to mimic “hip FM” radio in 1973. People see through that kind of plasticity. The numbers show it.

If you want a clue, find a 1972 aircheck from KDKB(FM), Phoenix, to hear unbridled imagination and fun taking place, which included not only cutting edge music of the day, but well-produced (in-house) fake commercials and spoof commentary. It was a golden age of radio for boomers.

Pete Simon
Arvada, Colo.

 

The post Reader’s Forum: Bring Back Radio’s “Unbridled Imagination” appeared first on Radio World.

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

The coronavirus pandemic has ground many cities’ schools, businesses and civic life to a complete stop. Don’t tell that to dozens of fierce community radio stations though. They are continuing to bring news, music and togetherness for their isolated residents.

President Donald Trump has extended nationwide social distancing guidelines until April 30. What was once the White House’s “15 Days to Slow the Spread” initiative is now much longer. The administration recommends that Americans avoid gatherings of more than 10 people; work or attend school and other gatherings remotely whenever possible; and avoid eating or drinking at bars and restaurants. Even states like Florida, which had long resisted such orders have come around to this tactic for halting COVID-19.

That is not to say social distancing has been easy. Employment forecasts are looking dour. Families have had to adjust. And, importantly, our own sense of community is affected by being largely removed from what we traditionally know of where we live.

[Read: Community Broadcaster: COVID-19’s Threat to Community Radio]

For community broadcasters, the coronavirus pandemic has also been hard. Scores of college and community radio stations have been impacted by the choice of licensees to protect people and facilities. Some stations have many volunteers in vulnerable populations. Some managers have felt the risk of spreading the illness is too great and opted for full automation. All of these decisions are fair and appropriate. Such calls are rooted in local conditions. There is absolutely no shame in siding with safety.

When community radio stations can balance out health concerns and continue to broadcast their brand of unique programming, it is remarkable.

The New York Times chronicled a range of community radio stations fighting to stay on the air during the coronavirus pandemic, including WFMU, WWOZ and WOMR. But they are far from the only community radio stations doing all they can to continue despite COVID-19. WORT, KPFZ, KDNK, KEXP and WMPG are just a few of the stations delivering a variety of broadcasts involving in-studio volunteers, remote recordings, and other formats.

Their approach may be best framed by General Manager Jessica Evett, whose KRBX is also on the air. She said, “Music has the power to provide a shelter from stress, and we know our DJs and their playlists are a soothing influence that make us all feel closer, despite being apart.”

Ingenious radio stations have created many schema on the fly. Whether it is programming produced at home and uploaded directly to automation, shared via Dropbox, or dialed-in to the live studio, the solutions are as varied as the stations themselves. Unfortunately, several stations have been forced to develop a means to continue broadcasting quickly, because they did not have contingencies. Yet they continue to do admirable programming in a time when they are much needed.

The moment has offered plenty of innovations. For example, KVRU(LP) created coronavirus education announcements in many languages. Stations are creating book clubs, doing virtual town halls and more.

The longtime narrative about community radio is one of want. Our reputation is of small staffing, few resources and operating on the edge. Yet in a time of incredible uncertainty, community radio surety has been outstanding. Stations that have managed to keep original programming in spite of the odds deserve much regard for their commitment and service.

The post Community Broadcaster: Salute to Stations Fighting On appeared first on Radio World.

The Broadcasters Clinic is famous for its prize drawings. Clinic Chair Kent Aschenbrenner and an exhibitor try his luck at a previous event.

The Wisconsin Broadcasters Association is seeking presentation proposals for this fall’s Broadcasters Clinic.

The event is scheduled for Oct. 12–15 in Madison, but Wisconsin Broadcasters Association Vice President Linda Baun noted in her proposal solicitation that she expects the “new normal” may distract or delay potential participants. Therefore, WBA is getting a headstart on the process, Baun wrote in her email.

Baun asks, “Do you have unique perspectives or ideas on trends and technologies as we move forward to the future of radio, television, and online media technologies?”

If you have an idea, send an email to Baun detailing your proposed topic, a brief synopsis and the name of the presenter. Submissions are due by April 30.

Baun also highlighted a message of solidarity: “Together, we will make it through these times and look forward to getting us all together again in October.”

The post Broadcasters Clinic Opens Call for 2020 Speakers appeared first on Radio World.

Roger Lanctot

The author is director, automotive connected mobility of the Global Automotive Practice of Strategy Analytics. 

As technology consumers we make tradeoffs.

We let Google peer into our online activity and email communications and we even accept annoying advertisements tied to our browsing activity in order to access free email and browsing. We tolerate smartphones with diminishing performance from Apple — even after Apple admits that the diminishing performance is deliberately-inflicted obsolescence to push us into our next iPhone upgrade. We accept Tesla’s privacy violations in exchange for an awe-inspiring driving experience and software updates.

Along the way we have surrendered our privacy and so much more. Now Tesla Motors may be asking us to surrender free over-the-air broadcast radio.

According to the notes describing the latest software update for owners of 2018-made Tesla’s and earlier (using MCU-1), the latest optional software update (which carries a $2,500 price tag but adds Netflix, Hulu, YouTube and Twitch) removes AM/FM radio and SiriusXM. 

This is the often-cited downside of software updates — the potential to obtain improved system performance while sacrificing previously desirable functionality.

While Tesla’s decision only impacts older Tesla’s, it nevertheless highlights the strangely tortured relationship between the broadcast radio industry and Silicon Valley. The issue is a common thread traceable to Apple’s refusal to activate the FM chips built into its phones — and Google’s decision to ignore “terrestrial” radio as part of either Android Auto or Google Automotive Services.

Google, Apple and Tesla have all turned their backs on the broadcast radio industry in spite of the wide reach of radio — a reach that exceeds that of television — and the fact that it is free, localized content ideally suited to consumption in a mobile environment. Tesla’s decision likely only affects a sliver of Tesla owners given the cost of the optional upgrade and the limited in-vehicle enhancements, but it has the ominous tinge of something more sinister.

The Tesla software update, focused as it is on adding streaming video and a $9.99/month subscription — for owners not already on the company’s premium service tier — points to a streaming-only approach to content delivery. Just as satellite broadcaster SiriusXM felt compelled to offer an IP version of its content, Tesla appears inclined to shift all content delivery to IP reception.

The strategy makes sense for a company delivering cars on multiple continents with varying local broadcast protocols and metadata. Shifting radio reception to IP delivery vastly simplifies the in-dash configuration and, in the long run, may enable some hardware content reduction in the form of deleted tuners and antennas. This is particularly relevant in the run up to 5G adoption — a technology upgrade that will require the additional of multiple antennas.

Tesla vehicles in North America have always come with TuneIn — so, now, TuneIn becomes the preferred radio IP broadcast point of aggregation. In fact, it is quite possible that Tesla has leveraged user data from its own vehicles to determine that radio listening in its vehicles was sufficiently minimal to be worth risking some minor resistance.

More importantly, the software update removing the radio experience is optional. Maybe the offer is a test to determine the customer reaction to a tradeoff of streaming video and improved user interface performance with the sacrifice of broadcast radio for $2,500? Is the offer a bit of a market research project? Anything is possible from Tesla, which has altered its pricing and discounts on multiple occasions in response to market conditions.

But the inclination to delete radio is a popular behavior pattern in Silicon Valley where Google and Apple have treated broadcasters with disdain. 

Is this approach sustainable? Is it tolerable? Where can an outraged consumer turn to protest?  Will there be consumer outrage? Should there be? Is it time for an in-vehicle radio mandate to ensure that emergency communications — at least — can be broadcast into cars?

I’m not going to cry wolf. And I’m not going to play Chicken Little. I will say that the radio industry offers   contextually relevant and reliable content delivery with a broad reach across a wide range of devices and listening environments. Deleting radio from cars — terrestrial or satellite-based — tears at the fabric of our social connectedness.

The marginal cost of preserving terrestrial broadcast connections — particularly in the context of radio’s ongoing global digital transition and the resilience of the medium during emergencies — ought to place this particular content reception experience in a non-delete category. Tesla doesn’t appear to share this view and Tesla is not alone. Once again, Silicon Valley is asking us to surrender one thing in exchange for another. Yesterday it was our privacy. Today it is the radio. Tomorrow it will be our freedom.

Roger Lanctot posted this to his blog in early March; it appears with permission.

The post Yesterday Our Privacy, Today Our Radio appeared first on Radio World.

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The Commission seeks comment on rules requiring cable operators to place records of their attributable interests in video programming and their carriage of such programming on cable systems they own in their online public inspection files

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Entercom Communications will eliminate or furlough a “significant” numbers of employees, the Philadelphia Inquirer reported.

“The nation’s No. 2 radio chain, which reaches 170 million listeners, also will temporarily cut employee pay by 10-20% for those earning more than $50,000,” the Inquirer said.

It said CEO David Field will cut his salary 30%, and that bonuses will be eliminated for the first half, as will its 401K match.

Entercom’s headquarters are in Philly, and it owns several radio stations in that market.

The radio industry is reacting to a decline in ad sales commitments in the face of the national health crisis. The paper quoted Field saying, “Better days lie ahead. With the tough but necessary actions we are now taking, we are doing what is required for us to preserve the health of the company and ensure that we are strong when we get to the other side.”

[Related: Beasley Cuts 67 Jobs, Furloughs Others]

The post Entercom Joins in Radio Industry Job Cuts appeared first on Radio World.

Streaming audio and video are relatively new players in the media ecosphere, but Techsurvey 2020 says AM/FM radio is holding its own against them very well.

Even though radio is not a steaming brand per se, it has been inserted in the Jacobs brand pyramid for comparison. It’s clearly a leader with 90%. Facebook is the next closest competitor with 72%.

It’s no surprise that everything in audio and video streaming is trending upwards, and skewing to a younger audience. The percent who watch streaming video weekly or more has jumped from a total of 62% in TS 2016 to 74% in TS 2020. In the lead is Gen Z with 96%, followed closely by millennials with 93%.

TS 2020 says that just under half of their respondents listen to streaming audio daily, with 50% of the silent generation, and climbing to 77% for Gen Z.

And more good news for radio, TS 2020 says nearly two-thirds of respondents listen to their home station’s stream. That’s way ahead of Pandora, YouTube, Spotify and iHeart Radio.

A key reason they give for listening to AM/FM radio is that it’s free. That is especially important at a time when the survey also suggests that six in ten feel that subscription fees for audio and video fees are a concern.

Fred Jacobs, president of Jacobs Media sees this as a golden opportunity for radio. “We see two forces combining here. First, the coronavirus has increased the already strong interest in local radio and its personalities at a time when most are forced to stay at home, and are probably listening more. Second, many have either lost their jobs, or been without income for some time. When their credit card bills begin to arrive, they may question whether they should, or can afford to pay for several streaming services every month. All of that can work to radio’s advantage.”

[Read: Techsurvey 2020 Tracks Smart Speaker Success]

He adds that some stations have not promoted their streams well in the past, either because they don’t understand how to monetize them, or because they believe it might detract from their ratings numbers. Here’s Jacobs’ to-do list: clean up your stream — in the home it’s the only way many can listen; if you can switch to TLR, do so, it’s a better experience for most stations; test drive your smart speaker commands then heavily promote them and finally think local, it’s the “secret sauce” that none of the other media platforms can provide.

 

The post Techsurvey 2020 Says Home Stations Leads the Streaming Audio Pack appeared first on Radio World.

Alex Roman

MediaCo Holding has named Alex Roman as the new chief technology officer for New York radio stations WBLS(FM) and “Hot97” WQHT(FM).

MediaCo Holding is a public company owned by investment firm Standard General and Emmis Communications.

[Learn more: Biggest Station Trading Deal in Q3 2019 Was MediaCo Creation]

Roman was named Emmis’ director of integrated technologies in New York in 2011. While working for Emmis, the company said, he led efforts to modernize WQHT, WBLS and WLIB, including creation of digital media production spaces and transitioning to AoIP. Roman was also in charge of the team that rebuilt the Empire State Building transmitter facility and added an auxiliary transmitter site on 4 Times Square.

During his career, Roman also served as chief engineer for WKTU(FM) and as director of engineering for Citadel Broadcasting. He began his engineering career 24 years ago in California.

In the announcement, Emmis Communications and MediaCo Holding President/Chief Operating Officer Patrick Walsh called Roman “invaluable” as the broadcaster moves ahead with the creation of “multichannel digital platforms for WBLS and Hot 97.”

The post Alex Roman Named CTO of MediaCo’s NYC Stations appeared first on Radio World.

Steven Lee Sheley died Monday after a lengthy battle with leukemia.

“Steve was a true icon in the southeastern Illinois and southwestern Indiana radio business,” said colleague Bill Shrode.

According to his obituary, for many years Sheley was the morning DJ for WAKO in Lawrenceville, Ill., after having worked an earlier stint there in the evenings. He also did a stint at WYER in the late 1980s.

Sheley started as a newsman for WNOI(FM) in Flora, Ill., in the early 1970s, and entered the broadcasting program at Wabash Valley College in Mt. Carmel, Ill. Among subsequent call letters on his resume were WVJC, WREY(AM) and WAKY.

Steve enjoyed radios, DXing, travel and assisting veterans. Affiliations included Moose, Eagles, and Sons of the American Legion.

A celebration of life will be announced at a later date. Memorial donations may be made to the Lawrence County Cancer Resource Center & Wig Shoppe. Emmons-Macey & Steffey Funeral Home in Lawrenceville, Ill., is in charge of arrangements.

 

The post Steve Sheley Dies, “a True Icon” in Illinois Radio appeared first on Radio World.

Working remotely has inspired Wheatstone to release ReMix, a remote mixing application.

ReMix is a Windows PC or tablet app that can access a WheatNet-IP audio network from afar.

According to Wheatstone, ReMix provides an affordable, quick alternative to a physical home studio for remote broadcasting and voicetracking by remotely accessing existing equipment at the station, such as codecs, hybrids, and playout systems.

Wheatstone Director of Sales Jay Tyler said, “ReMix is proving to be a great little application for all our broadcasters who need to get talent up and operating from home quickly and securely.”

The application can be installed on a Windows desktop, laptop or tablet in a home or remote studio or on a station PC that can be accessed by talent remotely through a secure VPN.

ReMix provides a direct user interface to the utility mixers found in the I/O Blades that make up the WheatNet-IP audio network. Each I/O Blade includes two built-in 8 x 2 stereo mixers, the inputs and output busses of which are available as resources on the network. The WheatNet-IP utility mixers are accessible anywhere in the audio network for simple functions such as summing, splitting, and level adjustment, performing crossfades and segues between sources, as well as creating custom mixes or intercom systems.

I/O Blades also include Wheatstone ACI (Automation Control Interface) for third-party control of automation systems and other Wheatstone partners’ gear and can be used for functions such as routing, ducking, panning, logic control, mixing and silence detection.

Info: www.wheatstone.com

The post Work From Afar With Wheatstone ReMix appeared first on Radio World.

Visual radio system developer Broadcast Pix calls its new RadioPix a voice-automated, integrated visual radio production solution.

The new system combines the company’s Media Aware macros with voice-automation to turn a radio station’s host into a video producer. The package includes two new RoboPix PTZ cameras with 20X zoom and plug-and-play operation. Users plug them into two of the included Lenovo Tiny PCes five NIC ports using Cat-5 cables, connect to the local audio network for automatic triggering and receiving station output and then onto the internet.

Jeff Adams, RadioPix product manager, said, “It’s the behavioral intelligence that makes RadioPix unique. Show hosts don’t usually have time to also produce the video content, so RadioPix automates the production process, keeping it visually appealing.”

He explained, “By detecting microphone activity through the Dante interface, Broadcast Pix’s visually aware macros can be triggered. For example, activity on all mics could trigger a wide shot. Then, there is the ‘boredom’ macro, useful when a guest is speaking for longer than a minute. The shot could pull back, bring up the lower third title graphic, go to a wide shot, and then go back to a close up to keep the output interesting.”

The host can override the behavioral intelligence from optional touch screen panels, MIDI interfaces or even footswitches.

On initial startup, the system is ready to go, but a period of user consultation is included to help create the station’s look and feel. For example, import and position the station ID, choose suitable video clips and graphics elements and finally program the behavioral intelligence.

Broadcast Pix is pegging the price at $15,000.

Info: https://broadcastpix.com.

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