Industry News

AEQ has a new codec for remote broadcasting; we asked Roberto Tejero, right, AEQ product manager and expert trainer, about it as part of our recent ebook about remote radio.

RW: What prompted it, and how does it reflect trends in radio workflows?

Roberto Tejero: Radio has historically been the most flexible, immediate and dynamic media. Stations have been trying for a long time to prevent regular contributors or collaborators having to travel to the station. Thousands of ALIO audio codecs have been installed on the home desks of regular participants of talk shows, commentators, correspondents and experts.

The pandemic has accelerated the trend. After the first confinement, all radio organizations have begun to facilitate technical resources so that their hosts and regular guests and contributors can work remotely.

The budget for this has put a lot of strain on many stations, and they have started looking for non-professional solutions. Dropouts, artifacts and faulty sound are common. 

Our mission is to adapt to the needs of changing environments. After almost exhausting our stock of the Phoenix ALIO portable audio codec, and seeing the need to produce a device that is easier to operate, adapted to non-technical personnel, we developed TALENT, which is a new portable audio codec, with fantastic design and small dimensions. 

It is simple to connect and allows transmission of a high-quality stereo audio channel. With a simple, domestic internet connection or wireless 3G / 4G / 5G data and a headset, you can make radio at home or from anywhere easily and safely.

RW: Generally speaking, what level of home connectivity is needed to create reliable work-from-home operations?

Tejero: This problem doesn’t have a single solution. It depends on the quality of service of the telecommunications infrastructure at each location. 

In many countries it is essential to be able to request a connection with guaranteed QoS from the service provider, either wired or wireless.

The good news is that a high-capacity connection is normally not required to be able to operate audio codecs from a remote location or home. A stable connection is enough to provide sufficient bandwidth for the encoding algorithm used. 

An ideal environment is the use of fiber optics, but it is also possible to use ADSL connections if they have reasonable latency and bandwidth. In numbers, for radio broadcast quality, OPUS encoding, a stable bandwidth of 400 kbps and a latency of less than 100 ms is sufficient.

RW: What other considerations are stations dealing with now? 

Tejero: There are many challenges when it comes to outside radio broadcasting. Almost more important than latency and audio quality are the costs involved. This affects both large corporations and small radio stations to different degrees. 

The fact that hosts are producing their shows from home at least implies a minimum investment in audio codecs. This expense can be multiplied by hundreds of audio codecs for each possible collaborator who goes on the air. 

In addition to responding to the requirements of simple handling, TALENT has a suitable price for any broadcaster. It eliminates the need to purchase more expensive audio codecs or the purchase of mobile devices dedicated exclusively to broadcast software applications.

RW: Are air talent connecting wirelessly or via wired connection from home?

Tejero: That depends on the country. For example, in Spain, wired connections are the most reliable. This is the case in the urban areas of most developed countries. 

In rural areas and countries with lower levels of development, quality wired connections are not always available and it may be a better solution to use a 3G / 4G router modem. 

To respond to this situation, TALENT has an Ethernet interface through which it allows both wired and wireless connections. This interface can be connected to a local network with connectivity to a fiber optic service provider network, domestic ADSL or other wired connection. But you can also connect to a wireless router that provides connectivity through WiFi or through 3G / 4G / 5G wireless phone networks.

RW: Anything else we should know? 

Tejero: We want to highlight the benefits that we have incorporated into a basic device as TALENT.

It does not need to be configured or operated by the user. You can simply speak without needing to touch any buttons, except Help if required. It also has a local app for smartphone, TALENT Pilot, allowing the user to control and configure the audio codec.

It supports all types of headphones, low or high impedance, and microphones, dynamic and condenser, as it features phantom power. It also has a Bluetooth connection so you can connect it to your mobile phone, do phone interviews and send them mixed to the studio.

It can be powered in many ways, depending on where and how you are: from the USB outlet of a PC, from a 5 to 15 volt outlet, such as a vehicle battery or a power bank, or from the mains power supply that comes with the unit.

Operation is very intuitive. It is intended for personnel without prior technical knowledge. Typically the station’s technician will hand it over to the user, ready to connect to the domestic router and the power source and start working.

For local control, the Talent audio codec has indicators and basic controls to make the necessary adjustments during the broadcast. It also has the app for smartphone so that somewhat expert users can connect it in places other than their home.

TALENT, connected by Bluetooth to a smartphone, allows you make telephone interviews or, alternatively, through applications such as Skype, WhatsApp or Zoom, among others. These latter provide high quality to the interviewee’s voice and mix them to program signal sent to the station through the IP connection.

Further, TALENT can be controlled remotely. This operation can be in parallel or even overriding the local controls of the equipment. Therefore, one of the most important buttons is the “HELP” button. This is used to call for attention or request remote assistance from the station’s technician.

The post AEQ Rolls Out a New Codec appeared first on Radio World.

The National Association of Broadcasters’ technology innovation initiative, Pilot, will be accepting submissions for this year’s Pilot Innovation Challenge through 5 p.m. ET on July 9.

The program will provide mentorship and promotion to winning proposals, along with an opportunity to demonstrate their products at the NAB Show in Las Vegas, Oct. 9–13, 2021.

“The Innovation Challenge offers a platform for developing technologies that will help broadcasters better serve their audience, while providing emerging companies a showcase for their cutting-edge products,” said Pilot Executive Director John Clark in a press statement.

[Read: The Fall Radio Show Will Be at the Westgate]

This year’s challenge seeks startups and growing companies that provide solutions to some of the challenges and opportunities facing broadcasters over the next two to three years. The challenge is looking for products or prototypes that are focused on the following areas:

• Edge technologies that drive new revenue opportunities for broadcasters, such as through geo-targeted content, location-based advertising, accurate audience measurement and augmented experiences;
• Technologies that enhance broadcast journalism to help viewers and listeners get more from their most trusted source of local news, including tools to better aggregate and verify crowd-sourced news reports, enhancements to news-gathering technologies such as drones, or avatar news anchors to deliver personalized updates on a myriad of topics; and
• In-vehicle technologies that deliver more value out of broadcasting, including technologies that enhance the in-car experience for radio listeners, as well as technologies that harness the mobile reception capabilities of the NextGen TV standard to deliver even more rich data services or back-seat entertainment.

Individuals, teams, companies, academic institutions and nonprofit organizations are eligible to apply subject to the official rules of participation. Up to 10 finalists will be selected by a panel of industry experts by early August, with up to three winning proposals being notified by Sept. 1.

Three winners will be selected to receive relevant mentorship, feedback, numerous opportunities to engage with broadcasters and a trip to the annual NAB Show. They will be provided exhibit space in the “Startup Loft” to demonstrate their prototype to potential customers, investors and partners.

To learn more, visit NAB’s Pilot website.

The post Pilot’s 2021 Innovation Challenge Is Open for Applications appeared first on Radio World.

The Market President and Chief Revenue Officer for Townsquare Media in Texarkana has just earned his second internal promotion in the last 18 months.

As of June 7, Brian Sines will oversee Townsquare’s Lafayette and Lake Charles, La., local media clusters and drive strategic sales and content initiatives across the Southern Louisiana region.

Sines reports to Townsquare Senior Vice President Todd Lawley.

“When we promoted Brian to oversee Texarkana, we knew he would do an amazing job, but he has exceeded our very high expectations in building a best-in-class operation and fully leveraging the Townsquare playbook,” Lawley said. “Brian’s track record of strong leadership, strategic mindset and the ability to unlock value within the market makes him a perfect fit for the dominant platform of local assets in Southern Louisiana.”

Sines commented, “I am very excited to join the incredibly dedicated teams in Southern Louisiana. They have done such an amazing job of leading the area through some very difficult times and continue to lead every day, super serving the communities and our business partners. I couldn’t be more excited to be joining these high performing teams in Cajun Country.”

Sines has been associated with Townsquare Media since 2014, when he became Director of Sales in Cedar Rapids-Iowa City. From 2001-2008 he was with Clear Channel Communications, rising to Market Manager in Burlington, Iowa after holding GSM duties in Madison, Wisc., and, before that, in Des Moines.

Urban One, the African American-focused multimedia company that’s growing its casino assets, is seeing renewed interest from investors of late.

It’s the casino business that’s likely exciting them, with the company’s stock rising 36% on Monday in more likely positive reaction to news a Richmond gaming complex is coming to fruition.

On volume of 17.17 million shares against an average of 3.44 million shares, UONE roared ahead by $4.65 per share to close June 7 at $17.71. In early after-hours trading, shares were down by six cents.

That’s the best performance in one year for UONE, which exploded in growth during June 2020 as investors responded to pledges of increased ad budgets for Black-owned media in the wake of social injustice protests tied to high-profile deaths of African Americans at the hands of law enforcements.

Related stock UONEK was up 18.1% to $6.45.

What’s prompted investors to snap up Urban One shares?

It’s very likely a direct response to the announcement by McDonald’s USA that it is moving forward with what it calls “bold new investments to further reflect its diverse customers, crew members and communities in its marketing.” It’s a four-year effort, and women-owned and LGBTQ+ platforms are also poised to benefit.

That said, the jump is undoubtedly a reaction to the news that a panel of City of Richmond, Va., officials has given an affirmative nod to Urban One’s casino project. This ends a evaluation of various development plans requested by the municipality.

It’s now up to voters to decide on Election Day 2021 in a referendum, pending an OK from Richmond’s City Council.

Specifically, Richmond’s Resort Casino Evaluation Panel recommended that the ONE Casino + Resort — which will have branding in line with Urban One’s “ONE” nomenclature — moves forward as the city’s preferred casino gaming operator at a proposed site in South Richmond. The Evaluation Panel’s recommendation is supported by the city’s Mayor, Levar Stoney.

Commenting on the decision, Urban One CEO Alfred Liggins III said, “ONE is thrilled the Richmond casino selection committee has chosen the best project with the best location and best team to develop a world-class entertainment destination in Richmond’s Southside. Urban One and our diverse group of local investors are fully committed to creating good paying jobs with profit-sharing for employees, pathways to successful careers, and generating significant new tax revenues that can improve Richmond’s schools and fund community programs and infrastructure.”

Stoney formally introduced the casino project May 24 to City Council.

Per legislation approved by the Virginia General Assembly, City Council was asked to petition the court so that a referendum on casino gaming in the City of Richmond can take place during the November 2, 2021 election.

The NAB Show and the fall Radio Show in October will both have a different look and feel this year.

This was expected, given the unusual circumstances of the pandemic; but now details about how the shows will work — particularly the aspects of interest to radio people — are becoming clearer. We also know more about the health and hygiene steps that will be taken at the conventions.

As we’ve reported, the “big” NAB Show was postponed to the fall, and the two-day Radio Show, co-produced by the NAB and the RAB, was reset for the same week, also in Las Vegas. (The 2020 Radio Show was supposed to be in Nashville but was cancelled; this year’s fall show originally was supposed to be in New Orleans.)

Thus the NAB Show will be held Oct. 9 to 13, while the Radio Show will be Oct. 13 and 14, with a day of overlap on the Wednesday.

Now the NAB and RAB have told the show community that Radio Show conferences and exhibits will be held at the Westgate Las Vegas, next door to the Las Vegas Convention Center, and the official show hotel for the Radio Show will be the Sahara Las Vegas.

Note how Radio Show booths will work. Exhibitors have the option to purchase a tabletop exhibit for the two days of the Radio Show; these will be in the general session ballroom of the Westgate, and exhibitors have been told to expect a space selection process in coming weeks.

That means attendees who want to visit radio industry suppliers should look for them on the main NAB Show floor of the LVCC on Sunday through Wednesday, while some radio suppliers also (or conceivably only) will have tabletops at the Radio Show in the Westgate on Wednesday and Thursday.

The published conference agenda for the Radio Show includes time slots dedicated to exhibits on both days. Registrants to co-located events including the Radio Show get access to the NAB Show floor and to any all-access NAB Show Main Stage sessions and special events.

As for health considerations for the NAB Show, organizers note that Las Vegas returned to pre-pandemic guidelines on June 1.

“We are working with a top medical firm to guarantee we are following all health and safety protocols as outlined by the U.S. Centers for Disease Control,” the NAB Show website states. “As information around the virus continues to develop, we will adjust our approach as needed.”

Masks are not required for attendees who are fully vaccinated. “Visitors may be required to undergo health screenings such as temperature checks or other screening processes upon entry.”

Registration will be “touchless,” and organizers encourage people to register at a hotel satellite location before going to the LVCC.

The organizers ask that people refrain from greeting one another using any physical contact. Meeting rooms and floor theaters will be set up with three feet of social distancing.

NAB wrote that the LVCC “has invested in HVAC upgrades to allow for greater ventilation as well as using air filters with a quality rating of MERV 14 (hospital grade filtration system). The frequency of the filter changes and the outdoor air exchange rate have both been increased.”

The LVCC management is also planning deep advance cleaning, enhanced sanitation at high-touch areas, UV lights and sanitizing AV equipment, among other precautions; and hand sanitation facilities will be available.

You can read more about the show safety precautions here.

Of course, a question everyone will be asking is just how many people will show up.

No one we’ve talked to expects the 91,000+ that NAB reported as attending the spring show in 2019. (The fall Radio Show usually draws a little over 2,000.) It remains to be seen how many folks will decide to travel to an in-person convention in the fall of 2021, especially given that the spring show usually draws a quarter of its people from abroad.

Regardless, being able to hold a sizeable in-person event at all will be a notable milestone as our industry works its way back.

A final note of interest is that most broadcast visitors who do attend will get their first look at the LVCC’s massive West Hall expansion, though this year’s NAB Show won’t use that space. The Las Vegas Review Journal has a video and pix.

The post The Fall Radio Show Will Be at the Westgate appeared first on Radio World.

It appears that spot radio isn’t the only way one big home athletics brand seeks to gain more customers.

The latest Media Monitors Spot Ten Cable report shows an increase in play count that’s certainly worth noting.

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A Class B AM serving Kansas City, simulcast on an FM translator covering the Kansas portion of the metropolitan area, is being spun.

The buyer is a non-profit dedicated to serving the Hispanic population in the region, one of America’s top emerging Latino markets.

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It’s always nice when a new ad category takes shape at broadcast media. Radio may have found one, and the pandemic could’ve played a role.

In a silver linings story, Peloton has emerged as an active user of national radio to help attract more users.

As shown in the latest Media Monitors Spot Ten Radio report, the home athletics brand has surged to become the third-largest brand at Spot Radio by play count.

Only Progressive and Indeed, heavy users of radio for months, are ahead of Peloton.

The activity from Peloton puts it far ahead The Home Depot, which is taking a post-Memorial Day break in its heavy spot activity.

Also new this week: Mattress Firm, as the home update shopping season starts.

The National Association of Broadcasters is expressing concern about what it is calling a significant increase in regulatory fees by the Federal Communications Commission on broadcasters.

For the third consecutive year in a row, the commission plans to increase fees to “unfair, unsustainable levels,” particularly in light of the economic impact that the COVID-19 pandemic had on the broadcasting industry, the NAB said in its filing.

The Notice of Proposed Rulemaking proposed a 5 to 15% increase in regulatory fees for radio broadcasters face a (with TV broadcasters fee factor jumping nearly 9%) even though the commission’s general salary and expenses budget increased by only 0.5%, the NAB said. The FCC proposes to collect $374 million for the 2021 fiscal year, with Congress appropriating expenses into two separate categories: $341 million to cover FCC salaries and expenses and an additional $33 million specifically to cover costs associated with the implementation of the Broadband DATA Act.

Ann Marie Cumming, NAB senior vice president of communications, said in a statement that the NAB objects to its members being used to pay for the funding the Broadband DATA Act. The legislation is designed to improve accuracy of the FCC’s broadband availability maps to help close the digital divide that exists between urban and rural areas.

Not only does the FCC fail to explain the reasons for this year’s fee increase, but it’s clear that the commission is forcing broadcasters to subsidize the regulation of other entities that are either contributing less than their fair share of fees or being given a free ride altogether, she said.

In its filing, the NAB said that the commission has an “obligation to ensure that its regulatory framework enables TV and radio stations to serve the public interest in free, over-the-air broadcast service, which means that the broadcast industry must remain economically viable in an increasingly competitive marketplace.”

The NAB urged the commission to adjust its proposal so that only the beneficiaries of the commission’s Broadband DATA Act initiatives pay for the associated costs. The NAB also pressed the commission to expand the base of fee payers to include big tech and other unlicensed spectrum users that use a substantial amount of the commission’s resources and benefit from its activities.

“Many broadcasters simply cannot afford unnecessary expenses in a year when revenues continued to decline due to the economic impacts of the ongoing COVID-19 pandemic and a slow-moving recovery,” the NAB said in its filing. “The commission must confront and correct the elements of its regulatory fee proposal that impair broadcasters’ ability to remain economically viable in a competitive marketplace, and undermine their ability to provide quality, free service to the public.”

The broadcast industry must remain economically viable in an increasingly competitive marketplace, the NAB said, a situation made all the more tricky because broadcasters cannot simply pass on regulatory costs to consumers.

The FCC is seeking comment on its proposed changes, which are available through Docket Number 21-190 at the FCC’s ECFS comment database. Reply comments are being accepted through June 18.

The post NAB Questions Fee Hike Proposed by FCC for FY2021 appeared first on Radio World.

He has been a researcher and writer for the Senior VP of News at Sinclair Broadcast Group for the past three years.

Now, he will be that C-Suite executive’s Chief of Staff — a position that appears to be unique to Sinclair.

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