Industry News

Xperi Corp. and TiVo Corp. have completed their merger, calling the result “a unique digital entertainment technology platform and one of the industry’s largest and most diverse intellectual property licensing platforms.”

Xperi is familiar to Radio World readers as the parent, among other things, of HD Radio and of the hybrid radio platform DTS Connected Radio. Its brands also include DTS, IMAX Enhanced, Invensas and Perceive.

[Read: Kirchner’s 2015 commentary in Radio World, “Going Digital: Our Interest in Radio”]

Xperi Holding Corp. is the name of the ongoing entity; shares will continue to trade on the Nasdaq Global Select Market under the ticker symbol XPER. TiVo common stock previously traded under the symbol TIVO but is no longer listed for trading.

“In a time when consumers want personalized and seamless access to entertainment anywhere, anytime and on any device, the combined company will offer consumers a digital entertainment platform featuring an end-to-end entertainment experience, from choice to consumption,” the company stated in its announcement.

Licensing of intellectual property is a big part of what it does. “With a shared track record of creating value through intellectual property licensing, the combined IP portfolio spans more than 11,000 patents and applications, with recurring subscriber-based IP revenue providing important stability and diversification for the business,” it stated.

Jon Kirchner is CEO of Xperi. “With this combination, we are better positioned to transform the entertainment experience across the home, auto and mobile markets with smarter technologies that enable extraordinary experiences,” he said in the statement.

The post Xperi and TiVo Complete Merger appeared first on Radio World.

Cumulus Media has received a green light to exceed the commission’s foreign ownership rules, a move the company said would strengthen its financial condition after its bankruptcy shakeup.

As part of its Chapter 11 bankruptcy reorganization, Cumulus filed a petition with the Federal Communications Commission requesting that it be allowed to exceed the 25% foreign ownership rule.

[Read: Cumulus Considers Selling Tower Holdings]

Specifically, the petition requested approval to permit up to 100% direct/indirect foreign investment in Cumulus. According to the company, the reorganization plan will enable Cumulus to emerge from bankruptcy in a stronger financial condition.

The commission approved Cumulus’ request, said Albert Shuldiner, chief, of the Audio Division at the Media Bureau. In the petition he wrote that granting the petition is likely to put Cumulus in a stronger financial condition post-bankruptcy and provide the company greater flexibility to access foreign investment capital, thereby allowing Cumulus to better compete with other media companies, enhance its programming, and better serve the public interest.

Cumulus owns and operates 441 full-power radio stations in 90 U.S. markets as well as Westwood One network. Cumulus’ bankruptcy restructuring, which was started in November 2017 cut the company’s total debt balance from $2.34 billion to $1.30 billion.

The post Cumulus Gets Thumbs up on Foreign Ownership Petition appeared first on Radio World.

While developing Radio World’s new ebook “Broadcasting From Home, Around the Globe,” we asked Jenna Mangino, the station manager of KTSC(FM) Rev 89 at Colorado State University-Pueblo, how she thinks radio operations in the industry will be permanently changed as a result of this health crisis.

I think, going forward, people are realizing how much they can accomplish remotely. For some, the task may take two or three times longer, but as we continue to work remotely, I think it will eventually get easier.

I definitely see remote operations continuing for the future. Radio does not need a lot of space to function. The key to radio’s success as a medium has always been based on our ability to adapt. This pandemic has only emphasized that feature. We can be nimble, figure out solutions on the fly, work on shoestring budgets, develop our own work-around solutions, and the audience has no idea (for the most part) of what it actually took to make the broadcast happen.

Radio is also able to socially distance successfully. For some local stations, the on-air talents have been reduced from a full roster of talent to one or two people working on air for a few hours each day, and then people outside the city track the remainder of the schedule. This is not a new idea; this has been happening in broadcasting for decades.

The confined studio is now exactly what is needed in order to keep air talent safe, so long as the mic, equipment and surfaces are disinfected properly and pop filters are changed frequently. Given the transitions of audio over IP, networking is becoming a vital part of day-to-day radio operations. The combination of a traditional broadcast engineer and computer information systems engineer has shown that radio can operate anywhere, as long as there is bandwidth available and the transmitter is running.

More Collaboration
Doing shows remotely has never been easier. Hosting guests for public affairs shows is easier to schedule as well considering they’re working from home too, and they can adjust their schedule and call in from the comfort of their home.

Future studio designs could include the typical producer-studio separated by glass, but guests could be set up in the producer’s studio so that they maintain social distancing and are protected by the glass window.

For sales, reporters and talent, they’re showing that they can work remotely in the field or from home. As long as they have adequate equipment and bandwidth, they can meet with clients and close the sale from their home. Sources can be recorded on Zoom, many stations have audio/video sharing agreements so all stations get the same information. There’s more collaboration between stations because everyone is facing furloughs and layoffs, and everyone in media knows what it’s like, so information-sharing and collaboration is at an all-time high.

The most sobering wake-up call is that station owners are seeing their staff continue to produce excellent work, and ratings are increasing, as everyone is at home and remembering that radio is still free, doesn’t require bandwidth (smart speakers and streaming aside), and is local and reliable. As good as that sounds, it shows owners that if they can hire the right people who can do multiple jobs, the pressure will be on those fortunate enough to land a position in media to do more.

Open work areas are not needed in the future. The overhead of rent and utilities combined with the FCC eliminating the main studio rule will result in more and more employees being encouraged to work remotely. The small investment of some rack-mounted equipment, a RodeCaster coupled with a firewall and a VPN is considerably more affordable than a large empty building with 10 or fewer employees maintaining operations.

In the foreseeable future, I believe there will be more and more freelance opportunities for reporters and talent to fill in across the country for other stations and outlets.

As far as students working in this field, at least for my students, it has shown me how quickly they are able to adapt, be flexible, and persevere to learn new processes, procedures and technology. I think they’ll be more valuable to employers because they were forced to transition immediately and flourished.

The station is using the browser-based Cleanfeed multitrack audio and recording system, allowing students to record multiple voices for sports shows, podcasts, public affairs shows and morning shows. It also uses a custom remote voice tracking system developed by WideOrbit that allows students to submit audio files via Dropbox; students can use their own equipment at home to create voice tracks, drop them into the system and have them inserted into the WO system instantly.

KTSC, a noncommercial student-operated 8,000-watt radio station, has been broadcasting since 1970, and will celebrate its 50th anniversary this fall. It is part of the media communication department at CSU Pueblo and “trains students to work in a pressurized, real-world environment to prepare them for a career in the industry.”

The post Collaboration Is at an All-Time High appeared first on Radio World.

Designed for audio and visual journalists who have to conduct socially distanced interviews, DPA is pulling out its new shotgun microphone. The DPA 4097 Core micro shotgun microphone is intended for picking up speech at a distance, and has also been made a part of the company’s new 4097 Core interview kit.

The kit adds DPA’s new 4099 cold shoe mount, which incorporates a 1/4-inch thread; DPA MicroDot cable; transmitter plate; a lightweight telescopic boom pole, to further ensure social distance protocols; and windjammer. Terminating in a MicroDot connection, the 4097 Core micro shotgun can attach directly to a transmitter or be used with the company’s 4099 series mounts, clamps and clip; the mic can also be used as a plant mic solution for film and TV production environments.

When used in conjunction with DPA’s lightweight MMA-A digital audio interface, the 4097 Core micro shotgun becomes a complete remote recording package. The interface is a two-channel microphone preamp and A/D converter offering mono, dual and stereo capabilities, and is compatible with iOS devices, Mac or PC computer.

[Read: How Should I Disinfect My Microphone?]

The supercardioid 4097 Core micro shotgun offers a directional pickup pattern, 16 mV sensitivity and is capable of handling high SPLs. It is also IP58 certified for protection against water and dust,due to a water-repellent nanocoating of the cover and housing, hermetically sealing the amplifier at the core of the mic and dual gold-plating of the diaphragm.

Configured with a MicroDot connector, one of DPA’s adapters can be used for either wired or wireless applications. The mic also includes an integrated shock mount similar to the one found in the DPA 4099 mics.

The post DPA Launches 4097 Micro Shotgun Mic, Interview Kit appeared first on Radio World.

One of the topics for debate among technology leaders this spring — when they weren’t talking about face masks or hurriedly setting up remote operations — has been whether the Federal Communications Commission should allow zoned programming for FM stations in the United States.

The National Association of Broadcasters gave qualified support to the general concept but voiced concerns over potential interference. Separately, four prominent radio groups told the FCC that much more real-world data is necessary before the commission should even proceed to a notice of proposed rulemaking.

One veteran industry observer said the concept if approved could spark a “booster boom,” resulting in an increase in the number of booster facilities and modifications to existing boosters.

Cites Advertising Demand
The signal of an FM booster is used to strengthen reception within a station’s coverage contour on the same frequency as the primary station. Under current rules the booster must retransmit the same programming of the primary station.

Chicago-based GeoBroadcast Solutions, the company advocating the use of boosters to deploy geo-targeted content within specific parts of stations’ over-the-air coverage areas, petitioned the commission in March to consider the technical feasibility of its system, renewing an effort that goes back at least eight years. The commission then asked for industry comments about whether to take next steps.

GBS says its technology, marketed under the name ZoneCasting, would allow FM broadcasters to do “hyperlocal programming, advertising and emergency alerting,” or what it calls geo-fencing audio delivery. The company asserts that radio is the only mass medium that cannot geo-target its content. It favors a “voluntary, market-driven” transition; and says its zoned coverage would not cause harmful interference to neighboring FM stations or to the primary station.

“We are encouraged by the amount of support we received from the broadcast industry, as well as the advertising and public safety sectors.” — Bill Hieatt, CTO of GeoBroadcast Solutions

“The ongoing evolution of ZoneCasting and its ability to geo-target an analog or HD Radio signal is made by arranging transmitters in a cluster to allow programming in the zoned area to break away from the main signal and transmit geo-targeted content,” the company states in its promotional material.

“ZoneCasting works as a single-frequency network deployed to boost the signal from the main transmitter to the booster nodes.”

Launching the technology would only require one change to a subsection of the rules on boosters, it wrote in its petition for rulemaking in March.

The proposed revision adds the following language: “The programming aired on the FM broadcast booster station must be ‘substantially similar’ to that aired by its primary station. For purposes of this section, ‘substantially similar’ means that the programming must be the same except for advertisements, promotions for upcoming programs and enhanced capabilities including hyper-localized content (e.g., geo-targeted weather, targeted emergency alerts and hyperlocal news).” Such “fenced zones” could also be used for traffic information and second language programming, GBS has said.

GeoBroadcast supports its argument for using the geo-fencing audio technology by citing “interest and demand” by broadcasters and advertisers. It says research by BIA Advisory Services found that more than 90% of local retailers would spend more on broadcast radio advertising if zoned advertising were available. The study purports to show that “two-thirds of national advertisers indicated their interest in zoned broadcast coverage,” according to GeoBroadcast.

For precedent for its proposal, GeoBroadcast pointed to the FCC’s 2017 authorization to allow television broadcasters to use the Next Generation TV standard, also known as ATSC 3.0, which it said allowed for a higher level of service and benefits for consumers.

“Zoned broadcast coverage can be deployed without causing any interference concerns and without consumers having to buy any new equipment,” according to the filing, “since the signals can be received on existing radio receivers.” And when not operating in geo-targeting mode, the primary station’s signal is amplified, thus improving the signal in the area covered by the boosters at all times, it said.

The company says it has studied zoned broadcast coverage for a decade. Indeed, the commission did issue a notice of proposed rulemaking regarding the company’s technology in 2012 and collected comments, but took no further action at that time.

Now it says its development work through simulations and modeling, as well as test work including a five-site network at Entercom’s KWFN in San Diego, demonstrate that the concept works. GeoBroadcast has used “extensive network design work at NPR Labs to identify the power and height for the ZoneCasting boosters under a variety of primary station types and terrain conditions,” according to its filing.

“Field tests have shown that deployment of ZoneCasting does not result in harmful interference within the SFN either between the primary station and boosters or among the booster cluster itself,” it said.
Bert Goldman, president of Goldman Engineering Management, wrote in the GBS filing that “the ZoneCasting technology that broadcasters could deploy does not raise any technical concerns” that should hold up commission action (see below).

He told Radio World in an email the system uses the Synchrocast feature of GatesAir Intraplex codecs. “There is no other source that I know of which could supply that tight of a timing synchronization unless an RF STL link is used, but they typically use IP-based delivery,” Goldman wrote.

ZoneCasting currently works only with analog FM, but GeoBroadcast is working toward compatibility with digital radio systems, Goldman said.

The company’s ongoing testing “demonstrates the HD signal will work successfully with HD receivers in a ZoneCasting system,” according to a spokesman. “We are currently consulting with Xperi and infrastructure providers to ensure HD listeners will have a seamless listening experience.”

Supportive Words

GBS said the industry comments this spring demonstrated “general agreement” for innovative technologies and new paths for revenue. “Many of the detailed comments expressed anticipation for a level playing field in the broadcast industry and excitement for the ability to add localized weather and traffic, news, advertising, and emergency alerting during short parts of a broadcast hour, and the benefit it will offer listeners, small businesses and advertisers.”

Among those commenting in support, Sky Media LLC, licensee of KPKK(FM) in Amargosa Valley, Nev., wrote that it would “utilize zoned broadcast coverage to provide targeted emergency alerts, local news and public interest programming and localized advertisements responsive to the needs of small business.”

Another small broadcaster says the technology would bring numerous benefits to consumers. “Zoned coverage would make radio much more attractive to small businesses, who would be able to reach their targeted audiences more effectively and efficiently as well as local political candidates and local groups wishing to discuss localized issues affecting contiguous neighborhoods,” wrote Ashley Communications Inc., licensee of KLCY(FM) in Vernal, Utah.

The Multicultural Media, Telecom and Internet Council commented that “the ability to geo-target content on radio will be especially beneficial to minority broadcasters and their advertisers.”

Emmis Communications, which owns six FM and two AM radio stations, is in support, according to a letter to FCC Chairman Ajit Pai.

“From our company’s experience, this kind of geo-targeting could bring real benefits to the radio industry since it has the potential to address one drawback of the radio industry as it competes with other media: no ability to geo-target content and advertisements,” wrote Rick Cummings, director of programming for Emmis Communications.

Zoned advertising is a big part of the appeal here, and GBS noted support from advertising and marketing companies such as Ansira, Dentsu and MAGNA Global.

It also emphasizes the value in alerting. Craig Fugate, former director of the Federal Emergency Management Agency, told the FCC he believes geo-targeting is essential to allow regionalized alerts and warnings during times of emergency.

“In this era of hyper-local and targeted communications, radio has become the lone medium unable to reach its listeners on a granular basis. And, in fact, the value of geo-targeting through radio in times of local, regional, state, and federal emergencies is a paramount personal concern of mine,” wrote Fugate.

He continued, “Without a doubt, localized radio broadcast updates of today’s COVID-19 crisis would serve the public good by communicating public safety information pertinent to specific portions of the airwave’s audience. Consider the benefit of reaching a 25-mile portion of a radio signal about local test sites or shelters versus informing that same station’s 100-mile audience that do not need those specifics but require their own, zoned, details.”

Words of Caution
The National Association of Broadcasters supports giving FM broadcasters zoned broadcasting capabilities, but said the proposal is not entirely free of concerns.

The association noted its own previous opposition to the creation of a new Class C4 FM radio service due to an increased risk of interference to incumbent FM service — though in this case, it acknowledged, “any potential interference caused by using boosters to target content should only affect an FM station’s own service, and the decision whether to risk such self-interference would be purely voluntary,” NAB wrote.

It continued, “We also observe potential concerns that GBS’ system currently works only with analog FM service, which could undermine the continued expansion of digital audio broadcasting (DAB, also called HD Radio). There may be potential disruption to DAB in the targeted zones. This issue is not addressed in the petition.”

On balance, however, NAB favors the FCC granting the petition to move ahead to an NPRM.
GBS has, however, not yet made its case successfully to several of the country’s leading broadcasters.
iHeartMedia, Entercom Communications, Cumulus Media and Beasley Media Group jointly told the FCC that “more real-world vetting” is needed before the commission moves ahead even to an NPRM. The language in its filing was much more cautionary.

“Automatically authorizing such an unproven technology … is particularly premature given the proponent’s acknowledgment that listeners will experience some degree of ‘self-interference,’ as the booster signal is handed off from the primary programming to the zone programming.” — Joint filing by iHeartMedia, Cumulus, 
Entercom and Beasley

“Technologies that are not yet widely proven which could cause interference to the primary signal, as well as confusion among radio listeners as the primary signal is handed off to a localized signal, should not prematurely be adopted as a default standard without more real-world experience gathered with experimental authorizations,” they wrote.

“Automatically authorizing such an unproven technology … is particularly premature given the proponent’s acknowledgment that listeners will experience some degree of ‘self-interference,’ as the booster signal is handed off from the primary programming to the zone programming,” they wrote.
They acknowledged that GBS referenced studies of its technology but believes there has only been one “real-world” experimental test of its current iteration.

They said that by moving to an NPRM, the FCC would essentially endorse ZoneCasting “without the need for implementors to report back to the commission on the benefits, problems and/or weaknesses of the system.” They asked the FCC to allow more experimental authorizations and reporting, as it has done for technologies like Single Sideband Suppressed Carrier Modulation, all-digital on AM, Modulation Dependent Carrier Level controls and HD Radio.

Others raising concern include REC Networks, a low-power FM advocate. It said the booster rule change could lead to an increased risk of interference within the FM band and possibly bring on a “booster-boom” in the United States.

“(REC) must disagree in part with petitioner’s claims that ZoneCasting does not raise technical or interference issues and has ‘no impact on other broadcasters.’ There could be situations where the installation of an FM booster would create harmful interference to an LPFM station, mainly in cases where the full-service FM station was created or modified after the establishment date of the LPFM station,” wrote Michi Bradley, founder of REC Networks.

Commenting to Radio World about the general technical issues involved, Jim Stanley, president of Stanley Broadcast Engineering, said proper installation and maintenance of a station’s RF infrastructure will be critical to limiting self-interference when deploying such a system.

“Anytime multiple transmitters (boosters) are operated on the same frequency, synchronization is needed. This includes using GPS to phase lock the carriers and usually some type of audio delay in the input(s) of one or more transmitters.”

Stanley said, “When more than one transmitter is operated on the same frequency, with no geological terrain disruption between the two transmitter sites, there will be a certain amount of interference between the two signals where the contours meet. The degree of interference between multiple sites would vary depending on conditions. It is important that the booster sites be engineered and installed so that the booster coverage does not extend beyond the authorized 60 dBu contour of the primary facility.”

In a press release after the comment deadline, Bill Hieatt, CTO of GeoBroadcast Solutions, said, “The comments raised important issues for the industry as a whole and specific, instructive points on how our technology needs to address ideas and share knowledge to help it improve, as it has a chance to evolve in the marketplace.”

Making It Work
Bert Goldman, president of Goldman Engineering Management, has been working with GeoBroadcast since 2015 to develop multitransmitter booster systems known as MaxxCasting. He said ZoneCasting is based on that technology.

He told the FCC that MaxxCasting systems use boosters synchronized both with the main transmitter and with each other to produce seamless transitions between node areas. This, he said, improves coverage well beyond what would be possible with only the main transmitter by filling in low-signal areas within an FM station’s protected service contour.

He said the system is used successfully in numerous markets including Boston, Chicago, Los Angeles and Seattle “and is expanding rapidly.” Users, he said, report “vastly improved” quality of service and Nielsen PPM decoding.

Goldman said MaxxCasting achieves interference-free signal improvement due to four techniques that essentially “trick” a receiver into acting as if it is hearing one station instead of two or more, which would result in distortion and interference.

These techniques are carrier synchronization, which Goldman said is now possible by using GPS-trained oscillators; pilot phase synchronization, also possible using GPS; the use of small cells or “nodes” with highly directional antennas to keep the real-time FM waveforms at the receiver to within two microseconds; and maintaining audio modulation of the main and booster carriers to identical waveforms with less than a 0.1 dB difference between the main transmitter and all nodes.

On those last two points, Goldman added that recent technical advances play an important part.
“The technology to so precisely control the timing of the audio waveform for both analog stations and stations operating with HD Radio has only been perfected recently. Accurate RF modeling and prediction, critical in optimizing performance, is accomplished with powerful software tools developed by the wireless industry for cellular communications. This allows GeoBroadcast to precisely tailor parameters to maximize coverage and eliminate interference.”

“Modulation matching is also a recent development, made possible by digital composite and AES digital transmission, synchronization and high-speed data circuits.”

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject line.

The post GBS Gathers Support for Geo-Targeting appeared first on Radio World.

Kevin Suggs arrived in Seattle just in time for the ’90s grunge-era gold rush, when the city was bursting with bands looking to score a record deal. Spending a decade of 12-hour-plus days pushing faders at studios like Avast! Recording Co. was the perfect training to head up audio engineering for the podcast series “Live on KEXP.”

“Things just started to explode,” Suggs says. “Even though I wasn’t working with any huge Seattle bands, there were just so many bands and everybody was recording. It was a very vibrant time to be making music in this town. Everybody had a shot.”

As a freelance engineer and steel guitarist, Suggs racked up credits on albums by Death Cab for Cutie, The Shins and Brandi Carlile. By the time he arrived at KEXP(FM), a nonprofit arts organization known for curating adventurous music for its FM radio station and online properties, the audio crew was producing more than 100 live music sessions a year.

“Live on KEXP” — until recently known as “KEXP’s Live Performances” — is the latest evolution of a podcasting program that began in 2004, and a key arm of the organization’s multiplatform approach that includes broadcasting to the Seattle radio market and streaming to two million YouTube subscribers.

Every note of sound, though, begins with Suggs and the audio engineering team. Today, KEXP logs about 300 performances every year. To maintain efficiency and consistency, Suggs begins each session with a proven template based around workhorse mics like Shure SM57s and SM58s and a baseline of plug-ins and presets in Pro Tools.

“My mantra for these things is just simplicity,” says Suggs. “I’m not trying to recreate a band’s record or anything. I’m trying to capture what the band is giving.”

Until a few years ago, the engineers mixed the audio to two-track on an eight-bus digital Mackie board before sending it to Pro Tools. These days, they automate the mix through an Avid S6 Pro Tools control surface.

“It’s recording every move I make,” he says. “If I didn’t quite get that guitar solo up in time, I can make a marker. And then once we’re off the air, I can go back and I can fix that [for the podcast].”

Like any live recording situation, though, control is a relative concept. There’s only so much isolation you can do when a full band is playing together in a room. Suggs has a few tricks to help keep instruments in their own lanes, but sometimes he simply has to let it bleed.

“I always start my mixes with the vocal mics up because they’re going to color everything,” he notes. “It doesn’t make a lot of sense to solo the kick drum, because as soon you push those vocal mics up, it’s going to change that kick drum sound completely. It’s just a matter of embracing the bleed, because you’re going to get a lot of it.”

Instead of setting up bands according to their stage plots, Suggs positions them in a circle, with everyone facing each other like in a rehearsal. In the absence of isolation barriers, this configuration cancels some of the interference between the vocal mic and drum mics.

Every session that ends up on the “Live on KEXP” podcast is first broadcast via radio to the Seattle area. With few exceptions, what ends up on YouTube and the podcast is exactly the same as what the radio listeners heard. The main difference between the broadcast and streaming audio is in the mastering stage.

“We hit the one that goes out on the air with a little more compression [from an LA-2A compressor], and then we do a raw track [for streaming] that has nothing on it and no compression. That’s what we usually use for mastering, so we can start fresh without any other compression.”

When shelter-in-place orders came into play in March, the “Live on KEXP” team was already set up to have their engineers work remotely. Most, like Suggs, have studios in their homes, so they’re able to mix and master sessions seamlessly.

Luckily, KEXP has enough sessions in the can to last well into the summer months. The only audio being recorded at home for the “Live on KEXP” podcast is the voiceover by host Troy Nelson, who runs an AKG Perception 220 mic through a Universal Audio Arrow audio interface into Logic Pro X.

Rest assured, Suggs and the audio engineering team will be ready to go as soon as they’re able to get back to the studio.

“I really feed off of the vibe,” he says. “There’s really something about that live energy and the mix being a performance. At the same time as the band’s performing, you’re performing the mixing. You still get that adrenaline rush. There’s no net.”

This story originally appeared in Podcast Pro, a free weekly newsletter about the production side of podcasting. Sign up here.

The post KEXP Podcast Blurs the Lines Between Live and Studio appeared first on Radio World.

The Federal Communications Commission said the big “repurposing” of C-band spectrum for 5G services will happen on an accelerated timeline.

The commission’s Wireless Telecommunications Bureau got commitments from five eligible satellite operators to meet an accelerated “clearing” timeline that will make way for faster 5G deployment in the 3.7 GHz band.

The commission this winter adopted rules to free up 280 megahertz of spectrum for 5G. The rules required existing satellite operators — including those that support radio and TV broadcast uses — to repack operations from the band’s entire 500 megahertz into the upper 200 megahertz, leaving a guard band and a newly freed up block, the lower 280 megahertz.

[Read: C-Band Plan Aims to Limit Broadcast Disruption]

The FCC provided five space station operators with an opportunity to clear the lower 300 megahertz on an accelerated timeframe in exchange for accelerated relocation payments.

It said Eutelsat, Intelsat, SES, Star One and Telesat committed to accelerated relocation. The five must clear 120 megahertz of spectrum in certain areas by Dec. 5, 2021. In a second phase, they must clear the lower 120 megahertz in the remaining areas, plus an additional 180 megahertz nationwide, by Dec. 5, 2023.

“If the companies fulfill these commitments, they will be eligible for up to $9.7 billion in accelerated relocation payments plus reasonable relocation costs, paid for by the new flexible use licensees,” the FCC explained. “Had the satellite operators not chosen to accept accelerated relocation payments, the deadline for clearing the lower 300 megahertz of the band would have been Dec. 5, 2025.”

[Read: C-Band Repack Could Be Costly for Many Stations]

Chairman Ajit Pai positioned this as a big day for American 5G. “The acceptance of accelerated relocation by all eligible satellite operators vindicates the FCC’s approach for making C-band spectrum available for 5G more quickly. Our initiative will enable this critical mid-band spectrum to be used for new and innovative wireless services that will be delivered to American consumers years ahead of schedule.”

The commission’s C-band auction is scheduled to begin this Dec. 8.

The post C-Band Spectrum to Be Cleared on Accelerated Timeline appeared first on Radio World.

“New Nielsen diary data reveals there was no audience impact from COVID-19.”

That’s according to Westwood One, which published a list of “myths surrounding coronavirus and AM/FM radio listening,” particularly hoping to change a mindset about radio that it finds prevalent among media people who live in New York City.

Westwood One warned that the ad community should not project New York’s COVID-19 experiences and media habits to the rest of America; it called this “marketing malpractice.”

It said that AM/FM radio retained 97% of prior listening volumes in markets 50–100. “There was only a –3% reduction in listening from February to April in markets ranked 50–100, dispelling New York City-based media planner and strategist beliefs that no one is listening to AM/FM radio.”

It also cited data from Geopath showing that outside of America’s largest cities, “miles traveled match or exceed prior year volumes” during the week of May 11, and that though miles traveled fell in late March and early April, they had “recovered significantly” since then. The company sought to challenge the perception that “the barren streets of New York City, America’s capital of media planning,” are representative of America.

Seeking to highlight the ongoing effectiveness of radio, Westwood One says Nielsen diary and PPM data suggest that “American AM/FM radio has retained 93% of pre-COVID-19 reach levels and 86% of pre-COVID-19 average quarter-hour audiences.”

It also said 91%+ of Americans are not reached by Pandora and Spotify, whereas an AM/FM radio buy reaches large portions of Pandora and Spotify audiences for free.

Read the blog post.

The post Westwood One Slams NYC-Based Ad Buying Assumptions appeared first on Radio World.

Cox Media Group has a new president and CEO.

On May 29, Daniel York was tapped as the company’s new head. He will be responsible for managing the company’s media platforms as well as overseeing the company’s long-term strategic priorities.

York most recently served as senior executive vice president and chief content officer of AT&T and its subsidiary DirecTV.

[Read: Kim Guthrie Departs Cox Media Group]

York replaces Kim Guthrie, a 22-year veteran with the company who decided to move on from the organization on May 6. Steve Pruett, executive chairman of Cox Media Group, said Guthrie had been instrumental in positioning Cox for future success as an industry-leading media company and thanked her for her decades of service. Guthrie took on the president/CEO role in January 2017 after working in various roles including as executive vice president of national ad platforms.

After the announcement, York said in a statement that he is excited to lead the company, “[one that] has the most talented team and leadership in the industry,” he said. “I have always admired and respected the unparalleled quality of CMG’s 90-plus TV and radio stations, digital and advertising platforms, and the company’s unwavering commitment to journalistic integrity.”

York added that this has proven especially important over past few months, as consumers have underscored the importance of valuable content, local news and entertainment.

While at AT&T, York served as president of content and advertising sales and helped build AT&T’s video business. During his tenure he oversaw all content activities including licensing, operations, strategy, investments, original content, compliance, and ran AT&T’s ad sales and regional sports networks. Prior to joining AT&T, York served as senior vice president of programming and development at In Demand Networks. He started his career at HBO, where he held various management positions, including vice president and general manager at HBO/Time Warner Sports. York has also served on the boards of numerous companies, including the Tennis Channel and the Game Show Network. He currently serves on the board of the T. Howard Foundation, a not-for-profit organization dedicated to increasing diversity in the media industry.

The post Daniel York Named Cox Media Group President and CEO appeared first on Radio World.

A reader asked, “Are there any industry guidelines regarding radio microphones and COVID-19?”

Our sister publication Pro Sound Network has a fun older blog post about “Cleaning That Nasty Microphone.”

Here’s what manufacturer DPA says about “Proper Mic Hygiene.”

This resource from Sennheiser is cogent.

From Audio-Technica.

And a video from high-end mic maker Royer Labs about disinfecting:

More broadly, the Recording Academy Producers & Engineers Wing compiled a list of potential safety measures that production facilities can implement as they return to work. Most can be applied to radio as well.

We welcome links for additions to this list. Email radioworld@futurenet.com.

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