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This Public Notice announces a virtual event, the Video Programming Accessibility Forum – Online Closed Captioning on December 2, 2021, from 1:00 pm to 3:45 pm ET. Chairwoman Rosenworcel will welcome participants and Senator Markey will deliver remarks.

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Announces auction of construction permits for full power television stations and seeks comment on auction procedures and minimum opening bid amounts

Issued a Notice of Apparent Liability for Forfeiture in the amount of $3,000 to Greater Cincinnati Television Educational Foundation for public file violations for Station WPTO, Oxford, Ohio.

WASHINGTON, D.C. — With the late Friday release of a Public Notice, the Office of Economics and Analytics (OEA) and the Media Bureau seek comment on the procedures to be used for Auction 112, an auction of construction permits for full-power television stations.

The FCC expects the bidding for Auction 112 to begin in June 2022.

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MESA, ARIZ. — Scott Sutherland was recently promoted to the corporate team as EVP of Regional Media Operations for Bonneville International Corp.

Now, his successor as SVP/Market Manager of the company’s Phoenix stations has been named.

Earning the role is Ryan Hatch, who has been the stations’ Vice President of Programming since 2011. He has been with Bonneville since November 2006, where he launched “Sports 620” on KTAR-AM, with the Talk station’s transition to 92.3 MHz, replacing KKFR-FM.

Hatch was previously Operations Manager of Bonneville’s Seattle stations.

“I’m humbled, honored and thrilled for the opportunity to lead the most talented team in local media in a city that my family loves and calls home,” Hatch said. “I look forward to continuing to serve our dynamic and growing community, our advertisers, team broadcast partners and the audiences of KTAR News, Arizona Sports and ESPN Phoenix.”

Sutherland now oversees Bonneville’s Denver, Phoenix, Sacramento, San Francisco and Seattle markets.

The Cirrus Podcasting Suite Dashboard

Content streaming provider Cirrus Streaming recently released a suite of tools for podcast hosting, editing and distribution from a single dashboard. The company says this allows radio broadcasters to create podcasts automatically from a live audio stream.

The Podcasting Suite includes a podcast editor that lets users upload, store, organize and edit files via a multitrack waveform editor. With this, podcasters can trim, splice and insert segments into an audio file from a web browser without the need of separate audio editing software.

[See Our Who’s Buying What Page]

The system also includes an ad server, allowing podcasters to build commercials into their podcast stream. Users can then distribute podcasts to any number of outlets and syndicate them along the way. The suite also offers several playout options, allowing for customization, branding and digital advertising.

“With the rise in podcasting during the pandemic, it’s more important than ever for content creators to take full control of their material, so we’ve taken this into consideration to provide everything they need in one place,” said Cirrus Streaming CEO Nick Csakany in the announcement.

The podcasting suite is available by monthly subscription for broadcasters and podcasters with no contract requirements, the company said.

Send your new product and services news to radioworld@futurenet.com.

The post Cirrus Podcast Suite Supports Radio Applications appeared first on Radio World.

The Women’s Media Center has released its 2021 report on the status of women in U.S. media — a compilation of research that shows the persistent challenges and intermittent progress for women in American media.

WMC’s “The Status of Women in the U.S. Media 2021” report draws data from 110 studies that together show the standing of women across all media, including legacy and digital news platforms, film, television, radio, technology, literature, and more.

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NEW YORK — After coming off a strong September, October 2021 all-media investment volume reached a new year-to-date high, leading into the holiday push. That’s according to Standard Media Index‘s U.S. ad tracker.

How does radio, in particular, rate compared to other media?

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MIAMI — With captioning and metadata company Digital Nirvana confirming on Friday that it is attending IBC2021, even as companies including Viaccess-Orca have withdrawn from the affair, the National Association of Television Program Executives (NATPE) has made it clear that it is moving full steam ahead with its NATPE Miami 2022 event — a major draw for television industry leaders and media brokers.

NATPE, the business association for content producers, distributors, streamers and buyers across all platforms, on Friday revealed its first programming details for its upcoming event, scheduled for January 18-20, 2022 at the sprawling Fontainebleau Resort in Miami Beach.

The main stage program’s first programming details include conversations and fireside chats with Bob Greenblatt, the former Chairman of WarnerMedia Entertainment, Chairman of NBCUniversal Television Group, and founder of the production studio The Green Room.

Also in attendance, of course, is a figure who has roamed the halls of the Fontainebleau for years while rapidly growing his assets in broadcast TV: Byron Allen.

Among the other confirmed attendees set to appear in NATPE Miami sessons are Banijay Chairman of the Americas and Endemol Shine Holdings President/CEO Cris Abrego;
ViacomCBS Global Distribution Group President Dan Cohen; NBCUniversal President of Ad Sales and Partnerships Laura Molen; and veteran media analyst Jessica Reif Ehrlich (née Cohen), traditionally the first person to participate in the iHeartMedia quarterly earnings call Q&A period.

To say that NATPE sees “momentum” building for its flagship event is an understatement. It made a point in its communication to the press on Friday that A+E, “Nick Cannon” TV show distributor Debmar-Mercury, Disney-ABC, Globo, MGM, Univision, ViacomCBS and WarnerMedia are among the companies confirmed to attend the first major content event of the new year.

Global streaming platforms such as Pluto, Tubi, and Redbox to participate as well.

WASHINGTON, D.C. — A new showcase will explore what the NAB is calling “the transformative impact of data, artificial intelligence and automation on the media and entertainment industry” at its long-awaited 2022 NAB Show.

It’s on track for April 23-27, with the Radio Show now permanently locating with the Las Vegas affair.

The “Intelligent Content” showcase, as the NAB is calling it, will direct attendees through data utilization in the content lifecycle, “providing opportunities for inspiration, innovation and implementation.”

Chris Brown, the NAB’s EVP/Managing Director for Global Connections and Events, comments, “Media is becoming more data-driven, and this focused destination marks our commitment to expanding the industry’s use of data and creating opportunities for the media industry to lead the future of content.”

The Intelligent Content showcase will feature networking events, future-focused exhibits and educational programming that will introduce new trends in production automation, content customization and immersive experiences.

AWS, MediaKind and Microsoft will anchor the showcase, located in the West Hall of the Las Vegas Convention Center. The showcase will highlight new engagement opportunities presented by always-on platforms and emerging networks, and the role data will play as the industry opens new monetization models.

Intelligent Content is the fourth content pillar created for NAB Show, joining the previously announced “Create,” “Connect” and “Capitalize.” The four pillars, associated with the content lifecycle, “offer renewed opportunities for learning, discovery and engagement,” the NAB asserts.

Phillystran tower guy lines support the new top section of AM antennas in New Jersey, New York.

From our “Who’s Buying What” page — Project management firm Turris Services Inc. has used Phillystran HPTG tower guys as part of the installation of a new top section of tower for WWRL(AM) at its transmitter site outside of New York City.

The tower was damaged by tornado winds late last year. The rest of the system’s Phillystran guy lines have also been replaced.

“First installed in 1960, four AM towers located in a swamp area in Secaucus, N.J., are used to transmit commercial radio stations based in New York,” Phillystran stated in a project announcement.

“The largest 300-foot tower was first guyed with Phillystran tower guys 40 years ago in 1970. At the time, Phillystran’s PSOM guy lines were supplied. These have now been replaced with Phillystran’s latest High Performance Tower Guys (HPTG) and corona sockets.”

A sample of the 40-year-old Phillystran guy lines.

The company said the old lines had retained their strength. “Subsequent testing of the 40-year-old PSOM guy lines has shown no loss in the residual breaking strength of the guy lines rated at 27,000 lbs. and 15,400 lbs.”

Turris Services retrofitted new top tower sections and installed the HPTG guy ropes. Phillystran makes synthetic fiber ropes for marine, utility, broadcast and military applications; it is part of steel wire rope manufacturer WireCo WorldGroup.

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

The post Turis Uses Phillystran on NYC AM Array appeared first on Radio World.

WASHINGTON, D.C. — The U.S. House of Representatives has voted in favor of the Biden Administration’s “Build Back Better” reconciliation package — a bill that includes provisions in the Local Journalism Sustainability Act.

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(Getty Images/alashi)

Many people do not understand audio processing. People do not listen to your station because you have incredible audio processing, they come for the desired content. That said, audio processing adds to the listening experience, making your audience comfortable and giving them the ability to best enjoy the content.

Naturally, audio processing for broadcast radio should be different from the processing of streaming audio.

For broadcast radio you want to be the loudest on the dial so that when a potential listener hits scan, the station stands out. It almost works as a “stop sign,” demanding the listener pause and pay attention.

This will momentarily capture the audience, but they will stay on the channel for the content. Here audio processing helps create a comfortable audio atmosphere that partners with the content to keep your audience.

For streaming radio, which reaches listeners on their computer, smartphone, or smart speaker, you do not need to be the loudest. As I have said many times, “Clarity beats loudness all the time.” With streaming, the audio should be clean so that the intended instrumentation can be heard. A flute should sound like a flute.

Processes for Downward and Upward Loudness Normalization (from AES Technical Document AESTD1008.1.21-9)

I am not saying compression or expansion should not be used, but they should be used for the intended playback. Process your stream for your stream; process your over-the-air broadcast for the radio.

Use music you are familiar with and that has a good range to calibrate the processing. I tend to use music by Linda Ronstadt because she has a good selection that ranges across many genres. In addition, a woman’s voice tends to have more range than a male voice.

And please remember that audio processing must partner with the content to increase how long your listener stays, and we all want larger total listener hours (TLH).

Loudness guidelines

As far as loudness goes, I highly recommend the new Audio Engineering Society Technical Document AESTD1008.1.21-9: Recommendations for Loudness of Internet Audio Streaming and On-Demand Distribution. This document, released in September 2021, supplies you with all the knowledge needed for loudness and much more.

The key point of the technical document is to keep your loudness consistent across the music, the DJ, the commercials and the station promos. You do not want to invite the listener to adjust their volume. If they are adjusting the volume, it is just as easy for them to change to another stream or turn off the player.

[Read more Radio World articles by the David Bialik.]

This document took the AES’s Technical Committee for Broadcast and Online Delivery (which I co-chair) more than two years to write, but it is available as a free download (which matches most broadcast budgets).

For radio streamers, the most important part of the recommendations is Table 2 on page 6 (reproduced below). This provides recommended loudness levels in Loudness Units with respect to digital Full Scale (LUFS) by format.

AES Technical Document AESTD1008.1.21-9 Table 2 Format Distribution Integrated Loudness News/Talk −18 LUFS Pop Music −16 LUFS Mixed Format −17 LUFS Sports −17 LUFS Drama −18 LUFS

The document recommends audio be normalized, which should not affect dynamic range. Normalization adjusts the loudness of content to match a desired Distribution Loudness by applying uniform attenuation or gain.

I suggest broadcasters use a loudness meter compliant with the ITU-R BS.1770 standard, such as the Orban Loudness Meter. This is a free download, and I believe broadcasters will find it to be an essential tool that provides not only BS.1770 measurements, but also CBS Labs measurements, a VU meter and a PPM meter. I find the addition of the other meters makes your transition to this new meter easier to understand.

David Bialik is a consultant who has held technical broadcast and streaming positions for companies like Entercom, CBS Radio, Bloomberg and Bonneville. He is co-chair of the AES Technical Committee for Broadcast and Online Delivery and chair of the Metadata Usage Working Group of the National Radio Systems Committee. Contact him at dkbialik@erols.com or 845-634-6595.

The post New Guidance for Audio Processing Streaming appeared first on Radio World.

In late December 2017, the FCC sought public comment on whether or not two Mexican citizens—one of whom is a major Univision Communications executive — should be allowed to purchase two FM radio stations in rural Arizona and California.

Nearly four years later, one of those two FMs is being spun.

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NEW YORK — As Forecast 2022 wound down and media executives gathered at the Harvard Club to socialize over cocktails for the first time in over 18 months, the Chief Executive Officer of Spanish Broadcasting System (SBS) had some big news to share.

On Friday morning, that information became public, putting Apollo Global Management and the media company it controls, Cox Media Group, on the hot seat. In short, SBS has asked the FCC to deny CMG’s request for additional time to divest two FMs in Florida — something that must be done per the terms of Apollo’s acquisition of CMG majority control.

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