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There’s good news on the horizon for podcast revenue growth, and presumably for radio organizations that are active in that space.

Over the last several years, podcast ad revenues accelerated at a rate “nothing short of stunning,” said Pierre Bouvard, chief insights officer at Cumulus Media and Westwood One. He often blogs in support of radio’s place in the audio arena.

He was commenting in his latest post about a report on U.S. podcast advertising revenues from the Interactive Advertising Bureau and PricewaterhouseCoopers. In doing so, he also noted the ongoing strength of AM/FM radio compared to other audio media, citing separate data from Edison Research.

Growth Trends

With expected growth of 14.7% through 2020, the stage has been set for podcast revenues to hit $1.1 billion in 2021, according to the IAB/PwC report.

Commenting, Bouvard wrote, “Even with the impact of COVID-19, 2020 podcast revenues are forecast to come in at 94% of last year’s 2020 prediction. … This speaks to the strength of audio as a powerful platform for both brands and direct response marketers.”

[Read: TechSurvey 2020 Looks at Podcast Growth]

While it remains to be seen what long-term impact the pandemic has on podcast revenues, IAB/PwC still predicts a 15% jump in 2020. This comes after podcast ad revenues soared 48% between 2018 and 2019, a “stunning” growth rate, Bouvard said.

He said podcast advertising has proven to be more resistant than other media against COVID-19 for various reasons, including the medium’s relatively flexible format, which enables quick shifting of ad messaging; the popularity of news content; and the strength of certain ad categories like direct-to-consumer retailers and financial services, which so far are maintaining market strength despite the coronavirus.

The report listed the top-earning formats. The leading genre for U.S. podcast advertisers is news, capturing 22% of revenues. Comedy captured 17% followed by society and culture at 13%, business at 11% and true crime at 9%. More than 70% of that ad spend comes from those five.

The report also found that annual buys were increasing as a percentage of the total, while “scattered” advertising declined illustrating that buyers are looking at the long term.

A key takeaway for Bouvard is that “ad-supported streaming audio has peaked over the last four years with little audience growth. Podcasting has all the audience growth and advertiser interest.”

Bouvard cites Edison Research “Share of Ear” data showing that podcasting audience shares have tripled over four years while Pandora’s are down, Spotify is up slightly and SiriusXM is up — but that AM/FM remains the dominant ad-supported audio platform.

And he said AM/FM radio’s share of ad-supported audio is consistently strong.

Read Bouvard’s analysis here.

 

The post Podcasting to Break Billion-Dollar Barrier in 2021 appeared first on Radio World.

We like sharing announcements from Radio World’s Who’s Buying What column partly because it gives us a chance to peek into various new radio facilities.

Here’s one from Swiss radio station Canal 3 and Lawo.

The console manufacturer says the station chose a Ruby on-air console and Power Core DSP mixing engine for their recently completed air studio. Lawo provided the photos shown at bottom of this story.

The studio is used for pre-production and as an on-air backup. Consulting, construction and installation of the hardware and studio furnishings were provided by system integrator SLG Broadcast AG.

[See more recent Who’s Buying What stories.]

The flush-mounted console has a split-frame setup with a 12-fader main mixing surface for DJs and a four-fader module for in-studio newscasters; this lets presenters work independently and at the same time. MADI connects the new studio with two existing rooms, currently equipped with Lawo sapphire consoles. And a mobile studio setup in three flight cases includes a 12-fader ruby with Power Core.

The studios are in Biel, southwest of Bern. Canal 3 broadcasts on two frequencies in Bern and Solothurn; it’s a bilingual private station that went on the air in 1984, supplying content for Swiss German- and French-speaking listeners. It broadcasts with DAB+ on SwissMediaCast and C3F on Digris.

Photos are below.

We welcome news for Who’s Buying What from both users and suppliers, including RF and other non-studio applications. Email radioworld@futurenet.com.

 

Above, inside the new studio

 

News position

 

Studio exterior

 

The post Canal 3 Installs Lawo Ruby appeared first on Radio World.

The 2020 College Broadcasters Inc. National Student Electronic Media Convention (NSEMC) will be held online Oct. 28–30. This decision was made by the CBI Board of Directors with the safety of CBI members and guests in mind.

CBI is planning presentations, access to the latest technology and expert vendors and opportunities to network with peers and special guests. There also will be modified versions of CBI’s Swag Swap Social and National Student Production Awards Ceremony.

[Read: College Media Convention Will Be Virtual-Only]

The $100 registration fee for this year will be per media outlet member; so members may include as many affiliated attendees from their organization as they would like.

CBI also will be producing online sessions twice a month between now and the convention, featuring workshops with tips on training, programming and recruiting new members at the onset of the fall semester.

Information for member and non-member attendees, vendors and guests is online. For information on programming, email Events@AskCBI.org. For information about vendor and sponsorship opportunities, email Development@AskCBI.org.

 

The post CBI’s 2020 Student Convention Goes Virtual appeared first on Radio World.

AEQ Forum Split console in use with the Forum Screen Display software on the screen to the left at Miguel Hernández University’s radio station.

Miguel Hernández University Radio is now broadcasting from all four of its campuses in FM and several on-line platforms with the addition of a new studio on the Elche, Spain, campus. AEQ performed the installation and upgrades.

The new digital broadcasting studio includes a room with seats for an audience. The main digital control is equipped with an AEQ Forum Split digital mixer with 16 faders. The Forum mixing console configuration includes five microphone/line inputs, eight analog line outputs, eight AES and SPDIF digital inputs/outputs, four USB inputs/outputs, 64 MADI inputs/outputs and two digital phone hybrids.

[Read: A Look Inside Valencia’s À Punt Radio]

The Forum Screen Display software shows operating parameters and information such as dynamics, parametric equalizer and VU meters.

AEQ installed the mixer together with the auxiliary equipment (microphones, audio monitors, turntables, etc.) to complete the main control room.

AEQ Forum Split console is installed with the Forum Screen Display software on the screen to the left at Miguel Hernández University’s radio station.

In the talent room seven AEQ HB-02 microphone and headphone guest stations with level controls were installed. An AEQ Studio Box desktop signaling system was located in the studio and on-air signs were placed over the entrances and in the studio’s interior.

AEQ digital equipment was also installed at the Orihuela and Altea, Spain, campuses. Both studios share the same configuration: each control room has an AEQ Capitol mixer with dual phone hybrid and an AoIP Dante module enabling the connection of the AEQ NetBox 4MH on-air studio interface. Auxiliary equipment was also upgraded with AEQ HB-02 guest stations, AEQ Studio Boxes and on-air signs.

RW welcomes news for Who’s Buying What, email us at radioworld@futurenet.com.

 

The post Who’s Buying What: UMH Radio Upgrades Its Studios With AEQ appeared first on Radio World.

Daniela Zamora

Daniela Zamora is station vice president and general manager of Zamora family-owned WDTW(AM) in Detroit. It is a Spanish-language music formatted station.

In this Q&A she discusses how the station is approaching the coronavirus, especially in providing timely and useful information to its Spanish-speaking listeners along with keeping the station afloat financially. She was interviewed by Suzanne Gougherty, director of MMTC Media and Telecom Brokers at the Multicultural Media, Telecom and Internet Council. MMTC commentaries appear regularly in Radio World, which welcomes other points of view on industry issues.

Suzanne Gougherty: What has your station been doing to keep Hispanic listeners informed during the continued pandemic?
Daniela Zamora: Daily segments Monday through Friday, updating our community with the latest news releases and data from WHO, CDC, Gov. Christine Whitmer’s office, along with city and local officials.

Gougherty: What feedback have you received from listeners about your pandemic coverage?
Zamora: Overall there has been a very positive response to the pandemic coverage we have been airing. We get a lot of calls asking about links or phone number for additional information on the particular piece of information or story mentioned on-air.

[Read: La Z Seeks to Make Its Mark in Detroit]

Gougherty: Has your on-air staff been working in the studio or have they been broadcasting from home? If from home has it been a smooth transition? 
Zamora: With the exception of our national syndicated programming in the morning which requires a board operator in studio, all of the staff is working remotely. It most definitely was an adjustment with many hiccups along the way, typical connection issues, but thankfully we were able to troubleshoot and quickly pivot to a new working environment.

Gougherty: Did you have the gear available to set up home studios for your talent? Are they feeling comfortable broadcasting from home?
Zamora: Yes, all staff was provided with the computer and studio equipment for working remotely. Thankfully most of our staff was already familiar with the remote setup, so for the most part all were pretty comfortable throughout the transition.

Gougherty: Does your air talent feel more or less connected to their audience during this unprecedented time?
Zamora: Although we are limited in the ability to take live on-air phone calls, we make an attempt to engage more through our social media platforms. We also started a food pantry initiative, setting up food drive distribution centers in Detroit, Pontiac and Taylor. We are proud to have provided help for just over 500 families in the DMA.

Gougherty: How is your sales team holding out? Are they still able to close media buys?
Zamora: We have received some new buys, but mainly just recruitment and political. Like most others, we are doing the best we can to survive and working with our clients in an effort to maintain current advertising campaigns.

Gougherty: Is your IT person keeping your website and other social media platforms current?
Zamora: Yes, we have kept them very busy and they are doing a great job.

Gougherty: What’s the new normal going to look like at your radio station in the months to come?
Zamora: Like many other businesses, we have come to realize some of our work can be done remotely. We are looking into a phased approached. Bringing back talent in-house is the priority and then phase in sales staff on alternate days if need be — keeping the safety of all staff at the forefront.

Gougherty: Is your sales staff focused on political advertising dollars?
Zamora: Yes they are. We have had quite a few political buys placed in the past month.

 

The post Keeping Afloat in the Age the Coronavirus appeared first on Radio World.

Beginning in early April and over 2-1/2 months, a group of volunteers produced “COVID Virginia,” a local format devoted to the impact of the pandemic in the communities of southwest Virginia. It aired full-time on George Flinn Jr.’s station WBZS(FM) in Shawsville, which serves the Roanoke area, and online at www.covidvirginia.com.

Bill Trifiro, a correspondent for NBC News Radio and the 24/7 News Network, helped lead the effort.

I can’t wait to meet most of the volunteers who worked on COVID Virginia.

I have spent hundreds of hours with them, but as I type this I can’t tell you what most of them look like. We formed COVID Virginia via emails and conference calls just as Governor Ralph Northam issued his first COVID-19 related executive order. It was an ambitious endeavor.

Together in Isolation

We decided to fill most day-parts with live and local hosts sharing their experiences through the pandemic and taking calls from residents who wanted to share theirs … all from our kitchens, bedrooms and basements while under the stay-at-home order.

Like many radio markets in America today, Roanoke has a couple of news/talk stations but only two locally produced talk shows, neither of which solicits phone calls. (That’s not an indictment. WFIR has one of the best newsrooms in the country, and to support it without going under, syndicated programming is the only way to survive.)

Historically Roanoke has been a railroad and retirement community. Though we hadn’t had a confirmed case of COVID-19 at the time, we knew that it was going to hit the elderly community especially hard, and we wanted to give residents a place where they could voice their concerns and feel together in isolation.

[Related: “Radio Is the Local Lifeblood of Brands During COVID-19”]

At first, we designed a decentralized model where each volunteer host would feed their show directly to a server that in turn would deliver audio online and directly to the terrestrial tower. The incredibly flexible Backbone Radio technology we were employing would make that possible, after the company graciously donated their platform to us for free during the pandemic.

The problem was time.

Commercial-free

We wanted to get programming going right away. To get all of the volunteer hosts the equipment they’d need and get them trained on the software would take days.

Flinn Broadcasting had just donated WBZS to our endeavor and we were eager to get on the air. To shorten the timeline Backbone Radio provided us a one-button connect, studio-grade audio app that people could load on their phones or computers. This would connect to a board op, who would feed the server/tower; that person was me.

We had no pretense that this was going to be a traditional broadcast. Dogs were going to bark, kids were going to come bursting into our makeshift studios; but we wanted to provide the highest-quality information and offer all of the functionality of a talker in a top 10 market.

iHeartMedia donated NBC News Radio newscasts and its 24/7 News source wire service. Local television stations WDBJ and WSLS donated early-morning and evening newscasts. And since no one was getting paid we’d do it all commercial-free.

After some shuffling of schedules, the volunteers got to work in two-hour shifts.

Up With the Sun

We’d get up early and run WDBJ 7’s newscast from 5 to 7 a.m. Then Ripley Johnson would host “COVID Quarantine Questions” from 7 to 9 a.m. For two-and-a-half months Ripley took a medical and inspirational approach to the issues of the day. Again, no one was getting paid; but Ripley missed only one broadcast — after falling down the stairs to her basement.

She was back on the next day; many would have been laid up for a week.

Our 9 to 11 a.m. time slot initially went unclaimed, so I dubbed it “potpourri” on the programming calendar. When Karl Roeper said he could take it on Tuesdays and Thursdays he quickly dubbed it “Karl’s Roeperi” and it stuck.

From 11 to noon we ran a live press conference, media briefing or a recent broadcast from the governor.

Our noon slot took a look at how COVID-19 was affecting area businesses and provided resources to listeners. Until this point, everyone on the air had at least some radio experience dating back to the 1980s or ’90s; but “Business at Lunch” was manned by two rookies to radio: regional business veterans John Philips and Mary Miller.

Mary liked to say that she wasn’t actually a rookie because she had read announcements in school. John had been a road warrior, and he had a passion for talk radio that I had thought doesn’t exist anymore. He led “Business at Lunch,” booking two, three and sometimes four guests per show. His planning exceeded that of most of the best producers I’ve met.

Hard-Won Experience

The 1 to 3 p.m. slot was held by one of the best voices in radio. Dale Bayless had left radio for teaching. He broadcast from his fortress of solitude, his kitchen, covering a gambit of COVID-19 topics, yet his greatest gift was the ability to put listeners in the shoes of students and young people trying to navigate the new normal.

One woman called in and told me that Dale could read the phonebook and she’d be glued to the radio.

Our afternoon show ran from 3 to 5 p.m., and the host was the glue of the group. I knew a fraction of our volunteers, but Rob Ruthenberg knew them all.

Rob, a broadcast veteran, was the first person I’d called when concocting this whole crazy idea; and before I knew it he had picked up the phone and filled every timeslot.

Like many in the entertainment world, he had had three jobs but then lost them all on the same day. The state and nation were shedding jobs by the thousands. Rob took this recent experience and walked listeners through the ins and outs of unemployment, the paycheck protection program and stories of those who lost their jobs or were on the frontlines and the fears and anxieties they were going through.

We’d run WSLS television news in the evening from 5 to 7 p.m. most nights. After 7 we’d air some virtual press conferences from around the New River Valley. Amy Westheimer would host “Happy Hour With Amy.” Geoff White hosted “Music Junction Friday nights.” Tyrique Nolen, a frontline worker, would host or participate in a variety of shows. Chad Snyder helped co-host the morning show and booked guests. I know I am missing many people who helped along the way.

When I envisioned my role I thought I’d host a long-form news program, but as we were blessed with a large number of volunteers, I settled into news duty on the station, board-op’ing and filling for volunteers who called out due to job interviews and all the things that came with COVID-19. It was an honor.

June Closing

I say it was an honor because after weeks on the air, we reached the end of the governor’s initial executive order. In the days leading up to June 10, we struggled with the idea of ceasing operation. After more than two months the shows had become habit for many of us and gave many something to look forward to; and Flinn Broadcasting had offered to let us continue past June 10.

However, COVID fatigue had set in. We had two state of emergency declarations inside of the COVID-19 emergency declaration; it became harder to discuss social distancing and masks when flooding was affecting our region and when racial inequity and protests dominated the headlines and streets.

Statewide, COVID-19 cases were on the decline, we had reached Phase 2 of our reopening plan, and dates to reopen schools had been established. The feedback from our volunteers was largely in favor of keeping to our charter; so at 11:59 p.m. Wednesday, June 10, WBZS turned back to a music format.

I am not sure what impact, if any, we had on our community. What I am sure of is that with a limited skill set, I did the best I could to help during the pandemic. I met some incredible people, albeit virtually. I am honored to call them friends, and I am proud of the work they did.

The post “COVID Virginia” Was a Volunteer Miracle appeared first on Radio World.

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The Media Bureau and Cumulus Media New Holdings Inc. enter into a Consent Decree regarding compliance with political file obligations

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The Media Bureau and iHeartMedia, Inc. enter into a Consent Decree regarding compliance with political file obligations

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The Media Bureau and Entercom License, LLC enter into a Consent Decree regarding compliance with political file obligations