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The author is with WorldCast Systems.

BIELEFELD, GERMANY — ams-Radio and MediaSolutions is a radio solution provider for seven local radio stations around Bielefeld, Germany, as well as a technical support provider to 12 area radio stations. ams-Radio and MediaSolutions is one of the WorldCast Manager’s early adopters and a user since 2017.

Mario Schoemitz, IT business manager, responsible for the broadcast technology area, shared his company’s experience using the WorldCast Manager platform.

As a solutions provider for radio broadcasters, ams-Radio and MediaSolutions is entrusted to oversee, across multiple sites, FM broadcast equipment from different vendors for applications such as IP transport, media processing and FM transmission.

In 2017, the company was looking for a new, reliable, and easy-to-use monitoring solution which would provide them real-time status, alarms, and other advanced modules to optimize their workflow, maximize equipment uptime, and provide overall support in delivering the best service to their customers, at the level expected of a reputable solutions provider.

UNIFIED, END-TO-END MONITORING

The WorldCast Manager is an enterprise, end-to-end and multivendor monitoring and control software for broadcast and media. It enables users to oversee their entire ecosystem across a single unified view, to centralize data, and to streamline the management of IP-enabled gear and technology. The scalable WorldCast Manager plugs in to any third-party or in-house technology with open protocols and APIs, and functions on an open-driver policy.

Its combination of modules enables users to:

● Maximize their equipment uptime thanks to real-time alarms, notifications, time-based reporting and root cause analysis;
● Save time for operations with time management features, event resolution tracking, and advanced control for remote actions over connected equipment with industry standard protocols;
● Make intelligent decisions by aggregating data from multiple units and locations, then transforming that data into comprehensible, visual insights and reports.

ams-Radio and MediaSolutions primarily uses the WorldCast Manager for monitoring, reporting, and analyzing events for their customers. It directly informs their technicians in the case of major events, enabling fast intervention.

The WorldCast Manager has, according to Schoemitz, significantly improved his team’s workflow. Thanks to the platform’s user friendliness and range of functions, it makes it easy for everyone at the company to oversee all events at each transmitter site, across one, single view.

“We’ve recently upgraded to the newest version and we are very excited about the new modules. The best aspect for us is the analytics. We can compare all events in the timeline and see the relationships between events.”

The new reporting module is designed to save time and quickly generate updates for customers.

“I recommend the WorldCast Manager as a very powerful tool for all broadcasters; it is very easy to use and gives users all the information that they need for monitoring multiple sites,” he said.

For information, contact Tony Peterle at WorldCast Systems in Florida at 1-305-249-3110 or visit www.worldcastsystems.com.

The post WorldCast Manager Sees the Big Picture appeared first on Radio World.

VILVOORDE, Belgium — In May, commercial radio stations Qmusic and Joe started broadcasting from their new studios, on the ground floor of the DPG Media (former Medialaan) building.

Joe Presenter Alexandra Potvin broadcasts from the new “green” Joe studio, which boasts lots of daylight and state-of the art equipment.

The new setup comprises 10 broadcast studios and production rooms (with Europe’s first DHD Audio RX2 mixing desks), editorial offices and meeting places.

The “Sound Park” caters for two FM frequencies, nine DAB+ channels, 20 streaming channels plus additional production assignments.

Omnia 9 MKII multiband processors are located in DPG Media’s datacenter.

Last year DPG Media gave the green light for new radio studios, serving both Qmusic and Joe. “The studios on the building’s top floor were installed more than a decade ago,” said Bas Boone, project leader Sound Park for DPG Media.

“Moving the radio studios to the ground floor required quite some research and design, the key options being visibility and lots of daylight. During the building, Joe and Qmusic continued broadcasting from their ‘old’ on-air studios.”

BOOSTING VISIBILITY

The goal was to make both brands’ on-air studios visible by placing them in the main entrance hall (Qmusic) and the central corridor (Joe). “A first challenge was the entrance hall without any cabling or production facilities,” continued Boone. “We assigned acoustics company iDeal Acoustics to take on the building and acoustic research and calculations of the project.”

iDeal Acoustics started working in the DPG building last September. “We had to throw away old principles of hidden broadcast studios, replacing them by open on-air rooms, literally without studio doors, yet 100% acoustically perfect,” said Matthias Aerts, CEO of iDeal Acoustics. “The acoustic measures and elements had to fit the visual design made by architects Arf&Yes.”

Thanks to the flex desks, the Qmusic and Joe facilities offer lots of space for meetings and a large auditorium.

Initially, Aerts wanted to place both main on-air rooms as box-in-a-box, but with each on-air studio weighing some 17 tons, iDeal Acoustics had to review the plans. “The weight of the studios required us to reinforce the building’s floors,” he continued. “To place the double-glazed walls, weighing one ton each, we drove in a construction crane.”

Six radio studios, three production studios, the box-in-box artist lounge and control room, and a green key studio were all individually calculated in terms of acoustics and insulation. Each room was equipped with tailor-made bass traps, absorbers and custom-built wooden diffusors.

“No room is identical,” explained Aerts. “For Joe’s on-air studio, with a partially floating floor, the initial plan was to decorate it with green and plants. As this resulted in poor acoustics, we asked a company in Norway to grow a specific kind of moss, with optimal acoustic transparency, completely in line with Joe’s imaging. With Qmusic, we used customized felt, manufactured in the station’s branding.”

“We have a new broadcast site thanks to incredible team effort,” said Bas Boone, project leader Sound Park for DPG Media.

BASIC PRINCIPLE

iDeal Audio manufactured the studio furniture for the production rooms and the control room. It also handled the majority of the infrastructure work, carpentry and integration with a team of nine staffers working in the DPG Media building, in addition to the workers in the company’s factories.

The new radio floor was equipped with over 36 kilometers of data cables (mains, data and fiber were part of the building infrastructure). Amptec installed all of local cabling in the studios and the Netconnect-connection to the DPG Media datacenter. The company also managed the integration of the radio studios and complete system solution for the new radio environment.

Editorial staff, located in an open space next to the main on-air studio, has direct contact with the presenter.

The Sound Park serves both Qmusic and Joe in a similar architecture. With daylight being a crucial element, the complete 1,200-square-meter floor faces the street. The implementation of “flex desks” meant less office furniture was necessary. This resulted in more space for meeting places, an auditorium and conference rooms, offering room for 100 workers.

The broadcast and production studios are stretched alongside the main corridor, from the entrance hall to the back of the building.

“The basic principle was that our studios had to be used for both radio brands, offering identical basic functionalities and a standard presenter setup, the only difference is the size of each room. The on-air and production studios each have a DHD RX2 console, a Dalet Galaxy cart player, four fixed Neumann TLM 102 microphones and three Sennheiser HME 27 headset microphones, with Genelec 8351AP monitors,” said Boone.

TECHNICAL DETAILS

Qmusic producer Elke Gyselen enjoys the daylight during her Workalicious morning show.

Every studio is equipped with a TC Helicon reverb unit, two Empirical Labs EL8 Distressors for processing and compression (in combination with the DHD RX2’s automix function), a DHD XC2 core, a Telos VX telephone hybrid, four silent PCs and an Adderlink XDIP KVM extender, linking the equipment in the  data center with the studio using KVM over IP.

Joe’s and Qmusic’s studios are among the first in the world to use the new RX2 consoles.

“In total, we supplied and installed seven RX2 mixing desks and nine XC2 cores. Six consoles plus cores are used in the radio studios, one RX2 and XC2 is used for staging and testing, one core serves 13 compact DHD 52TX multitouch-based consoles. One dedicated XC2 core is for HTML5-based programs using virtual consoles,” said Bart Lamberigts, Amptec broadcast business unit manager.

In addition, the broadcaster makes use of a Prodys Quantum 3RU frame with eight AoIP codecs for on-site broadcasts, OB vans or live reports, to connect with the DHD system via AES67.

“The whole radio infrastructure is a huge AES67 implementation — like the interconnection between Dalet Galaxy and DHD — we thoroughly tested the Dalet playout server using a Digigram AoIP board, which directly communicates with the DHD using the AES67 protocol,” added Lamberigts. “This assignment confirms our company’s leading role as supplier and system integrator.”

Both Qmusic and Joe’s main on-air studios use LIGA, an in-house developed central integration system. “It was engineered by our Dutch Qmusic colleagues and a big leap ahead towards maximum integration. The system connects with virtually all the digital tools like the Dalet Galaxy playout software, the DHD console, lighting, web APIs, the IT backbone and the videowalls,” added Boone.

All studios are equipped with Panasonic AW HE40 cameras for visual radio — the video signal uses IP connectivity using NewTek NDI technology. The system is steered by Microsoft Kinect sensors in combination with DHD’s level detector feature.

SIGNAL FLOW

The on-air audio signal is channeled over 11 Omnia.9 processors for the two FM frequencies and nine DAB+ feeds. “The Omnia.9 with the MKII upgrade is one of the most powerful multiband processors on the market,” explained Edo Dijkstra of studio integrator TVV Sound. “The MKII upgrade makes it AES67-compliant, alongside Livewire. This is one of the country’s most extensive Omnia.9 installations.”

TVV Sound also supplied five Telos Alliance Z/IP Stream R/2 streaming platforms, each with a capability of eight simultaneous streams, with incorporated Omnia.9 software. “Two Axia Pathfinder Core Pro engines act as virtual core for the studios and control the digital channels via either Livewire or AES67 — quite a unique concept allowing to integrate parameters and commands in case of signal loss, technical problems or off-air warnings,” added Dijkstra.

The Omnia processors, the playout storage devices and Dalet playout machines (one for each radio channel), as well as the encoders and the FM signal distribution (via Broadcast Partners’ transmitter park) and DAB+ (via Norkring) are stored in nine huge racks located in DPG Media’s data center.

“We have taken quite a few risks in the building process but everything turned out well, thanks to the thorough preliminary research, and the great team effort. External companies, some 30 DPG Media technicians and in-house engineers Kurt Vervondel for the audio engineering, Stefan Hessens and Tim Tuboville who supervised the playout and backbone,” underlined Boone.

“These new studios mean more than just shifting places. The technology we installed makes us more than future-proof, and ready for the digital future,” said An Caers, radio director for DPG Media. “In three years from now, 50% of the Flemish audience will listen to digital radio. It’s our ambition to be Flanders’ most inspiring and innovating audio company. The talent of our radio team in combination with groundbreaking technology is helping us to achieve that goal.”

 

Top Notch Recording Facility

There are a total of 11 DHD 52TX multitouch consoles in the radio and production studios.

The new broadcast site also features a state-of-the-art concert lounge and control room, combining the advanced technology with new equipment.

“There’s no radio station in the country offering this quality; it was a huge investment but this console will last for a lifetime,” said Iann Castelein, DPG Media radio project manager/sound engineer.

“We opted for this analog mixing console because of its supreme sound quality,” he added. “The audio output is AOIP-linked to our radio studio. We’ve already carried out many recordings and we are seeing artists coming specifically to record on the system here and then release the tracks commercially.”

Mathijs Indesteege, sales director & product support for SSL distributor Joystick Audio, who also handled the studio cabling and supplied the patch bays believes the SSL AWS948 console with Delta Control, featuring hands-on workflow and advanced DAW integration with automation, is ideal for DPG’s strict requirements.

 

The post Qmusic and Joe Inaugurate New Studios appeared first on Radio World.

It’s been three decades since Radio World International was launched. An offspring of Radio World, we started as a monthly print publication and have grown steadily over the years, documenting evolution and innovation in the radio industry worldwide.

Today, through our print issue and digital editions we reach more than 13,000 readers worldwide each month. Via the Radio World website, which brings together the best of all our industry-leading digital platforms, we reach another 23,000 monthly users.

To celebrate our birthday, we’re publishing a selection of photos we received from you. Thanks for sharing and growing with us over the years!

A portrait of Lawrence Cohen from Utica, N.Y., who has had the ham radio call sign ‘WA2TVN’ since 1977. Richard Barnett of Syracuse produced the drawing in 1993. Inovonics’ current president and CEO Ben Barber is pictured at KIAM radio in Nenana, Alaska, in 1987. Inovonics’ founder and radio fan Jim Wood in 1958. Jean-Francois Sallé, founder of Style FM, broadcasts from the studio in Berck, France, in 1994. The station, which aired from 1991 to 1998 and reached some 200,000 listeners, was already making use of solutions, including a Logigram 400 CD jukebox and a homemade scheduler. AEQ founders participate in a trade show in Valencia, Spain, in 1985 to promote the company’s first analog audio console, AEQ MK3. Pictured from left are Miguel Sancho (now CTO) and Rogelio de la Fuente, the firm’s now retired CEO. AEQ technician Rafael Mayoral tests AEQ equipment (audio amplifiers and distributors) in Leganes, Spain. Telos Alliance founders Steve Church (left) and Frank Foti are pictured collaborating in the early years. Greg Shay, Telos Alliance CTO, and Ioan Rus, Telos Alliance software platforms manager, at NAB 2001. Pat Mudgett broadcasts from the KRKO, Everett, Wash., studios in support of the Allied war effort during WWII. (photo courtesy Mudgett family and KRKO) 2wcom’s Werner Drews on the IBC show floor in 2005 with the first company booth. The Audemat team at IBC in 2002. Pictured from left are Helen Miller, Christophe Poulain, Daniel Werbrouck, Bruno Rost and Nicolas Moulard.

 

Bob Orban in Orban’s factory in San Leandro, Calif., during the first Optimod 8200 production run.

 

Rob Chickering, a radio engineer, tinkers with a Comrex THX system in the late 1980s.

 

 

 

 

Wheatstone’s early years at its ‘Grey Barn’ facility in Bethany, Conn. Radio Globo Brazil field reporter Alfredo Raymundo Filho, left, interviews Hungarian-Spanish footballer Ferenc Puskás c. 1960. Photo courtesy of Thiago Carneiro. The disco years c. 1974, founder Gary Snow center front in red shirt.

 

 

 

Tieline’s Patriot POTS audio codec from the 1990s.

The post Radio World International Celebrates 30 Years! appeared first on Radio World.

From left to right: Jim Rome, Sean “Hollywood” Hamilton, Ryan Seacrest, Dr. Ruth Westheimer, Joe Madison, Kevin Ryder, Gene “Bean” Baxter, Harry Harrison and John Tesh.
Photo: Photo by Michael Kovac/Getty Images for Radio Hall of Fame

If anyone doubts the diversity and depth of radio’s talent, look no further than the Radio Hall of Fame’s 2019 inductees.

The Radio Hall of Fame honors radio talent and commemorates their accomplishments in Chicago’s Museum of Broadcast Communications.

The 31st RHOF class features Jim Rome, Joe Madison, Sean “Hollywood” Hamilton, Harry Harrison, Kevin Ryder, Gene “Bean” Baxter, Ryan Seacrest, Dr. Ruth Westheimer and John Tesh, all of whom were celebrated Nov. 8 at Gotham Hall in New York.

The timing of the designation was particularly significant for KROQ(FM) duo Kevin and Bean; the induction was held one day after Bean signed off the air for the final time.

This year’s event was led by emcee Mike Francesa, a 2018 RHOF honoree. Special guest announcers included Jim Bohannon and Jimmy Fallon, among others.

 

The post Radio Hall of Fame Highlights Radio’s Deep Bench of Talent appeared first on Radio World.

Philippines-based firm BeatBoy in collaboration with the association of Philippines broadcasters, Kapisanan ng mga Brodkaster ng Pilipinas (KBP), and Manilla-based telecom company MegaCellular, unveiled the HDR-101 mobile phone with HD Radio tuner in December 2018.

KBP says it embarked upon the project so that Filipinos could easily listen to digital radio broadcasts. According to the organization, its goal was to make available a mobile device to allow the population to “simply and affordably” obtain digital radio broadcasts.

“We’re hopeful that receivers at this price point will make it more accessible for developing markets to have a digital radio solution,” it added.

The Philippines introduced digital radio broadcasts in Manila in 2009. Today there are eight stations delivering 13 digital audio programs via HD Radio technology. Broadcasters offering digital radio services in the country include Manila Broadcasting, Eagle Broadcasting, RMN, Far East Broadcasting Corp., Rajah Broadcasting and ABS-CBN. In addition, operators have recently launched digital services in other cities such as Davao and Cebu.

KPN adds that the HDR-101 has generated a lot of interest in digital radio solutions overall. “The phone made digital radio listening in the Philippines more attainable. Since its introduction, new product designs and projects have been developed to facilitate digital radio accessibility on mobile devices and in receivers for the home.”

 

The post KBP Facilates Access to HD Radio Broadcasts appeared first on Radio World.

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

One of community radio’s great challenges is keeping the income flowing. We are not alone. Frankly, income is a challenge faced by commercial media colleagues as well. How is community radio positioning itself to do well? New research might point out ways to do better.

For noncommercial broadcasters, a big source of income comes in the form of underwriting, those spots with specific rules that adhere to Federal Communications Commission policies governing noncommercial media. There are many disputes in some corners of community media about underwriting. To a few people, underwriting is little more than glorified advertising. However, the sophisticated ear hears the difference, and the smart station knows where it can go with its spots, because they’re integral to revenue.

[Read: Community Broadcaster: Are You Listening, FCC?]

Underwriting is beneficial for the local independent business looking to associate its name with something beloved like a station; for a station to demonstrate its support is broad and spread all around town; and for the listener to be informed about local happenings and places to visit. Many community radio stations rely on underwriting as income that isn’t derived from the dreaded pledge drive. For all the reasons above, a community station’s underwriting program must operate optimally to be effective.

Unfortunately, community stations nationwide seem to struggle with keeping the best underwriting teams in place. A new study may shed some light on finding and attracting the right underwriting accounts representatives to take your station’s underwriting up a notch.

The Center for Sales Strategy’s State of Media Sales 2019 report reveals some intriguing, and some not-surprising attitudes among stations and sales staff.

A few stations want to rely on 100% commission for an underwriting job. Not only are states looking askance at such arrangements these days, but competition for good sales people is fierce. In addition, according to the report, only 8% are willing to work for solely commission. The majority — 57% in the CSS poll — want a package that includes both base pay and commission.

However, stations should not assume shifting to a salary structure will be satisfactory. A whopping 92% of those surveyed indicated disinterest in a compensation package that did not include commission.

How much is your station investing in training and developing your underwriting staff? What kinds of printed materials about the station are you putting in their hands? Is it of the quality you want and expect to make an impression on a prospective underwriter? Your community station’s leaders should be asking all of these questions, because it turns out this sort of people investment is more meaningful than meets the eye. Around 25% of stations say their reps don’t have the collateral they need, and over 20% say the material they have for their staff isn’t current. More troubling, one-third of managers are not conducting regular sales training sessions with staff.

Is it any wonder then that managers suggest 20–30% of their salespeople are underperforming?

Stations expect more sales appointments from their representatives, even as those reps are finding it harder than ever to get appointments. It thus stands to reason that equipping a station’s representatives with the skills, materials and support they need to do their best benefits not just them, but a station and a community.

 

The post Community Broadcaster: Money Moves appeared first on Radio World.

To read more on this topic, check out the free Radio World ebook “Is Your Transmitter Ready for Lightning Season?”
https://docs.google.com/forms/d/e/1FAIpQLSdPf0xmahJmFOOgjT82pn2bPXK-kkmJgZ0sbSJ7Qx-GuP4R2Q/viewform

Dear Editor,

I just got to read the Sept. 25 issue and would like to add a comment on the article “Seeking Enlightenment on Lightning Protection?” by Jeff Welton as it pertains to fiber optic lightning immunity.

I live and work in Iowa where, like most flat states, if you stick a 10 penny nail in the ground, it will probably take a direct lightning hit in the next storm.

Four years ago, my telephone provider switched from copper pair and DSL to homes and businesses to direct fiber. This was a great thing for my internet, when went from 5 meg down and 1 meg up to 100 meg both ways. And all was well until the next summer.

A fairly active thunderstorm came through and there was a strike near the end of our driveway about 1/4 mile from our home. I knew it was close because there are two light fixtures out there, and the bulbs were both blown and melted into their sockets.

Well, after the strike, we had no phone and no internet; also the television, Apple TV box and two computers wouldn’t turn on. It wiped the phone company’s fiber-to-copper modem mounted on the outside of the house, wiped the router, both computers, the Apple box and the input board on the television where the HDMI cable from the Apple box was plugged in.

After the phone company fixed their problems and I got the TV fixed by Apple (and fixed the television myself and threw out the computers), we were back to normal.

I thought maybe it had hit the lights and come back through the AC line, or hit my ham tower,. I checked all the grounds and let it go, figuring the fiber is glass, it couldn’t possibly come through there.

A year later almost to the day, same exact thing. This time it didn’t damage the outside lights — just the modem, router,  Apple TV, television and another computer.

Now I was suspicious. I told the telephone repairman, “It seems like we never had trouble when we had copper pairs; but now since you guys went to fiber,  we are having lightning damage to anything connected to the fiber.”

Well, the guy was on the ball. He said, “You know, the fiber is in a copper shield to protect it from crushing; maybe it’s coming in on the copper shield.”

The shield was bonded to the modem, which had the usual four-foot ground rod driven. Next day, they sent a crew that terminated the copper shielded cable outside and ran just a piece of fiber, one strand into the house and moved their modem to the basement.

Now there is a length of 15 feet of pure glass between the incoming cable and the modem. Since that was done two years ago, we have had no trouble, though the storms are as potent as ever.

Watch out for buried fiber, it can be destructive. It’s not all glass.

Ron Schacht
Kensett, Iowa

The post IT’S NOT ALL GLASS appeared first on Radio World.

Skyview Networks is highlighting a new audio distribution data center in Phoenix, Ariz. The facility, which opened this spring, is a satellite uplink farm and private cloud server system that Skyview says is notable for its broadcast reliability.

The company, founded in 1995, started with a focus on satellite distribution for pro sports and has evolved into a large audio distribution and inventory management provider. The facility processes and distributes ABC Audio, CBS Audio, Local Radio Networks, Alpha Media and professional and collegiate sports organizations; Skyview says it now has capacity to quadruple for new client acquisition.

“With this new primary facility, Skyview Networks’ capability and capacity more than doubles for its national news and lifestyle networks, and play-by-play sports,” it said in an announcement.

HEAVY USER WORKLOAD

According to a factsheet, the Skyview Networks Audio Distribution Data Center has 10 Megawatts of generating capacity and 100 GBps of Tier 1 Network ethernet to multiple cross-connects in North America, Asia, Europe and South America. It uses 2N+1 redundancy on its power, networking, cooling, uplink, automation and inventory management systems; and it has 300 TB of storage capability (Skyview says this is equivalent to 1.3 times the size of the print collections in the Library of Congress).

It also has 3 TB of RAM, enough to store its entire library of commercials, “equivalent to four years of audio,” but is using only half.

“Since Skyview Networks’ applications and systems support both internal and external users, it averages a 6,000+ user workload daily between its ABC, CBS and sports programming.”

It said the plant qualifies as a “Tier IV” facility, meaning multiple redundant capacity components, dual powered equipment, multiple uplinks and fault-tolerant components including uplinks, computers, storage, chillers, HVAC systems and servers.

Vice President of IT Christopher Horvat said, “The storage environment supports many workloads, including traditional core infrastructure virtual machines — Domain Controllers, management apps, etc. — application servers that include database and web servers, and the main VMs that transcode audio in real time or automate the broadcast networks of ABC, CBS and sports programs. This in full consists of over 5,000 radio stations.”

Horvat said the company aims for “sub-second” business continuity.

“To achieve those results, we maintain warm standby systems end-to-end as a 2N environment, which is why Skyview Networks has two HPE 3PAR systems and 12 blades instead of one 3PAR and six blades. The goal is to have enough capacity that if Skyview Networks’ systems fail on one side, all systems can keep running without an issue. For corruption prevention, the team maintains daily backups of all VM/Hyper-V environment and 15-minute backups of the database environment to allow for an instant restore in case the base data is lost to corruption.”

Horvat also highlighted its monitoring and protection capabilities. “I believe this is the future in software-defined cloud systems and flexible, efficient scalability for client growth,” he stated in an announcement. “As our momentum continues to accelerate in the audio space, we are well-prepared for continued expansion.”

Flexential, a hybrid IT solutions provider, is Skyview’s vendor partner for the colocation services in which Skyview’s uplink facility resides. Horvat said Flexential had the infrastructure (e.g. the ability, look angle, conduit and electrical) at its Phoenix data center to allow Skyview Networks to create its own private cloud using the high availability resources that they manage on Skyview’s behalf, such as power, WAN/BGP Networking and cooling. The transmitter farm in the photos is connected to Skyview’s cage on the colocation floor for management and signal multiplexing/modulation and powered by the redundant power infrastructure at Flexential.

Skyview has been seeking a higher profile lately and drawing attention to several of its initiatives. For example, Skyview and Amplifi Media have a partnership offering custom audio solutions for agencies and clients that want to curate branded audio content. Separately it signed a partnership with Local Radio Networks under which Skyview becomes the network sales partner and satellite distribution provider for JackFM’s Adult Variety format.

Fox Sports announced a partnership with the company for USC football and men’s basketball broadcasts, looking to increase the Trojans’ broadcast footprint beyond the West Coast.  And Skyview Networks sponsors an annual “audio upfront” event for agencies and media buyers in New York.

RW seeks candidates for technical facility profiles. Email us at radioworld@futurenet.com.

The post Skyview Networks Debuts Primary Uplink appeared first on Radio World.

A group of EEO rule supporters are standing against a tide of comments from broadcast groups to reiterate that the FCC’s equal employment opportunity rules prevent discrimination, promote competition, advance minority ownership and should remain a matter of the highest priority.

The filing is led by the Multicultural Media, Telecom and Internet Council and is supported by 37 individual groups that make up the EEO supporters list including the Black College Communication Association, League of United Latin American Citizens and the National Asian American Coalition.

[Read: Additional EEO Rules Are Unjustified and Unnecessary, According to NAB]

The group lays out five key proposals that are aimed at helping the commission fulfill the goal of alleviating discrimination in the electronic mass media industry. Among those proposals are the suggestion that EEO data be gathered for research on industry trends and EEO program effectiveness; EEO data be requested from licensees found to have failed to engage in required recruitment efforts; stations submit certifications as proof that job postings occurred before hiring decisions were made; additional audits be undertaken in case of probable-cause violations; and the commission open an inquiry into the pattern of consistently low representation of minorities in radio news.

According to the group, existing EEO regulations are helping to ensure that all qualified persons, including minorities and women, can learn of and compete on an equal footing for job openings.

“Talent and creativity are what makes broadcasting and multichannel video competitive with other media industries,” the group said in its filing. “The diversity of the employee pool is an especially critical input in these industries, which require an ever-growing stream of creative people on the line staff and in management. In a business such as media, whose product is the distribution of the fruits of talent, it is unsound economic policy to exclude or drive out anyone on a basis other than merit.”

The rules also help advance minority ownership, the group said in its first filing in September. “Any weakening of EEO enforcement … would convert radio deregulation into a cynical ‘bait and switch’ — a broken treaty with the American people. We must never overlook the important role played by the EEO rules in facilitating minority ownership by providing an entry pathway and opportunity for hands-on training for tomorrow’s broadcast owners,” the group said.

In a second comment filed in November, the EEO supporters said that EEO regulation is not only necessary but also justified from a cost-benefit standpoint.

“The costs of enforcement and compliance to the FCC and regulatees, respectively, are minimal, and the benefits are enormous,” the group said. “That cost here consists of the additional effort, beyond those costs that attend standard personnel administration, required to ensure that all job openings are timely posted online and are emailed to a list of community groups. Thanks to online recruitment, that cost is virtually zero.”

Responding to comments from the National Association of Broadcasters, the EEO Supporters said the NAB is conspicuously absent from making any suggestions on what the commission can do to combat cronyism or other forms of discrimination.

“Looking back at the nation’s history, and particularly at the history of broadcasting pre-1968, it cannot be said that federal nonintervention, or federal looking-the-other-way, or federal cutbacks in civil rights enforcement, or civil rights ‘self-regulation,’ ever were effective strategies in combating race and gender discrimination,” the group said.

“Aggressive, proactive federal leadership was manifestly required and still is today,” the group said.

The group said that the question that all parties — including the NAB — should be answering is: What can the commission do, right now, to finally and successfully finish the job of opening the doors of the nation’s most influential industries to all individuals?

These comments and others are being made as part of the FCC’s request for reply comments on the commission’s Equal Employment Opportunity Compliance and Enforcement Notice of Proposed Rulemaking. Those comments are housed in the commissions’ ECFS database using Media Bureau Docket Number 19-177.

 

The post EEO Supporters Stand Firm on Benefits of FCC Employment Rules appeared first on Radio World.

Belgian commercial radio stations Qmusic and Joe began broadcasting from their new studios in May. The upgraded facilities, which represent an investment of €3 million, comprise new broadcast studios, production rooms, editorial offices and meeting places. Read about the upgrade and more in the November issue of Radio World International.

BEST OF SHOW 

Discover the award winners at this year’s IBC show

30TH ANNIVERSARY

To celebrate our 30th anniversary, we’re featuring a selection of historical pictures you have shared with us

ALSO IN THIS ISSUE

RFmondial Launches Multiplexed DRM For FM Band

VRT Rolls Out Light Remote Radio Studio

Buyer’s Guide: Signal Monitoring, Remote Control, Test and EAS 

The post Inside the November issue of Radio World International appeared first on Radio World.

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Media Bureau adopts a Memorandum Opinion and Order adopting consent decree with civil penalty for $5,000 for violations of section 301 of the Act and sections 73.189 and 73.1680 of the Rules

It’s part art, part science and a lot of mystery.

It’s Search Engine Optimization, commonly known as SEO. And no matter what anyone tells you, there isn’t a person on the planet who knows precisely how to manipulate it. Even former Google employees who specialized in SEO offer conflicting advice to clients.

What is a radio station wanting to improve their SEO to do? Let’s start by addressing a key concern: How to fund it.

Unless you have an employee with a background in SEO and time on their hands to work extensively with your website and YouTube channel (see my last two columns), you’re going to need a specialized agency.

FIND A PARTNER

I am not advocating a big expenditure for an SEO agency.

Many towns  — whether large or small  — have SEO consultants who would like exposure to a greater pool of potential clients for their SEO services. You guessed it, I am suggesting you seek a full or partial trade of radio advertising in exchange for help with your radio station’s digital properties.

You’ll want to trade for the value of a monthly retainer, plus a specified number of hours. Partner with an SEO agency (or ad agency that also does quality SEO) that has already licensed a keyword search tool such as Brightedge.

While there are free keyword search tools, I recommend you select a company large enough to actually have a license with a well-known entity. A legitimate keyword search tool will enable your new agency to prioritize the most relevant keywords for you; categorize keywords to maximize the performance of your content; look for opportunities for keywords that you can “own,” and provide insight into the competitive landscape.

Why is SEO so important? Entire books have been written to answer this question but they all have the same punchline: Organic search. That is, when a user types a query into Google or another search engine, you will achieve the best possible outcome for your website.

This is because the intent of the user determines the success of your metrics. And if someone easily finds what you offer, they will stay on your website or YouTube channel longer because you’re giving them what they want.

When users don’t get what they’re looking for, the opposite occurs, with the traffic “bouncing” off the site with no continued interaction. This is why bounce rates are always so much higher for search engine marketing, when users click on an ad or paid keyword result only to find something that doesn’t match their expectations.

Regarding YouTube, it is difficult to obtain great search ranking, but that doesn’t mean you shouldn’t try. Maybe you’ve got a few unique in-studio music performances that will surface in search. Make sure they are tagged appropriately and that descriptions are unique, very specific, and totally accurate.

FIVE TIPS

There are several other basic but important ingredients in SEO that I’ve personally seen make a difference:

1) Getting more inbound links from authoritative websites to your website. He who gives also receives, so perhaps there are several large websites in your market with which you can create a linking agreement. Local newspaper websites, official local government sites (maybe you can get a link for aggregated school closings, or some other service you offer), local television websites, local sports team sites and any other sites that do well in your city. Tied to this idea is linking from your branded platforms like your YouTube channel and all of your other social channels.

2) Greater internal linking to your own content pieces. Although time-consuming this is easy and can be done gradually.

3) The depth of your website in terms of the number of pages matters, so don’t delete pages unless they can’t be updated. Over many years, sites grow substantially without your even realizing it.

4) Talk to your SEO company about building and submitting a site map. There is substantial disagreement about whether to submit a site map, or just wait for Google to crawl your site. Unless your SEO company is prepared to fix issues uncovered when constructing the site map, it’s probably not worth it to you. However, if your agency specializes in this, it could be effective.

5) Finally, you gotta have patience! SEO is not for short-term thinkers who want results tomorrow. This can be a challenge for radio station managers who demand immediate ratings results on a near-monthly basis. SEO takes time to work. I’ve seen results in three months, better results in six months, substantial results in a year.

Fair warning: There are no guarantees with SEO, but like so many creative endeavors, those who are willing to experiment and take chances often win the game.

Mark Lapidus is a multi-platform media, content and marketing executive, and longtime Radio World contributor. Email mark.lapidus1@gmail.com.

The post Let’s Untangle the Knotty Mystery of SEO appeared first on Radio World.

In this latest series of articles on the FCC’s Notice of Proposed Rulemaking on EEO rules, the National Association of Broadcasters takes a stance that is shared by other broadcasters who have publicly commented in the ECFS database — that there is no evidence of discrimination in broadcasting that justifies additional regulation or that more EEO rules will actually increase employment diversity.

The NAB filed their reply comments as part of the FCC’s request for reply comments on the commission’s Equal Employment Opportunity Compliance and Enforcement Notice of Proposed Rulemaking.

“Instead of imposing more top-down, unproductive obligations, the commission should focus its efforts on practical measures that will directly impact diversity,” the NAB said, such as increasing public awareness of EEO opportunities and industry education.

[Read: 50 Broadcast Groups to FCC: Remove Obsolete EEO Rules]

The NAB also took a stand against a proposal suggested by a group of EEO supporters that called for more frequent EEO audits. Rather, the NAB said, the FCC should minimize the unjustified burdens of EEO audits by eliminating audits for small broadcasters.

“The record does not contain a shred of evidence of discrimination in broadcasting,” the NAB said in their comment filing. The NAB said that the group relies on conjecture to argue that intentional discrimination is a widespread problem in broadcasting and that it demands additional regulation.

“Moreover, to our knowledge, the commission has conducted tens of thousands of reviews of broadcasters’ EEO programs since the rules became effective in 2003, without one finding of discrimination,” the NAB said.

As other broadcast groups have done in this proceeding, the NAB also raised the question of constitutionality. “The existing rules already push the boundaries of constitutionality. No previous version of the commission’s EEO rule has survived judicial scrutiny, and the current rules persist in part because they have never been challenged,” the NAB said.

“[I]mposing more rules, especially the collection of data about the racial and gender composition of a station’s workforce on Form 395-B, could threaten their sustainability,” the NAB said. Thus, the commission should be extremely wary of imposing additional EEO requirements.

Comments on the FCC’s EEO proposed rulemaking can be seen in the commissions’ ECFS database using Media Bureau Docket Number 19-177.

 

The post Additional EEO Rules Are Unjustified and Unnecessary, According to NAB appeared first on Radio World.

Seeing the handwriting on the wall, the C-Band Alliance reworked plans for splitting the coveted midband spectrum by offering 300 MHz of bandwidth to the cellular industry for 5G expansion into U.S. markets.

Meanwhile on Capitol Hill, a new bill was introduced late last week that would force the FCC to conduct a public C-band auction in the major markets, with profits earmarked for rural broadband expansion, and not satellite operators.

[Read: C-Band Contention Ramps Up]

The proposed bill muddies the waters, since the C-Band Alliance was feeling fairly confident that, by reorganizing the midband spectrum one more time, they could deliver a solution that works for satellite operators and broadband.

Previously the CBA had offered 200 MHz to 5G, but the FCC has made it well known that more spectrum for 5G was required. The increase includes a 20 MHz guard band, leaving 5G with 280 MHz of usable space.

How Would The Proposed CBA Split Work?

I know what you’re thinking: How can a mere 200 MHz for C-Band’s incumbent users now be adequate, when earlier this year CBA’s “line in the sand” was 200 MHz for 5G/300 MHz for C-band users? According to the CBA, it’s a perfect storm scenario which includes:

• Migrating more non-CONUS clients to lower frequencies;
• A number of customers choosing not to renew their space segment contracts (the CBA noted the natural migration of customers to SD multiplexes, terrestrial, etc.);
• Efficiency gains at the uplink level via encoders and modulators.

Why Congress And Why Now?

Don’t doubt for a second that broadband (and their lobbyists) have been quite active on Capitol Hill.

This being said, at least a few members are concerned that their “vision” of a 5G America may be stymied by the FCC. In a joint statement, Rep. Frank Pallone Jr. (D-N.J), Energy & Commerce Committee chairman, and Rep. Mike Doyle (D-Pa.), chairman of the Communications & Technology Subcommittee, stated they believe legislation may be the only way to “reduce uncertainty and benefit Americans.’’

In a nutshell, the Clearing Broad Airwaves for New Deployment (C-BAND) Act:

• Requires the FCC to hold a public auction of C-band spectrum;
• Allow for no less than 200 megahertz and no more than 300 megahertz of C-band spectrum [with 20 MHz set aside for guard bands];
• Ensures that incumbent C-band users will be protected by mandating that they get as good or better service than before.

Of course, this eleventh hour grandstanding is concerning to satellite operators. If this bill passes, who picks up the tab for the new filters, repoints and — in some cases — antennas that broadcasters will need to operate with 5G sharing the spectrum? Who will finance the launch of several new satellites?

All of these expenses would be covered under the C-Band Alliance proposal, but are not even addressed by the proposed bill.

Dusting Off The Crystal Ball

Will the FCC accept the CBA proposal? We’d like to answer with a definitive “yes,” but with legislation pending, who really knows?

But what we do know is that the clock is ticking. The midband issue has been in limbo for two years, and both C-band operators and 5G advocates are hoping for a decision, and soon. If the bill fails to pass, all indications point to the FCC making their decision in December.

We believe the CBA will be a part of the transition in some fashion, since the alliance has been very vocal in their intent to implement the safe and efficient clearing and repurposing of C-band spectrum. It only makes sense that you should have the owner/operators of the orbital antennas involved, right?

Let’s hope the FCC commissioners agree.

 

The post CBA Revises Its Proposal to the FCC, Congress Says It Is Getting Involved appeared first on Radio World.

The FCC is seeking a full-court review of a three-judge panel decision vacating its broadcast media ownership deregulation decision.

The commission filed a petition for review Thursday (Nov. 7), arguing that the three-judge panel decision of appeals court imposed burdens beyond those allowed in the Administrative Procedures Act, second-guessed the FCC to the point that it undermined congressional intent, and breaks with higher-court and sister-court precedents.

[Read: Court Sends FCC Back to Drawing Board on Media Ownership]

In September, that panel of the U.S. Court of Appeals for the Third Circuit vacated most of the FCC’s deregulatory order, saying the agency “did not adequately consider the effect its sweeping rule changes will have on ownership of broadcast media by women and racial minorities.”

The court was hearing an appeal by Prometheus et al. of the FCC’s fall 2017 decision under Chairman Ajit Pai to eliminate the newspaper-broadcast and the radio-TV cross-ownership rules; allow dual station ownership in markets with fewer than eight independent voices after that duopoly created an opportunity for ownership of two of the top four stations in a market on a case-by-case basis (the FCC was not calling it a waiver); and eliminate attribution of joint sales agreements as ownership; and created a diversity incubator program.” As well as create some diversity mechanisms to address the court’s long-standing concern.

Pai signaled back in September that the FCC would challenge the decision and made it clear what he thought of the court’s persistent remands of FCC deregulatory decisions.

“For more than 20 years, Congress has instructed the Federal Communications Commission to review its media ownership regulations and revise or repeal those rules that are no longer necessary,” said Pai at the time. “But for the last 15 years, a majority of the same Third Circuit panel has taken that authority for themselves, blocking any attempt to modernize these regulations to match the obvious realities of the modern media marketplace. It’s become quite clear that there is no evidence or reasoning — newspapers going out of business, broadcast radio struggling, broadcast TV facing stiffer competition than ever — that will persuade them to change their minds. We intend to seek further review of today’s decision …”

An FCC spokesperson was echoing that Nov. 7, saying “Over the last 15 years, while the media marketplace has changed dramatically, the same Third Circuit panel has repeatedly prevented the FCC from modernizing its ownership rules, including the newspaper-broadcast cross-ownership rule that dates back to 1975. We hope that the full Third Circuit will agree to hear this case and finally allow the FCC to update these rules for the digital age.”

“It is extremely disappointing that the FCC would prefer to fight rather than do what would benefit everyone, which is to assess the impact of its actions on its goals of localism, diversity and competition,” said Andrew Jay Schwartzman, senior counselor at the Benton Institute and one of the attorneys who argued the case for those challenging the deregulation. “As a legal matter, this petition comes 15 years too late; the FCC’s challenge is really to what the same judges found in 2004, and if it had problems with the initial holding, it would have had to make this appeal at that time.”

 

The post FCC Challenges Court’s Broadcast Dereg Smackdown appeared first on Radio World.