Aggregator

.

FCC Releases the Agenda for ACDDE April 28 Virtual Meeting

.

.

FCC adopts Order on Reconsideration of Political File Order concerning complaints involving the political files of various broadcast televisions stations.

.

.

What do listeners want during this time of coronavirus and stay-at-home mandates? According to several recent surveys, they want reliable information, entertaining hosts, a little less COVID-19 coverage and a healthy dose of local coverage.

Several recent surveys reveal what listeners want right now from AM/FM radio. These include a listener survey conducted by the Radio Advertising Bureau and Jacobs Media; the March 2020 Nielsen Portable People Meter Survey; and a Westwood One survey that polled more than 1,150 listeners between March 31 through April 8, 2020, about their listening habits.

The key takeaways: Listeners are still tuning in. They are flocking to their home stations. But many listeners aren’t aware of exactly how to tune into their AM/FM station on a secondary device like a smartphone or laptop computer. That presents stations with an opportunity to intensify education efforts around how to access AM/FM radio on different devices — particularly now that many of those listeners may be sheltering at home.

[Read: AM/FM Holds Fast in a Volatile Media Landscape]

One key finding as part of the Westwood One survey was that listeners may be a bit tired of round-the-clock coronavirus updates. By nearly a four to one margin, listeners say they prefer normal programming over coronavirus updates. Among regular listeners to a variety of AM/FM radio formats, between 72% and 78% said they preferred to hear normal programing. The survey revealed that listeners to urban format stations reported the strongest desire to hear programming focused on coronavirus.

The survey also found that listeners like what they like: They still want to hear their favorite music, and they still want to be entertained by funny, lively AM/FM radio personalities. The Westwood One survey found that music, personalities and information continue to draw listeners. When asked about why they listened to their favorite AM/FM radio station in the past seven days, 56% of heavy AM/FM radio listeners chose “they play my favorite music” as the main reason.

Radio also scored high marks when it came to providing localized programming. According to the Westwood One survey, AM/FM radio is closely linked with local news and information. A total of 27% of listeners surveyed said they consider AM/FM radio as the media most likely to provide information specific to their locale.

AM/FM radio was also considered to be a key outlet for reliable, enlightened information about current events. The RAB and Jacobs Media study found that for coronavirus information, consumers place their greatest trust in government medical organizations such as the Centers for Disease Control and the National Institutes of Health followed by their favorite AM/FM radio station. Social media ranked lowest on the trust scale — at 1% versus 54% for the CDC and 48% for a listener’s local radio station.

The survey also found that radio is still reaching a wide swath of commuters despite the shelter-in-place orders that exist around the nation. The Westwood One survey found that 60% of heavy AM/FM radio listeners who normally work outside the home are still commuting to work. Though might come as a surprise, 47% of those who normally work outside the home are still making the commute to work.

“AM/FM radio is the soundtrack of the American worker,” according to the Westwood One survey. “Those who are still working away from home are power AM/FM radio users. The more people listen, the more likely they are still working away from home.”

Radio stations should also be aware that a sizable number of those surveyed still do not know how to listen to AM/FM radio on certain devices like a smart speaker or desktop computer. The Westwood One survey found that one out of four smart speaker owners do not know how to listen to AM/FM radio stations on their device. The same is true for smartphone owners — one out of five of those individuals don’t know how to listen to AM/FM radio on their phones. The trend continues when it comes to laptop/desktop users as well as tablet owners: 17% of laptop/desktop owners and 26% of tablet owners do not know how to tune in to an AM/FM radio station on those devices.

There’s one listening format in particular that could use a dose of smart speaker education: country radio listeners. But those listeners are not alone. A large swath of listeners of oldies/classic hits, adult contemporary and rock formats also do not know how to listen to AM/FM radio stations on their smart speakers.

The Nielsen survey also revealed a happy trend: Even after states like California issued shelter at home orders in mid-March, listenership to AM/FM radio proved to be much stronger than some have predicted. According to Nielsen, when comparing March total audience deliveries to February, the survey found that American AM/FM radio maintained nearly all of its audience.

Specifically, AM/FM radio retained 96% of its reach and 90% of its average quarter-hour audience between February 27 and March 25, 2020. Cume and average quarter-hour audience retention was consistent across demographics, race and ethnicities, the survey said.

 

The post Amidst Stay-at-Home Orders, Radio Listenership Remains Strong appeared first on Radio World.

Radio World will launch a free four-part series of weekly webcasts exploring how major broadcasters are reinventing their workflows and air chains to support remote operation. The first will stream April 28.

“The world of radio has just changed dramatically,” said Editor in Chief Paul McLane. “Remote broadcasting isn’t just an option anymore. It’s a mission-critical part of the industry because of the global health crisis.”

[Read: 2019 NAB Show Product Report]

The series is called “Broadcasting From Home.” Each 45- to 60-minute webcast explores how prominent broadcasters moved fast to create new solutions in the face of the unprecedented threat to their normal business practices.

The first episode, available April 28, explores how Bonneville’s Sacramento cluster built its remote workflow. Featured are Jason Ornellas, director of engineering for Bonneville Sacramento, and Nate Mumford, director of sales engineering for sponsor RCS.

 

The post Radio World Launches “Broadcasting From Home” Web Series appeared first on Radio World.

Getty Images/Sean Gladwell

David Julian Gray is NPR’s senior product manager, content production. Before the coronavirus crisis hit, he was preparing to lead an NAB Show session about radio metadata including the value proposition for metadata through the content lifecycle 

Radio World: Let’s start by updating our understanding of what the term means in 2020. How do you define radio metadata in this context?

David Julian Gray: A classic definition of metadata is “everything but the thing itself,” meaning all the descriptive and technical information about an object. 

In terms of radio, and media production and distribution in general, “the thing itself” is a media file or a stream, often called the “essence.” 

All the information that helps identify and describe the essence is its metadata. The station ID, the origination producer, program, season, episode, story, by-line(s), voices, subject tagging, production data such as component files and production staff. Technical metadata includes container format (e.g. MPEG-4), encoding format (e.g. AAC), sample rate, bit rate, etc.

RW: The description for the session that didn’t happen called metadata “both the glue and lubrication of digital workflows and distribution.” Expand on that.

Gray: That something can be both “glue and lubrication” may seem counter-intuitive, but that’s how metadata enables and enhances media workflows, and why it’s essential for digital workflows. 

To take a step back: In ancient times “the thing itself” was a reel or cassette of tape, or sheets of copy; something material we could hold in hands. How do we get ahold of a digital essence? With metadata. The name of the file, its storage location, that’s “lubrication” — getting the system to flow. 

But to go from an idea to a program stream to the listener requires a multitude of systems, and that’s where metadata as glue becomes important. Assigning Guaranteed Unique Identifiers (GUID) and other standardized identifier conventions that can be shared across systems “glues” media objects across systems and contributors, ensures the correct media is used through its lifecycle, production, distribution, reuse. Standardized semantic tagging helps with discoverability, aids end users to find the content they want. 

RW: What role does metadata play at NPR?

Gray: At the most basic level, again, metadata answers the question: “Where’s my stuff?”  

As a modern media organization we present and collaborate with our members and other partners across a variety of platforms: broadcast, podcasts, smart speakers, mobile apps. To navigate this multiplatform landscape, NPR uses a variety of systems for production, distribution, archiving, and support functions like analytics, identity management, etc. 

Metadata is essential for integration and efficiency. Our most mature systems automate capture and generation of descriptive metadata to ease the burden on users; and we’re also starting to automate use of semantic tagging from controlled lists curated by our team of information scientists. Not every system is this developed, but as our systems evolve and mature, increasing use of standardized metadata from common, authoritative sources, improves that efficiency and enables new opportunities.  

[Related: Put Your Best Foot Forward in the Digital Dash] The Artemis archive system used by NPR Research Archive and Data Strategy shows auto-tagging of semantic metadata.

RW: Can you discuss another example of the kind of application that typifies metadata trends?

Gray: A key focus of the North American Broadcasters Association’s Future of Radio and Audio Symposium is hybrid radio. That is an umbrella term to refer to a range of technologies melding broadcast and internet. 

Last year NABA published “The Value Proposition of Radio in a Connected World,” which addressed how metadata is essential for success with hybrid radio, connected cars and apps on mobile devices. There are a variety of technologies, RDS, IBOC, RadioDNS, available for broadcasters to link additional data and images to broadcast streams. These can range from whatever they can put in RDS’ 128 characters all the way to entire interactive websites synchronized to the broadcast stream. Many folks are already familiar with artist name, title and album art available from the HD Radio Artist Experience. With emerging technologies like 5G and smart speakers moving to cars, media producers can link content across platforms — so a song or interesting story they hear in their car can be tagged to be finished on a mobile device later, or additional, related material can be tagged to be explored on another platform or device.

RW: What would you say is a key takeaway from this discussion?

Gray: Capture your metadata early and often, and keep it handy; it’s the glue that ties your supply chain together and the lubrication that moves your content through it. We talk a lot about the importance of metadata to enhance the listener experience and create opportunities for audience and revenue growth. That assumes metadata is available. Consider the entire lifecycle, from initial idea to audience discoverability to long-term preservation, and best practices in the care and feeding of enabling metadata.”

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

The post Metadata Is Both Glue and Lubrication appeared first on Radio World.

BRUSSELS — Extraordinary situations require innovative solutions.

Since March 13 Belgian Dutch-language broadcaster VRT introduced safety measures in view of the Covid-19 crisis. In addition to the station’s radio editorial and technical staff, some 10 presenters plus a number of sidekicks have been working from home.

Daan Masset uses the On-Hertz LUMO virtual radio studio with a little help from his son. All photos courtesy of VRT.

All of the VRT’s radio channels are making use of remote technology to continue the program content flow, from alternative/rock Studio Brussel to the Klara classical channel, MNM, Radio 1 and Radio 2.

“Alongside its national programs, Radio 2 continues to work from the regional centers, informing and entertaining the Flemish audience,” said Kris Van Veeckhoven, of the VRT’s production facilities department.

Daan Masset uses the On-Hertz LUMO virtual radio studio.

“As part of the safety measures, we have a minimum occupancy in our offices. Our editorial staff continues its work work from home — in addition to the usual software package with Dalet, Pluxbox and MusiciMaster, we have provided every staffer with a Skype For Business account. This allows them to record interviews and store them directly in a Dalet folder.”

Whereas some presenters are using AETA’s Scoopfone via 4G or LAN, Radio 2 Limburg’s Daan Masset morning DJ hosts his program using LUMO, the virtual radio studio developed by On-Hertz.

“We may continue to use these applications in the future,” continued Van Veeckhoven. “That’s the advantage of this situation: You start to use new systems, simply because you have to. And we learn things rapidly. In the case of Radio 2, we see the growing popularity of the Radio 2 app and the use of Quicklink. This VoIP solution was meant to be introduced step by step, and is now used all over the VRT’s radio channels.

Guy De Pré produces his Sunday morning show from home.

Quicklink provides an easy link between studio and user/interviewee. We have been using the technology for Radio 2’s living room concerts, who were then were streamed over the Radio 2 app to some 50,000 users per day.”

The “teleworkers” are using Pulse Secure connectivity a secure link between radio staff and the VRT.

Radio 2 “Radio-inspector” Sven Pichal enjoys the view from his living room.

Radio 1 presenter Ayco,  and StuBru host Fien Germijns worked from their bedroom studios, KlaRa host Bart Stouten produced his program in his living room, like Daan Masset. “You actually smell and feel when you make radio at home. Another advantage is that I don’t have to get up at 04:30 to catch a train,” added Stouten, who uses the AETA Scoopfone.

Guy de Pré, host of Radio 2’s iconic “De Préhistorie” Sunday morning radio show, produces his program in his home studio. “The program isn’t broadcast live, although this would be possible,” De Pré explained.

KlaRa presenter Bart Stouten says “You can smell and feel when you make radio at home.”

“Instead, I puzzle all elements like audio fragments, jingles, music and presentations together. It’s quite time consuming as it takes about four days work to put together a two-hour radio show.” The final version is routed to VRT’s DaletPlus system and then broadcast on Radio 2.

Radio 2 studios are continuously disinfected for health reasons.

Christophe Delplace, head of VRT’s technical radio support division, said that in the case of an emergency, the regional broadcast hubs are able to serve as broadcast centers. “When the emergency plan is activated, the Radiohuizen (radio houses) in Ghent and Louvain serve our five

The post VRT Gets Creative With Remotes appeared first on Radio World.

.

.

.

.

.

.

Ben Barber is president/CEO of Inovonics, based in Felton, Calif. This is one in a series of interviews about how industry people are managing during the health crisis.

Radio World: Well Ben, normally we’d be chatting in the aisles at the NAB Show today. What is the world like at Inovonics right now — are you open for business?
Ben Barber: Very unique. No one alive today has seen a worldwide pandemic like the one we are currently going through, so everything is different.

We are open for business. Inovonics does not interact with the public in any way so there is no fear of infecting the community that we live in. As long as UPS, FedEx and USPS are still picking up and delivering, we are able to ship product.

[Read: Exploring the Inovonics 674 AM Monitor Receiver]

RW: You sent an email Monday to your customer list. What was the main point?
Barber: We had three reasons for sending it.

One, to let our industry know that we are still in business, both shipping gear and supporting our customers who already have our products. Two, to let our industry know that Inovonics has not abandoned our employees. We sent everyone home five weeks ago as a safety measure. Those that can work from home are doing so, and those that can’t work from home, Inovonics continues to makes sure their financial needs are met.

Three, to publicly show our appreciation for radio engineers who are keeping their stations on the air, and for those in the healthcare industry as well as stores that are continuing to serve the population. You have our thanks!

RW: How has your manufacturing process been affected?
Barber: Our production has stopped. Years ago we made the decision to build for stock and not for orders. This means we have all of our products on the shelf, rather than scrambling to build something when we get the order. Under normal circumstances this makes work life less stressful and we can plan out our builds. This has worked well over the years, though there will be a push to ramp things back up quickly on products that may have gotten low during this shutdown.

RW: Are you as a supplier affected by any problems in access to supplies of components?
Barber: Not currently. Again since we build for stock, we buy our components in advance so we have them in inventory when we’re ready to build. I can’t think of anything we are behind on or waiting for in order to put product on the shelf other than the green light to once again have our team in the office building gear.

RW: Are Inovonics products being used in different ways than before, as a result of the pandemic?
Barber: I would say no. Inovonics’ products are ones “that go with transmitters,” so unless stations are expanding their signals (which I don’t think many currently are) then our equipment would not necessarily see an uptick in sales or applications. The segment of our industry who are making microphones, headphones and audio codecs are probably a different story!

RW: What else should readers know?
Barber: I want your readers to know that we are grateful to them for all the work they do, every day, not just during a pandemic. I have not talked to one engineer who is sitting on his hands doing nothing. Instead, most are working harder than ever to not only keep their signal on the air but to keep the air talent connected to the stations so they have meaningful content. To them I want to say, thank you, job well done! We are going to make it through this time together.

 

The post At Inovonics, Shipments Continue appeared first on Radio World.

It was clear from the beginning that Congress had not found enough money to prevent small businesses — defined as those with fewer than 500 employees — from feeling the pain inflicted by the COVID-19 pandemic in the United States. As legislators continue to negotiate a second round of funding, broadcasters of all sizes are speaking out, hoping to get their portion of the loans in order to stave off further financial disaster.

Hawaii Media Owner George Hochman feels strongly that Congress should authorize more funding for the Small Business Administration’s Paycheck Protection Program under the Coronavirus Aid, Relief and Economic Security Act. 

Hochman is dedicating air time to encouraging listeners to express their own support for the PPP, running a spot 18 times per day from 6 a.m. to midnight on all 15 of his stations in the Hawaiian islands.

Listen to Hochman’s spot now using the media player below or download it here.

http://www.radioworld.com/wp-content/uploads/2020/04/Paycheck-Protection-Program.wav

 

Hochman encourages other small radio stations to participate in this effort.

“Owners/managers, get on the air, use your airwaves to get your listeners off the fence and support this program. Now is the time to use the power of our voices and let the public know that they need to call their representatives and tell them to refund” the SBA’s Paycheck Protection Program “and do it now, so their employees can get back to work,” Hochman wrote in an email to Radio World.

Meanwhile, the National Association of Broadcasters is supporting a bipartisan letter from U.S. Senators Maria Cantwell (D-Wash.), John Kennedy (R-La.), Amy Klobuchar (D-Minn.), and John Boozman (R-Ark.) that is urging their colleagues to open up future SBA loans to broadcasters and news publishers with more than 500 employees. 

The original PPP legislation excluded any businesses of this size or larger from applying, but NAB and the senators say that local news outlets are being hit especially hard by the pandemic, despite playing a critical role in informing listeners, viewers and readers. 

The senators explain their rationale for seeking the exception in the letter: “Even though these news outlets may be owned by larger groups, they operate independently.” Therefore, they write, “Waiving SBA’s affiliation rules for local newspapers and broadcasters and ensuring that financial assistance flows to the local affiliate, not the parent company, would allow these small, local operations to be eligible for much-needed financial relief.” This change would allow broadcasters the same carve-outs created for the hospitality and restaurant industries, which the Washington Post reports have already drawn significant criticism.

A NAB press release quoted NAB President Gordon Smith as saying, “America’s broadcasters are providing trusted and credible lifesaving coverage to keep citizens safe during the COVID-19 pandemic, yet local stations are suffering advertising losses of historic proportion that will undermine this critically important service. We urge Congressional leaders to support this proposal to provide immediate SBA loan eligibility to more local radio and TV stations,” 

A similar effort is being led by U.S. House Antitrust Subcommittee Chairman David N. Cicilline (D, RI) and Representative Jim Sensenbrenner (R, WI) in the other Congressional chamber.It is important to note that 97% of the original program’s $349 billion was allocated in less than two weeks, according to the Financial Times. However, the amount of funding floated for the next round is likely to be significantly smaller — closer to $310 billion, according to CNBC, despite increased demand as the effects of COVID-19 hit more sectors.

The post Broadcasters Small and Large Pursue PPP Loans appeared first on Radio World.

The deadline to nominate in the Special Edition “Best of Show” Awards has been extended to May 1.

“We’ve pushed the deadline by two weeks in light of the just-announced timetable for a virtual version of the NAB Show, to give all interested companies the chance to participate,” said Paul McLane, managing director of content for B2B Media Technology brands.

“The Best of Show program has always been conducted during the NAB Show, and when the physical show was cancelled we established the Special Edition version to help fill that gap. Now, with the timetable set for NAB Show Express, it makes sense for us to sync to its timetable. We will announce the winners during that week in mid-May.”

The Special Edition Best of Show Awards program is an initiative of our parent company Future plc to showcase new, innovative products introduced this spring for specialized technology users.

Companies can nominate products for awards presented by the following publications and websites: TV Technology, TVBEurope, Digital Video, Government Video, Video Edge, Radio World, Pro Sound News, Sound & Video Contractor, B+C, and Next TV.

Companies seeking guidance about which brand to enter for can find guidance here.

Winners will be selected by panels of professional users, technical experts and editors based on descriptions provided by companies via the official nomination form. Companies pay a fee to enter; not all products are selected as winners. All nominees and winners will be featured in a Program Guide sent to readers this spring.

“Our thanks to the many companies that are participating in the 2020 awards despite the disruption caused by the pandemic,” McLane said. “Our media technology marketplace is a vibrant place, and there’s clearly plenty of innovation and hard work going on, judging by the nominations to date. Meantime we’re also all looking forward to being back in Las Vegas next year for a more traditional spring show.”

For more information about the Special Edition Best of Show Awards, visit the official website.

 

The post Deadline Is Extended for “Best of Show” Special Edition appeared first on Radio World.