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The author is co-founder of Telos Alliance and Syndicate of Sounds.

A number of years ago, 2003 or so, Steve Church and I had an idea to enhance HD Radio for FM. To our ears, the HD system for FM lacked a “wow” factor, as the conventional HD signal sounded very similar to the FM-Stereo counterpart.

Just as HDTV offered an incredible advance in visual resolution, we felt the listener needed to experience something similar, with HD broadcast audio. Basically, provide a significant reason why HD Radio was the next step beyond FM-Stereo.

At that time, the record label/audio industry was in the midst of promoting a couple of newer audiophile formats: SACD (Super Audio CD) and DVD-A (DVD Audio). Both of them allowed higher sampling rates, as well as offering discrete, linear 5.1 surround sound.

Record labels began reissuing older catalog material in newly produced 5.1 surround sound. Most were of the rock and classical genre, along with some box sets of complete album catalogs of well-known artists.

We found this exciting for a few reasons, as we were able to hear incredible recordings, by favorite artists, in a whole new light. Also, we got an idea of how to enable this on FM radio.

The new HD Radio platform was still fairly new, and looking for a means to attract consumers of the new tech. As mentioned we felt there was not a significant sonic reason why a consumer would be drawn to this — until we heard music in surround.

We’ve been very fortunate to have maintained a strong business and collegial relationship with the crew at the Frauhofer Institute (FhG), in Germany. On account of this, we learned they had recently developed a new method to transport 5.1 surround within a coded audio environment. This is known as MPEG-Surround.

A simple description explains the usage of the left/right stereo channels for audio transport coding, and at the same time data reducing the surround cues, which are transported alongside the main stereo audio. Then, during the decoding process, the surround cues will properly assign and derive each of the surround channels accordingly. This method provides discrete 5.1 surround and operates within a coded environment platform. The surround cues require very little data, normally around 5 kbps.

Given the data rate of the HD Radio system, MPEG-Surround was the perfect fit for FM broadcast. Automotive listening is the perfect experience for this, and it would surely add the needed “wow” factor to HD Radio, or so we thought.

Telos, along with FhG, built an operating prototype of this system, complete with demonstrations inside a BMW automobile at a couple of NAB Shows in Las Vegas. Anyone who heard the demo was blown away.

So, what happened?
Two mitigating circumstances negatively impacted this innovative idea: the record labels were too quick to pull the plug on producing more surround content, and broadcasters were reluctant to invest in the infrastructure changed needed to add this transmission method to their facilities — even though the Telos Alliance made this all easy and affordable via their AoIP tech, which allows 5.1 surround to easily coexist with stereo signals.

The lack of content was quite possibly the biggest challenge. It would have been very confusing to consumers as to whether their reception was stereo of surround.

Given all that has been expressed here, there has always been a concept that intrigued me. Would it be possible to render discrete 5.1 surround from existing stereo material?

Relevance to radio
This idea is not new, and there have been various upmixing applications available, which will output a “surround” signal.

Most, if not all, of these render surround using some form of simulation, or trickery to generate the added sound field. Most of them employ time delay, phase manipulation, reverb or switching to derive surround.

My goal was to develop an upmixer algorithm that operates in real time, without any of the aforementioned gimmicks — find a linear method that preserves original production integrity and creates discrete surround.

After much research into managing sound fields, I was able to develop a method that creates discrete surround, as it expands the original stereo stage into discrete Left, Right, Center, Left-Surround, Right-Surround, and LFE (Low Frequency Enhancement) or sub-woofer for short.

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This method is now known as Déjà Vu and is marketed through Syndicate of Sounds. The accompanying image is a basic illustration.

The system has been vetted out by some of the biggest names in the recording industry: Gary Katz, Hugh Padgham, Frank Filipetti, Giles Martin and Jean-Michel Jarre to name a few. Each of them has provided the proverbial “thumbs up” to the tech.

So, how does this apply for streaming? Well, after all that background information provided here, it’s really very simple. All of the work done for the HD Radio application ports over 100% to streaming! After all, HD Radio is basically another streaming platform, except we’re not dealing with transmitters and receivers.

Instead of the need to rely on discrete produced 5.1 material, all we need is a great-sounding discrete upmixer for 5.1, and a transport mechanism, like MPEG-Surround, and we are good to go! For the consumer, just about any player app will automatically provide 5.1 surround if an MPEG-Surround signal is present. The players default to this now.

For the streaming installation, all that is needed is a transport codec that both employs the Déjà Vu upmixer and contains MPEG-Surround as a streaming selection. Basically, a stereo audio connection in, and the output is both stereo and surround, all neatly packaged in a standard streaming format.

For broadcasters who stream, this is an excellent way to add a truly amazing wow factor to your online signal, and it does not require any change to your existing infrastructure. Now all content can be presented in true discrete 5.1 surround.

As of early February, the Telos Alliance is finalizing a software update that will enable their streaming product to offer both the Déjà Vu upmixing function, coupled with MPEG-Surround for the transport stream.

Find out more about this topic at syndicateofsounds.com.

The post Déjà Vu: The Streaming “Wow” Factor appeared first on Radio World.

On March 22, 2021, the Media Bureau, Video Division (Bureau) issued a Notice of Proposed Rulemaking (NPRM) in response to a petition for rulemaking filed by Dominion Broadcasting, Inc. (Petitioner), the licensee of WLMB, channel 5, Toledo, Ohio, requesting the substitution of channel 35 for channel 5 at Toledo in the Table of Allotments. For the reasons set forth in the Report and Order referenced below, the Bureau amends Federal Communications Commission (Commission or FCC) regulations to substitute channel 35 for channel 5 at Toledo.

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BOCA RATON, FLA. — A South Florida Democrat who in recent years emerged as a major proponent of legislation that would impose new artist royalty payments on broadcast radio stations in the U.S. has announced that he will step down following the Congressional recess for the 2022 midterm elections.

It’s a major blow to groups including musicFIRST and SoundExchange and perhaps a sign that the NAB-supported “Local Radio Freedom Act” has proven successful on Capitol Hill.

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The “streaming war” continues, with players like Netflix facing stiff competition from ad-supported and ad-supported hybrids such as Hulu and Discovery+. It’s a story the digital video PR machine churns out every day in a bid to declare victory over linear television.

While some believe the OTT story is overblown and a bubble could pop in just months, the ad spend for OTT seen in 2021 as determined by MediaRadar is something everyone in broadcast media should take note of.

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How vital is it for marketers to “bridge the gap” between linear television and streaming?

Just ask HDRadio and Tivo parent Xperi Corp., and a cross-channel TV advertising firm that has planned and executed successful TV campaigns for hundreds of brands.

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BOCA RATON, FLA. — The largest private owner and operator of communications infrastructure in the United States has announced that it has successfully issued $1.368 billion of tower revenue notes secured by its portfolio of 3,526 tower sites.

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BOCA RATON, FLA. — It’s known across South Florida as a “BIG” home for rock and roll favorites ranging from Ozzy Osbourne and Eric Clapton to Men at Work and Tears for Fears. Now, this longtime iHeartMedia property that’s home to veteran local morning host Paul Castronovo could be on the hook for a big fine for a nearly three-year old contest.

Why? The FCC says it violated its rules for failing to be clear on the contest’s eligibility period.

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iHeartMedia faces a possible $20,000 fine in a contest rules violation case. The Federal Communications Commission said the company’s history of contest rule violations played a factor in the amount of the penalty.

The FCC Enforcement Bureau said the case involves a contest — ironically called “You Can’t Win” — that was held by WBGG(FM) in Fort Lauderdale, Fla.

(via @CastronovoShow Twitter)

A person who attempted to participate on May 30, 2019, had won a separate station contest, the “Southwest Flyaway Fridays,” on March 1, so the station call screener didn’t allow him to participate. The listener then argued that the station wasn’t following its own contest rules.

When the FCC inquired, the company replied that an employee had applied a past exclusion rule incorrectly but it also said this wasn’t relevant because the listener would have been ineligible anyway. But the commission ruled that the “plain language” of the contest rules indicated otherwise.

Even if there was an ambiguity, it continued, FCC precedent is that ambiguous rules are to be “construed against the interests of the promoter of the contest.”

The commission also didn’t accept the station’s argument that the person raising the complaint didn’t have “standing” in the case. (Readers who are involved in creating radio station contest rules may wish to read the FCC NAL for specifics of why the commission didn’t accept iHeart’s various arguments.)

The base forfeiture in contest cases is $4,000 for each violation; the FCC opted to increase the proposed penalty to $20,000 in part because the station also failed to maintain the contest rules on its website for at least 30 days after the end of the contest, as required.

But another factor in raising the amount, the FCC said, is that “the licensee is the pro forma assignee of an affiliate with a history of violating the Contest Rule.” The commission listed several examples of contest cases 2000 to 2012 involving stations owned by what was then called Clear Channel.

The station has 30 days to pay the fine or to reply with any counter argument.

This was the second time in as many days that the FCC has mentioned problems of past rule compliance by a major broadcast group; in an unrelated case we reported earlier, the commission took Cumulus to task for various past EEO and other infractions.

The post No, Really, You Can’t Win appeared first on Radio World.

ASCAP reported record revenue for 2021, collecting $1.335 billion.

The American Society of Composers, Authors and Publishers said, “Increases in collections from the audio streaming and audio-visual sectors pushed ASCAP’s domestic revenue to $1.011 billion in 2021, up 4.4%, an increase of $42.5 million over 2020. This was the first year that ASCAP domestic revenues from U.S.-licensed performances surpassed $1 billion.”

It said the strategic growth plan it launched in 2015 has driven revenues to grow at a 5% compound annual growth rate since then.

“ASCAP’s identification, matching and processing of trillions of musical performances drove record-setting distributions that exceeded $1 billion for the fifth year in a row and increased $41 million over the previous year, for a total oaf $1.254 billion available for distribution to its more than 850,000 songwriter, composer and publisher members in 2021.”

It said the total available for domestic distributions of licensed and administered performances was $912.6 million, a 2.4% increase over 2020. It said strong domestic performance offset a drop in revenue from foreign societies of 9.7% “due largely to business closures and the lack of vaccinations.” But its international distributions were up 5.9%.

Its annual report is posted at www.ascap.com/annualreport.

 

The post ASCAP Reports Record Revenue appeared first on Radio World.

For two decades, he’s served as Marketing Director for the CBS and The CW Network affiliates serving the Cleveland TV market.

Now, he’s packing his bags and will soon enjoy Sonoran desert sunsets and perhaps a meal or two at El Charro.

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Its assets include NPR Member station WFYI-FM and PBS Member station WFYI-20 in Indianapolis.

Soon, it will be adding a low-power TV station to its property collection — thanks to a donation being made by a prolific trader of late in the LPTV arena.

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It’s been a topic of interest among marketers and advertisers for the last several years. And, for radio, achieving “addressable advertising” prowess hasn’t been easy.

Audacy Corp. believes it has a solution.

Introducing ADAN — the Audacy Digital Audience Network.

The audio content creation and distribution company formerly known as Entercom called ADAN “an addressable aggregate of over 60 million listeners that other audio platforms and streaming platforms do not reach.’

How so? As Audacy explains, each month the company connects with 200 million “fans” across its broadcast and digital assets.

More than 60 million of these listeners can be found on ADAN across its streaming content, on the Audacy app and on its podcasts.

“Through this high-performing audience solution, ADAN can target precise audiences at scale and deliver high-performing digital audio media strategies for Audacy’s advertising partners,” the company asserts. “Fully integrated into its tech stack, ADAN plans are optimized in real time, yielding actionable brand insights and detailed campaign reporting.”

Among the declarations from Audacy is that ADAN audiences skew “more affluent, are more likely to be college educated and are more diverse.” Then, there is the all-important unduplicated reach to listeners “that other audio platforms do not deliver.”

Audacy did not qualify this claim against competing organizations such as iHeartMedia.

“The creation of ADAN is exciting as we continue to build our Audacy streaming audio and podcast assets,” said Brian Benedik, Audacy Corp.’s Chief Revenue Officer. “The marketplace has moved to audience-based investment and our new ADAN offering is highly scaled with unduplicated digital listeners. We can target these audiences with precision and optimize campaign performance for better marketer outcomes. Our Audacy local and national sales teams are looking forward to working with our agency and brand partners in this capacity.”

Components of the Audience Network include Audacy’s broadcast brands; and podcasts from Audacy’s Cadence13, Pineapple Street Studios and American Public Media.

Exclusive stations, curated music stations from Audacy brands, talent and influencers and digital streams of MLB play-by-play broadcasts via flagship partnerships are also included in ADAN.

It says it is a “fierce defender” of the First Amendment and “the critical importance of the ability to freely express views, both popular and unpopular.”

That said, the NAB explains that the First Amendment “does not prevent private actors from exercising sound, moral judgment.”

That’s why the chief advocacy group for broadcast radio and TV wants any state-sponsored programming with ties to Moscow pulled from U.S. airwaves now.

What will operators in Kansas City and Washington, D.C., do?

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From the People News page: Guntermann & Drunck announced two new sales roles in North America.

“To better serve the many western U.S. customers, and particularly to drive further market success, GDNA is continuing their North American expansion,” it said in an announcement. “Carlos Mira was appointed  director of sales for Mid America, Florida and Latin America, and Silvia van Lieshout joined GDNA North America Inc. as director of federal sales.

The sales team is joined by Andy Cooper, field application engineer.

G&D makes professional KVM extenders, switches and matrix switches; it is headquartered in Germany and has a North American sales and support subsidiary in California.

Send announcements for People News to radioworld@futurenet.com.

The post G&D Beefs Up North American Sales Presence appeared first on Radio World.

There’s a new feature in the iHeartRadio app that lets listeners send voice messages to air talent on participating iHeart radio stations.

“Engage with your favorite on-air hosts and DJs in on-air conversations by tapping, recording, and sending your voice directly from within the iHeart app for iOS and Android,” the company tells listeners on its website.

The user navigates to a participating live station, taps the mic button and records a voice message up to 30 seconds, and hits Send. The voice recording is sent to the station.

The feature only works on participating iHeartRadio live radio stations. The user has to have the latest iOS or Android app.

TechCrunch reports that the feature also will roll out to interested iHeartRadio podcasters who opt in come April.

“What makes this offering unique,” TechCrunch reports, “is that the recordings aren’t just going to some inbox somewhere — Talk Back is integrated with the proprietary iHeartRadio content management system, so the voice recordings are available to use, live on air, within about 10 seconds after sending.”

The post iHeart Adds Talk Back Feature to App appeared first on Radio World.