Radio World

Voice of Alexandria in Minnesota was developed in 2013 in order to “provide a much broader voice for all that is happening in the Alexandria Lakes Area.” It is associated with three Leighton Broadcasting radio stations in West Central Minnesota.

Not long ago, the term “survival” was a distant thought. Now it’s difficult not to think about it several times daily. We must continually consider how we survive this terrible pandemic both physically and financially. We must plan carefully now for the future.

Being local is no longer an option for terrestrial radio. The choice is to be local or to risk irrelevance. As listening habits continue to shift toward more time spent with Spotify, Apple Music, Pandora, podcasts and other choices, being a radio station without localization is a long-term losing proposition.

Where’s the local opportunity?

[Read: Take Time to Renew Relationships]

The most obvious is in news, talk and information. It may be difficult for programmers under 40 years old to remember local news on anything other than an actual full-time local news station, since consolidation has unsparingly wiped out local news on music stations.

For the most part, these had been inexpensive news operations; often the “news department” was one dedicated staff member and a few part-timers.

Super-serving New Jersey with relevant news is part of the ethos at New Jersey 101.5.

When they were eliminated, local newspapers initially filled the void. But then so many newspapers folded that it left hundreds of towns — especially those without TV stations — with little to no local news.

However, some local news websites, often based on formerly printed publications, survived; and we have seen radio stations partner with or buy these local news websites and then promote and sell advertising in combo.

This is a great plan if you’re able to replicate it.

There is an opportunity in many cities to bring local news back to radio, especially during drivetimes. There is no reason why your :60– to :90–second local newscasts can’t be recorded slightly in advance of use to maximize your sole reporter’s time.

Another strong option continues to be the talk/news hybrid with local hosts. If you don’t think the talent is out there, I refer you once again to the relatively new “Clubhouse” app, where thousands of hosts are honing much of the same skill set required for local talk radio.

When a radio station pursues a news, talk or information agenda, it is a gathering place for community. This leads to loyalty, which is any station’s key to success. Another understated benefit is that when people listen to spoken-word programming — even when it is part of a music station — it is not usually heard as mere background; rather, it engages actively, a huge benefit to local advertisers who are counting on people to hear their messaging.

What makes WTOP so profitable? The answer is at the top of its homepage: News. Traffic. Weather.

Who is consistently the top-billing radio station in America? It’s WTOP, the all-news station in our nation’s capital. Other success stories include Trenton’s NJ101.5 in the talk/news format since 1990, when Walt Sabo not only innovated localization, but also convinced ownership that it belonged on FM.

And for those who think this can’t work in a small- to medium-size town, check out KXRA in Alexandria, Minn., with a county population of 36,529. The “Voice of Alexandria” has local news and sports, a daily updated event calendar, an on-air “Swap Shop” and a strong, locally focused website. And it’s all supported by enthusiastic hometown advertisers.

To be clear, this is not about positioning statements. If you say “we’re local radio” but don’t actually deliver the goods, you will not win fans. This proposition is for courageous programmers and owners who realize that it’s past time for radio to return to its roots in localization.

 

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Photo: Dave Rushen/SOPA Images/LightRocket via Getty Images

Planning to shut down British AM (MW) radio should begin, while analog FM services should stay on air until at least 2030. These are some of the key recommendations in the just-released Digital Radio and Audio Review, which was commissioned by the U.K. government in February 2020.

Declining audience share is the reason for ending British AM. According to the Review: “AM — which according to estimates calculated for the Review now accounts for just 3% of all radio listening — has reached the point where the BBC, commercial radio and Ofcom need to prepare for the retirement of national services. However, traditional radio, including FM services, is valued by many listeners — particularly those who are older or vulnerable, drive older cars or live in areas with limited DAB or broadband coverage. On current trends, therefore, the Review’s conclusion is that FM will be needed until at least 2030.”

[Read: Swiss FM Shutdown Reverts to Original 2024 Date]

This being said, research conducted for the Review by the strategic advisory firm Mediatique estimates that analog radio “will account for just 12–14% of all radio listening by 2030.” As a result, the Review’s suggested reprieve for FM is time-limited: “the U.K. radio industry should begin preparing the ground for a possible switch-off of analog services at some point after 2030,” it said.

Strong, for Now
According to the Review, 89% of the U.K.’s population listens to radio every week, “a figure which has remained remarkably consistent in the last decade,” it said. These listeners have access to 333 analog (AM/FM) and 574 DAB stations, plus “over 300 analog community radio stations which collectively reach over 1 million listeners every week,” the Review reported. As well, a third of U.K. adults own smart speakers, with live radio accounting for 64% of audio they’re listening to.

The downside: Radio’s dominance in the U.K. market is expected to decline over time.

“While it is impossible to make entirely accurate projections too far into the future, the Review’s conclusion is that live radio will still account for over 50% of U.K. audio listening in the mid-2030s,” the document said. “Live radio dominates in-car listening, accounting for 82% of all in-car listening hours. However, the growing availability of connected audio services in cars (via phone mirroring or natively) represents an increasing challenge to the prominence of radio in the car as streaming services are presented alongside or even more prominently than radio services.”

The Review projected this decline in U.K. radio listenership based on the current audio source preferences of different U.K. age groups. “Among 15–24 year olds smartphones are the first choice, accounting for 38% of audio consumption, with DAB accounting for 22% and FM/AM radios just 11%,” it explained. “Among 25–34 year olds, smartphones account for 27% of audio consumption, against 26% for DAB radios and 19% for FM/AM. In contrast, among listeners aged 55 and over, DAB radios account for 41% of all audio consumption and FM/AM radios a further 31%, with smartphones accounting for only 5%.”

DAB Slows, Smart Speakers Surge
Since the launch of digital radio in 1995, more than 27 million DAB sets have been sold in the U.K., with two out of every three households claiming to have a DAB radio for in-home use, said the Review.  As well, “Around 40% of all radio listening, in-home and in-car, is now via a DAB device.”

Falling DAB receiver costs have helped to drive sales. “This trend is particularly apparent over the past 10 years, as the DAB module cost has reduced costs for manufacturers while module capabilities have improved — for example, in terms of signal attenuation and energy use,” the Review said.

The bad news: “In spite of the evident demand from listeners for the services delivered on DAB, recent years have seen a decline in radio device sales and a slowing of DAB take up,” said the Review. Worse yet, “Mediatique forecasts that the proportion of households that regularly use DAB will fall gradually year on year from 40% currently to 32% in 2035.”

“Estimates prepared by market research consultancy Futuresource Consulting show these trends from a different perspective,” the Review continued. “According to Futuresource projections, ownership of DAB radios has now plateaued and may start to decline as new sales fail to maintain the installed base, implying that some owners will not replace their device when it reaches the end of its working life. Futuresource’s five year forecast up to 2025 shows the annual market for DAB domestic radios will fall to 570,000 per annum.”

In contrast, the Digital Radio and Audio Review predicted a rosy future for smart speakers. “According to Mediatique’s forecast, smart speaker penetration will grow to 62% by 2035,” it said. “Futuresource has forecast that the market for smart speakers will be sustained, with shipments continuing at a rate of over 5 million units per year.”

In reporting these numbers, the Review acknowledged that this trend poses a potential threat to all U.K. radio broadcasters. “Traditional radio including DAB is being challenged by new forms of IP-based listening, including on connected audio devices,” it said.

The good news is that “there are steps which can be taken to address this,” said the Review. “There are, for example, significant benefits from strengthening the partnerships and cooperation between U.K. radio (and through partnerships with European radio broadcasters) with radio device manufacturers and with retailers (traditional and online) to promote the benefits of radio and the increased choice of services available.”

One thing is clear: Joint government/industry action is needed ensure the future of U.K. radio.

“Without a coordinated approach and support from U.K. radio,” the Review warned, “there is a risk that retail support — which has been critical to the success of DAB — may diminish, resulting in a slow but inevitable withdrawal of DAB radio devices from retail.”

 

The post U.K. Review: AM Should Go, FM Stay Until 2030 appeared first on Radio World.

As different organizations work to implement the latest federal COVID-19 vaccine mandate, the tower organization NATE is requesting that its members have the right to publicly comment on the issue.

On Oct. 20 NATE: The Communications Infrastructure Contractors Association sent a letter to Pres. Joe Biden requesting the organization be able to make comments on the vaccine rule implementation being proposed by the Occupational Safety and Health Administration.

[Read: NATE Sets Membership Record]

The move comes after Pres. Biden signed an executive order in September requiring employers with more than 100 employees to either mandate their employees be vaccinated or conduct weekly testing of unvaccinated employees. The president also ordered that all federal contractors working on federal property be vaccinated (with no testing option).

But NATE expressed concern that the temporary emergency standard that OSHA is expected to follow as a result of the federal mandate does not allow for public comment. The organization said that 85% of NATE members believe that some staff would resign if they are required to be vaccinated against COVID-19 and a full 30% indicated they would lose more than half of their workers.

Photo: Alissa Eckert, MS; Dan Higgins, MAM

“Like many other industries involved in the skilled trades, NATE members have struggled to recruit skilled workers,” the organization said in its letter to the White House. “The possibility of losing a significant number of tower technicians is a serious concern for NATE members, and the potential of losing workers could come at a time when America is investing billions of dollars in broadband projects.”

“Simply put,” the letter said, “NATE members fear that if we do not implement federal vaccination goals in a responsible manner, then they could lose a significant number of workers who are vital to building and deploying broadband services to rural, unserved, and underserved communities.”

[Read: COVID Doesn’t Care About Trade Shows]

Instead, a public comment period would allow for OSHA staff to hear directly from NATE members so they could get a clearer understanding of how a vaccine mandate could impact workers.

“We urge President Biden and OSHA to open a public comment period so the administration can hear directly from NATE’s small business members and gain a better understanding of how vaccine mandates would impact their workforce and the country’s ambitious 5G and broadband deployment goals,” it said.

 

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The National Association of Broadcasters is making a big push to end Big Tech’s free ride when it comes to paying FCC spectrum regulatory fees, it said.

In response to a Notice of Proposed Rulemaking asking if the FCC should adopt new regulatory fee categories to collect fees from unlicensed spectrum users, NAB seeks changes to the FCC regulatory fee structure so that fees more fairly and lawfully reflect the work performed by the commission and the benefits received by various industries, the association said.

[Read: Broadcasters Get a Win on Regulatory Fees]

“The commission’s current approach is unlawful and unconstitutional because, among other things, it forces broadcasters and others to subsidize commission activities with substantially benefit other regulatory fee payors and other entities that currently contribute nothing to the commission’s funding,” NAB wrote in its most recent comment.

In fact, NAB previously has claimed the FCC is using a “pin-the-tail-on-the-donkey approach to assessing fees.” The FCC expects to collect $374 million this year from all the industries it regulates, including broadcasters, cable and phone companies, internet providers and satellite operators.

The FCC’s fee schedule collects the total amount appropriated in a given year and is guided by statutory requirements that the “fees reflect the full-time equivalent number of employees within the bureaus and offices of the commission, adjusted to take into account factors that are reasonably related to the benefits provided to the payor of the fee by the commission’s activities.”

Getty Images – Rubberball, Mike Kemp

NAB claims the FCC routinely violates that statutory requirement. “NAB focuses on current FCC methodology based solely on the number of direct full-time equivalent employees (FTEs) in the four core bureaus of the commission, which results in a fee schedule that reflects on the work performed, and the benefits provided, by a mere quarter of the commission’s operations,” NAB commented.

The broadcast industry group urges the commission take several steps to bring its fee structure into compliance with its statutory mandates, including reassessing its proportional allocations of indirect commission costs to determine whether such allocations align with the actual amount of work performed by noncore bureaus and offices on behalf of regulatory fee payors.

“Secondly, the FCC should perform the analysis necessary to add a fee category for broadband service providers or exempt broadcasters from paying for any broadband costs,” the NAB wrote in comments.

And NAB insists the FCC can no longer turn a blind eye to the fact that Big Tech — companies such as Facebook, Google, Microsoft and Amazon — take up significant commission resources under the banner of unlicensed spectrum, yet pay no associate regulatory fees as a result.

[Read: CTA Loathes Idea of FCC Collecting Fees From Unlicensed Spectrum Users]

“For example, over the last few years Big Tech helped lead a massive and expensive push to use 6 GHz spectrum for their benefit (and to the detriment of many licensed operators, including broadcasters). Big Tech companies drained significant commission resources, and yet remarkably, broadcasters and others footed the bill,” NAB commented.

NAB says it believes the FCC already has the authority to require unlicensed spectrum users to pay for commission activities that benefit their businesses.

And NAB says it is not singling out “small appliance and other home good equipment manufacturers” whose devices make use of unlicensed spectrum, which is a concern shared by the Consumer Technology Association. In fact, the broadcast industry group believes there are ways to avoid capturing small entities in the fee category. “However, it makes little sense to delay imposing regulatory fees on Big Tech companies that actively participate in commission proceedings, benefit economically from the commission’s activities (often at the expense of other regulates), and actively compete with broadcasters and other regulatory fee payors for advertising revenue,” NAB wrote the FCC.

Reply comments on the NPRM (MD Docket No. 21-190) are due Nov. 5.

 

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Beyerdynamic’s Pro X Series (l-r): DT 700 Pro X and DT 900 Pro X headphones, and M 70 Pro X and M 90 Pro X microphones.

Beyerdynamic is eyeing emerging content creators with the introduction of its new Pro X line, comprised of both its DT 700 Pro X and DT 900 Pro X headphones, and its M 70 Pro X dynamic and M 90 Pro X true condenser microphones. Designed with live streaming and recording in mind, the series can be used flexibly in all situations.

The closed-back DT 700 Pro X can be used for production in a studio as well as on-the-go on a laptop, tablet or smartphone. Taking things a step further is the open-back DT 900 Pro X — a pair of circumaural studio headphones intended for use in professional monitoring, mixing and mastering.

Each model makes use of the new Stellar.45 driver, based around a strong neodymium magnet and a lightweight voice coil made of copper-plated high-tech wire. Used in conjunction with a newly developed three-layer speaker cone with integrated attenuating layer, the Pro X headphones have an efficient driver system with a 48-ohm impedance.

[Check Out More Products at Radio World’s Products Section]

Both models come with two mini-XLR cables, which can be changed and replaced with other connection options. Contact points with the wearer are intended to be soft, with smooth gray velour ear pads and soft memory foam in the headband to allow several hours of wearing. The headband itself sports spring steel bracket construction.

The M 70 Pro X is intended for broadcasting, podcasting and streaming, while the M 90 Pro X is better suited for recording vocals and instruments. In addition to providing low-noise signal at all volumes, the mics each have an elastic system suspension as well as a stable microphone spider to reduce unwanted sounds like footsteps, hand grips or keyboard noise. A pop filter ensures that breathing noises and harsh plosive sounds are softened.

The M 70 Pro X has been optimized specifically for speech, and to almost completely block out surrounding noise in acoustically challenging environments, the company says. Meanwhile, the M 90 Pro X is an XLR microphone for recording; offering a balanced signal-to-noise ratio, it is intended for vocals, instruments and voice-overs. The new product series features a minimalist black design consisting of premium and interchangeable parts such as capsule, circuit board or connector.

The DT 700 Pro X and DT 900 Pro X are now available at a recommended retail price of $299, and the two microphones M 70 Pro X and M 90 Pro X are available from a recommended retail price of $299 and $349.

Send your new equipment news to radioworld@futurenet.com.

Info: north-america.beyerdynamic.com

 

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The Society of Motion Picture and Television Engineers announced today that Barbara Lange will step down as the society’s executive director at the close of 2021, which marks the end of her current contract. Lange has served in this role for 12 years.

SMPTE says Lange guided the organization “through a dynamic period of growth, extending the society’s leadership as a global standards organization, and working closely with staff, volunteers, members, and the SMPTE Board of Governors to make SMPTE a more inclusive organization that brings value to individuals and organizations across the media and entertainment industry.”

“Of all that SMPTE has achieved during my tenure, I’m most proud of how we’ve transformed the society into a modern organization that remains very relevant 105 years after its founding,” said Lange. “I’ve had the honor of working with so many impressive people to help SMPTE thrive and continue to play a vital role in supporting the media industry. Thanks to the dedication and hard work of the home office staff and SMPTE volunteers, the society today stands ready for any future challenge.”

Achievements

A short list of SMPTE achievements during Lange’s tenure includes the creation and institution of a new, more comprehensive three-year strategic business plan process; reimagination of the SMPTE brand and the Society’s web presence; the launch of the SMPTE Digital Library; completion of a successful capital fundraising campaign and celebration of the society’s centenary; publication of more than 200 engineering documents including groundbreaking standards such as SMPTE ST 2110, SMPTE ST 2067 (IMF), and SMPTE ST 2084 (HDR); production of the first virtual presentation of the society’s annual technical conference; successful navigation of the pandemic through the acquisition of government support and loan forgiveness; and the launch of the innovative Rapid Industry Solutions (RIS) program.

Through technical conferences and an expanding offering of educational programs and courses, SMPTE has educated tens of thousands of professionals, helping to further their knowledge and careers. Both individual and corporate membership increased in the past decade, and the number of SMPTE Sections worldwide increased to include India, Pittsburgh, Poland, and the United Kingdom, while nearly a dozen new student chapters were launched during Lange’s tenure.

“Under Barbara’s leadership, SMPTE has become a truly international society committed to facilitating industry interoperability through industry standards, making relevant education accessible to all industry members, and fostering a vibrant and inclusive membership community,” said SMPTE President Hans Hoffmann. “Every organization faces difficult times, and the pandemic crisis over the past 18 months presented new and unexpected challenges for all of us. Despite these challenges, and thanks to transformational work directed by Barbara over the years, the society has truly established itself as a home for media professionals, technologists, and engineers around the world. We thank Barbara for her tremendous work in leading SMPTE into its second century, and we wish her well in her future endeavors.”

Succession

Lange will be engaged in the transition of leadership to her successor. In searching for a new executive director through an objective process, the SMPTE Board of Governors will focus on candidates with the capacity to build on the significant progress made by Lange and SMPTE’s home office team. Further information on the search process will be forthcoming on the SMPTE website at smpte.org.

“For us it is important that the new leader understand nonprofit organizations and the digital transformation of our industry, and that they can work with the SMPTE home office to build on their many achievements,” added Hoffmann. “We look forward to a leader who will embrace the society’s commitment to being a diverse and inclusive society, and who can further transform SMPTE to generate value for our global membership and foster ongoing growth. As the media industry is in an unprecedented and constant evolution, this work will be both challenging and rewarding.”

Lange’s final column in the SMPTE Motion Imaging Journal as executive director will be published in the November/December issue. In it she details many of the milestones and achievements that have made SMPTE the stable, forward-looking organization it is today.

“Living through this pandemic, it really makes you think about your life. As I neared the end of my SMPTE contract, I realized I am now ready to discover the next steps of my career,” added Lange. “I am passionate and interested in several new directions. From working to increase the diversity in technology, particularly girls taking up STEM fields, to studying the growing concerns around sustainability in media tech, there are plenty of areas to focus my attention and offer my skills. While I will miss working daily with my SMPTE family, and particularly the home office team in White Plains, I look forward to new opportunities ahead.”

 

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Marshall Electronics has launched an entry-level PTZ camera, the CV605 5X HD60 IP PTZ camera. This new offering rounds out the Marshall family of PTZ cameras, providing a high performing option at every price point, the company said.

The CV605 camera features a 5X optical zoom range with a simultaneous 3GSDI and IP interface and uses a professional-grade 2-megapixel sensor to capture crisp HD video at up to 1920 x 1080p resolution at 60 fps, the company said.

[Check Out More Products at Radio World’s Products Section]

The wide-angle optical zoom lens offers 85-degree angle-of-view through 20 degrees (15 mm) with smooth transitions and an additional 10X digital zoom range.

“Marshall’s straight-forward design and ease-of-use make the CV605 an exceptional value where budgets are limited,” says Tod Musgrave, director of cameras for Marshall Electronics. “One of the key features on this model is the wide angle of view, which is unique for a PTZ camera and perfect for small- to medium-sized production spaces.”

The CV605 has a low-latency 3GSDI output as well as IP ethernet with multiple protocols supported. Easy one-cable to camera setup provides up to HD video, audio, control and power (PoE) over one cable with IP (H.265/H.264) and 3GSDI simultaneous outputs with audio embedding, the company noted.

The camera is designed for a wide variety of projects including live broadcast productions, courtroom capture, corporate video, government assembly, sportscast, newscast, reality television, concerts, house of worship and many more.

The CV605 PTZ camera also offers exceptional low-light sensitivity, ensuring a clear picture in variable and challenging lighting conditions, the company said.

Marshall recently partnered with NETGEAR, the provider of networking products in the professional audio/video market, to ensure easy setup and management of all Marshall IP camera models. Collaboration for compatibility and integration is something Marshall has been focused on for almost a decade, and this approach will continue into the future.

The camera is available in black or white with simultaneous outputs through 12GSDI, 6GSDI, 3GSDI, HDMI, USB, IP, SRT, NDI and HDBT optional outputs.

Send your new equipment news to radioworld@futurenet.com.

Info: www.marshall-usa.com

 

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Ben Parker of WBZ interviews Hull Fire Chief Christopher Russo about the PEP project.

The Federal Emergency Management Agency formally announced the modernization of PEP facilities at WBZ Boston with a brief ceremony this past week.

Primary Entry Point stations are the first link in a distribution chain that provides emergency information to all of the roughly 20,000 broadcast stations in the United States. There are a total of 77 PEP stations that form the core of the Emergency Alert System.

EAS requires broadcast stations to install equipment that monitors these PEP stations and allows them to relay critical information in the event of a national emergency.

The event took place at the WBZ transmitter site in Hull, Mass., where FEMA has completed the delivery of an upgraded “all hazards” shelter containing backup transmission equipment designed to continue operations under all conditions.

The shelter includes a generator with a 60,000-gallon fuel tank and a separate studio that can be occupied for up to 60 days. It has been hardened to remain usable in the presence of chemical, biological and nuclear hazards.

Exterior shot of hardened PEP facility at WBZ

It features a 10 kW AM transmitter and a rack full of transmission equipment including IP codecs, a broadcast mixer and even an interview position with separate microphone. The shelters are made of welded steel and protect the electronic equipment from damage that could be caused by electromagnetic pulse events.

The facility upgrade is part of a program to upgrade all 77 of the PEP stations in the United States, as authorized by an Act of Congress in 2015. WBZ is the 13th station to receive the all-hazards upgrade.

Radio history

WBZ was built in 1921, and marked its 100th anniversary on Sept. 19. On that date 100 years earlier, WBZ broadcast from the Eastern States Exposition in West Springfield with 100 watts of power.  It subsequently grew to a 50,000 watt directional array, operating as a clear-channel station with nighttime coverage extending thousands of miles. It is now owned and operated by iHeartMedia Boston, part of iHeartMedia.

WBZ Radio Personality Dan Rea, host of “Nightside with Dan Rea,” acted as master of ceremonies for the event, introducing a lineup of speakers from iHeartMedia, FEMA and both state and local politicians.

The lineup included Alan Chartrand, Boston market president, iHeartMedia; Manny Centeno, IPAWS program manager, FEMA; Jeff Littlejohn, executive VP engineering and systems integration, iHeartMedia; Sen. Edward Markey of Massachusetts; and Antwane Johnson, director of IPAWS at FEMA.

State Sen. Patrick O’Connor; Alan Chartrand, iHeartMedia; Dan Rea, WBZ NewsRadio 1030; U.S. Sen. Edward Markey; State Rep. Joan Meschino; Hull Board of Selectmen Chair Jennifer Constable

In his remarks, Johnson traced the history of the EAS system, noting that WBZ began broadcasting 30 years before the first U.S. government emergency communications system, CONELRAD, was introduced in 1951 by President Truman during the Cold War.

“All of that stuff was retired in 1963 with the establishment of the Emergency Broadcast System, almost coincidental with the Cuban Missile Crisis, by President John F. Kennedy,” he continued. “In 1995 the FCC issued rules establishing the Emergency Alert System that we know today,” said Johnson.

We’re going to stop them

Markey, a member of the Senate Commerce, Science and Transportation Committee, spoke at length about childhood memories listening to WBZ, and his own Cold War experiences as a boy in the “duck and cover” drills held in schools.

But recalling how his father would listen to WBZ for emergency weather information, he quickly pivoted to the importance of radio as an emergency communications system and the need to defend its role.

“And we’re going to stop these automotive industry officials from thinking the only radio that’s going to be on in a car is Sirius that you have to pay for,” said Markey. “The whole key to our national network of information is that it’s free,” for all people in the United States, he said.

“That’s really what we’re celebrating today… this long, long partnership that has existed between WBZ and FEMA and every citizen that depends upon them, including me.”

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Iona. Photo: Herman IJsseling

From the Who’s Buying What page: ENCO said its DAD automated playout system is being used to run the onboard radio station on the new Carnival Corp. vessel Iona.

The big ship sailed from Southampton, England, on its first voyage in August. The 1,130-foot-line vessel is driven with liquefied natural gas and has 17 guest decks. And it can carry a pretty good sized radio audience — it accommodates up to 5,200 guests and 1,800 crew. It is operated by Carnival’s P&O Cruises subsidiary.

[See Our Who’s Buying What Page]

The ENCO system is used for the Cruise Radio service on the ship. Useful Media Company out of the U.K. provides the radio equipment and automated programming. Music scheduling is through ENCO DAD’s Ensemble music scheduling system; other elements such as on-ship promotions use rotating cuts. New content is sent to onboard operators on disc once a month.

“Cruise Radio is the only ‘as-live’ radio service at sea, and is unique to each of the P&O Cruises ships,” ENCO wrote in a press release. “Played over video from the bow camera and streamed to every cabin on each ship, Cruise Radio combines music with radio elements including imaging, jingles and bespoke commercial packages advertising onboard services, shows and activities.”

The service also provides documentary music programming, historical retrospectives and ship information.

Useful Media also runs Cunard Radio aboard the Queen Mary 2, Queen Victoria and Queen Elizabeth, owned by Cunard Line.

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

 

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For those married to the smartphone, Shure has a toy for you, the MV88+.

A stereo/figure 8 condenser microphone of petite size, the MV88+ is designed for smartphone use, providing an upgrade in audio performance. It features Lightning and 1/8-inch/3.5 mm connectors on the rear.

[Check Out More Products at Radio World’s Products Section]

The MV88+ is available alone or in a video kit with a Manfrotto PIXI tripod, phone clamp, and mount, as well as iOS and USB-C cables.

Shure says that the free ShurePlus Motiv audio and video apps can control the MV88+’s pick-up patterns, as well as set gain and control the limiter, compression, EQ, and monitor mix. Price: $199 for the mic alone, or $249 with the video kit.

Send your new equipment news to radioworld@futurenet.com.

Info: www.shure.com

 

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From an earlier show.

The 2021 Midwest Broadcast & Multimedia Technology Conference has been postponed until next year.

It had been set for Nov. 17, produced by a partnership of state broadcast associations in Ohio, Kentucky and Indiana.

[For News on This and Other Shows See Our Show News Page]

“It has become apparent that we cannot host an in-person event that delivers an outstanding experience for our attendees, our exhibitors, and our speakers,” the Ohio Association of Broadcasters wrote in an email to its community.

“The challenges of the current environment have left us with too many uncertainties to present a meaningful in-person event. While we are disappointed not to be able to conduct this year’s conference, we would be more disappointed about an event that falls short of what our participants have come to expect.”

The OAB decided not to convert it to a virtual event and instead plans to hold the event in 2022 on a date to be announced.

[Check Out More Events on Radio World’s Calendar]

Registration charges for both exhibitors and attendees are in the process of being refunded.

Approximately 180 engineers and broadcasters attended the conference in 2019, which drew 50 exhibitors.

Submit news about your event to radioworld@futurenet.com.

 

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The Consumer Technology Association is knocking a proposal from the National Association of Broadcasters asking the FCC to impose new regulatory fees on unlicensed spectrum users. CTA argues the NAB proposal is contrary to current law, would stifle innovation and have a sweeping impact on the consumer technology market.

NAB has been aggressively pushing for an update to the regulatory fee categories so that unlicensed spectrum users, especially large tech companies, pay an annual regulatory fee similar to those already paid by broadcasters. CTA says the fees would defy precedent and hurt consumers, app developers, device makers and small businesses that rely on unlicensed spectrum.

The FCC this fall scrapped a plan to hike this year’s radio regulatory fees and instead set those fees equal to those collected in 2020. The FCC’s original proposal would have raised radio’s annual regulatory fees on average of 8% this year. NAB and all 50 state broadcast associations balked at the proposed rate hike.

[Read: Rosenworcel Calls for 6G Initiative]

As part of the FCC’s Report and Order setting the 2021 regulatory fees for broadcasters in August, the commission released a companion Notice of Proposed Rulemaking. The NPRM asked for comment on adopting new regulatory fee categories and the legal basis for assessing regulatory fees on unlicensed spectrum users.

CTA says it believes the NAB proposal is contrary to commission precedent. “It also would raise serious administrability concerns, be impossible to implement in a nonarbitrary manner, and have significant implications for regulatory fees in contexts beyond unlicensed spectrum,” the CTA wrote in comments filed this week with the FCC. “Further, NAB’s proposal would undermine the enormous innovation made possible by the commission’s long-running and successful approach to unlicensed spectrum.”

The group, which represents a wide variety of consumer technology companies and is led by CEO Gary Shapiro, says NAB’s proposal overlooks that companies using unlicensed spectrum already defray commission costs in important ways.

Identifying those unlicensed spectrum users and determining the regulatory fees they should pay would be difficult, according to CTA. “Unlicensed spectrum users include consumers, state and local governments, corporations, nonprofit organizations, schools, libraries, and many more groups. Those unlicensed spectrum users do not impose discrete and well-understood duties on the Commission as licensees and other regulated parties do.”

CTA continues: “Potential beneficiaries of unlicensed spectrum subject to NAB’s proposed regulatory fees share little in common other than their use of unlicensed spectrum.”

In addition, unlicensed spectrum users receive no rights or protections from the FCC, CTA commented. “Wireless spectrum licensees receive exclusive rights to particular spectrum frequencies, which they monetize by offering services using that exclusive spectrum.”

Because of the differences between entities currently subject to regulatory fees and unlicensed users, NAB’s proposal raises a host of administrability concerns, CTA concludes in its comments.

Acting FCC Chair Jessica Rosenworcel specifically asked at the time of the NPRM “how if changes were made, can they be done in an administrative way?”

Reply comments on the NPRM (MD Docket No. 21-190) are due Nov. 5.

Here is a snippet of the questions being asked by the FCC:

• What would be the proposed methodology for assessing regulatory fees on unlicensed spectrum users, noting that unlicensed spectrum users include a significant number of equipment manufacturers, such as appliance and other home goods equipment, many of which neither apply for nor require authorization by the commission?
• Alternatively, should the commission assess regulatory fees on large technology companies based on a different basis, such as any advantages they receive because of the commission’s universal service or other activities?
• Are there other categories that should be added, deleted, or reclassified?

 

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CPB now has an executive whose job is to assure diversity and inclusion in its HR process.

The Corporation for Public Broadcasting named Dr. Stephen Wilkins as senior vice president of human resources and diversity, equity and inclusion, what has become known as DEI in organizational circles. He will start Dec. 6.

“In this new position, he will be responsible for the development and implementation of a human resources strategy that builds on CPB’s commitment to diversity and inclusion,” the organization stated.

[Visit Radio World’s People News Page]

He will report to President/CEO Patricia Harrison. She praised Wilkins for his “organizational leadership, academic training and operational skills that will enable him to work with leaders and staff across the organization to advance a culture grounded in CPB’s commitment to collaboration, teamwork and DEI.”

Wilkins was chief human resources officer and then chief of staff at Alexandria City Public Schools in Alexandria, Va. “During the pandemic, he served on the senior leadership team that restructured the organization, recruited diverse leaders for schools and departments, and developed the division’s five-year strategic plan focused on equity and inclusion.”

Earlier he was on the Pentagon staff and served on the faculty at West Point as an assistant professor of political science. CPB said he “speaks fluent Spanish and has worked in Mexico, Central America, South America, the Caribbean and Canada.”

He has degrees from West Point, Harvard’s Kennedy School of Government and the senior service college at Carlisle Barracks, Pa., as well as a doctorate in administration and leadership from the Richard W. Riley College of Education at Walden University.

Send news of engineering and executive personnel changes to radioworld@futurenet.com.

 

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Sherman “Jocko” Maxwell debuted a five-minute radio show on WNJ in Newark by early 1930.

In radio’s formative years, most stations were only on the air for several hours in the evening, and the majority of what they broadcast was music. There were a few stations that provided news headlines and sports scores, but listeners did not expect breaking news coverage, nor live play-by-play broadcasts of their favorite teams.

Throughout the early 1920s, as the programming day gradually expanded, so did what was on the air. By the mid-1920s, radio was covering important news events, and many stations began broadcasting major league baseball games, much to the delight of the fans.

But there was one group of fans whose favorite teams never got on the air. If you followed the Chicago American Giants, the Kansas City Monarchs, the Indianapolis ABCs or the other teams in the Negro Leagues, radio ignored you.

In fact, the only way to find out how your team did was to either go to the game or read about it in the Black press. Because America was segregated, it was mainly sportswriters at Black newspapers like the Chicago Defender, Pittsburgh Courier, and Baltimore Afro-American that offered extensive coverage of Negro Leagues teams.

Jocko

No matter how well-attended Negro Leagues games were or how much talent the players displayed, radio stations weren’t interested.

Perhaps that wasn’t surprising: In the 1920s, all station owners were white, and they seemed convinced that white listeners wouldn’t care about Negro Leagues baseball — even though newspaper accounts noted that many white people went to the games.

It wasn’t until late 1929 or early 1930 (the exact date is uncertain) when the first Black sportscaster went on the air: Sherman “Jocko” Maxwell was a former semipro baseball player and manager from Newark, N.J. He debuted a five-minute radio show on WNJ (later WNJR) in Newark.

At first, he mainly read sports headlines, but his show went over well with local fans and by 1932, Maxwell was hosting a 15-minute program. By 1933, he was on the air in New York City at WRNY, and then at WHOM, where he hosted his increasingly popular sports show several nights a week.

By 1937, Maxwell was on the air at WWRL, where he was named the station’s sports director in 1942 — the only Black sports director in radio at that time.

Sportswriter and broadcaster Sam Lacy in an undated photo. Courtesy National Baseball Hall of Fame and Museum

Maxwell had an audience of both Black and white listeners, and he had so much credibility that Major League players would often stop by his show for a chat.

He was also a correspondent for the Sporting News, and during the 1930s, he covered some of the Newark Eagles’ Negro Leagues games. This gave him an opportunity to discuss the games on his radio shows, where he sometimes compared certain Black players to their major league counterparts, something most other sports commentators were not doing.

Meanwhile, in Washington, D.C., another Black sportscaster went on the air in the mid-1930s.

Sam Lacy was already a sportswriter for the Washington Tribune who would go on to have a long career with the Baltimore Afro-American.

Hal Jackson, shown in a 1970s photo, was mentored by Sam Lacy.

In the autumn of 1935, he began doing a sports show for WOL. Like Jocko Maxwell, Lacy was a big fan of the Negro Leagues, and both men had served as public address announcers at their team’s ballparks.

After Lacy returned to his sportswriting job, he mentored a young man named Harold Jackson, later better known as Hal Jackson and a major force in Black radio.

Jackson wanted to be a sportscaster, but no station owner in the D.C. area would hire him. He finally got on the air in 1939 at WINX, hosting a music and interview program, and thanks to Lacy, he also was hired as the public address announcer for the Homestead Grays games at Washington’s Griffith Stadium.

Grays vs. Elite Giants

But it wasn’t until Aug. 9, 1942, 22 years after the Negro Leagues had been founded, that the first play-by-play broadcasts of Negro Leagues games finally occurred, with Jackson as one of the announcers.

Sponsored by the Baltimore Afro-American, Washington station WWDC broadcast the series featuring the Homestead Grays and the Baltimore Elite Giants. WWDC also agreed to broadcast several other Homestead Grays games, including one against the Kansas City Monarchs in September.

No Negro Leagues games seem to have been broadcast during the next several years. Meanwhile, Sam Lacy and Harold Jackson collaborated on a once-weekly sports show on WINX in 1944, during which they interviewed Negro Leagues players and recapped the games from that week.

Contrary to some internet claims, there is little evidence of any regular play-by-play broadcasts until 1948, when the Cleveland Buckeyes got on the air at station WSRS; the station’s sportscaster Danny Landau did the play-by-play, assisted by sportswriter A.S. “Doc” Young, who covered the Negro Leagues for the Cleveland Call and Post.

But an effort to broadcast the Atlanta Black Crackers games over WEAS in Decatur, Georgia in mid-May 1948 was not as well-received: After one game between the Black Crackers and the Nashville Cubs got on the air, a subsequent broadcast had to be canceled after complaints from what one Black newspaper referred to as “Southern bigots.”

Ironically, by the time more games were about to be broadcast, the Negro Leagues were in decline. Major League Baseball had finally begun to integrate in 1947 with the arrival of Jackie Robinson, and soon, there were questions about whether the Negro Leagues would survive.

The Negro National League disbanded in 1948; the Negro American League struggled on, in weakened form, through the 1950s.

As a media historian and a baseball fan, I am saddened that most radio stations ignored the Negro Leagues when they were at their best. Because so few stations broadcast any of their games — and not until the 1940s — baseball fans were deprived of the chance to follow the exploits of talented (and record-breaking) 1930s players like slugger Josh Gibson and speedster “Cool Papa” Bell or hear about how pitcher Satchel Paige’s legendary career developed.

It was a loss for the fans. But it was a missed opportunity for radio.

Donna Halper is an associate professor of communication and media studies at Lesley University, former broadcaster and radio consultant. She also writes for the Society for American Baseball Research.

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Tascam has released a new, free application for audio editing — Tascam Podcast Editor.

Intended for the production of voice content such as podcasts, internet radio, audiobooks and voice logs, it is a standalone application available for Windows, MacOS, iOS, and in a future update, Android OS. The Podcast Editor software integrates with Tascam’s Mixcast 4 podcast mixer hardware, and supports various functions necessary to publish a program with straight-forward, easy operation.

[Check Out More Products at Radio World’s Products Section]

Users can cut and paste voice snippets, record to each track, insert background music and jingles, insert sound effects, and control the level of individual tracks. The software is equipped with multiple “voice content export options” that correspond to the desired application, such as internet radio, podcast, and YouTube. Tascam Podcast Editor export files with MP3 and WAV format, but it also has a function to export an image along with audio, aiding users who publish files on YouTube. After exporting the contents, users launch a web browser with the shortcut button of each preferred media hosting site to access the desired upload screen.

Since the Podcast Editor interfaces with the Tascam Mixcast 4 Podcast Station, users can record directly without complicated track routing and assignments using the Mixcast 4. Users can read the data recorded on the SD card of the Mixcast 4 by pressing the Read Mixcast File button, and other options are also available.

The software supports editing with a maximum of 12 tracks/20 channels that can be switched between mono and stereo. VST-plug-ins are supported, enabling users to utilize available VST plug-ins from their own library in addition to the Mixcast 4’s internal effects library.

The Tascam Podcast Editor supports 2Mix, multitrack with WAV, and export with Poly file — enabling one to choose a file format that is easy to use in other editing software. Further, the application is equipped with a “time adjust function” that enables one to adjust the speed of playback without changing the pitch of the voice, along with an “automatic cleanup tool” that makes it easy to remove noise and normalize the recorded voice all at once.

The Tascam Podcast Editor does not require a driver when used with the Mixcast 4, though Windows 10, Version 1909 (Fall 2019 Update) or later is required.

The Podcast Editor can be downloaded from tascam.com.

Send your new equipment news to radioworld@futurenet.com.

Info: http://tascam.com

 

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International Sales Team said it signed an agreement to sell 2wcom broadcast products in the United States.

Founded earlier this year, International Sales Team offers what it calls “sales teams as a service,” or STaaS. It is based in Australia but services any country.

It quoted Werner Drews, managing director of 2wcom, saying, “International Sales Team represents a cost-effective way for us to get our range of professional broadcast products to a market that is complicated and difficult for us to address from our offices in Germany.”

The announcement was made by Charlie Day, partner manager for International Sales Team.

2wcom makes hardware and software audio broadcast equipment including the recently introduced 4audio series.

IST launched in March from Australia, targeting OEMs to help them with their sales. It describes itself as a “worldwide network of highly experienced broadcast and media industry sales professionals for hire and deployment.”

Director Darren Frearson said in the earlier launch announcement, “We’re all familiar with the concept and implementation of SaaS, PaaS [Platform as a Service] and IaaS [Infrastructure as a Service] as beneficial outgrowths of ever-advancing technology. … STaaS offers broadcast and media manufacturers a cost-effective and culturally appropriate means of expanding globally.”

He said at the time that IST was actively recruiting to expand its network, particularly in North America.

 

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GeoBroadcast Solutions said Bonneville International is deploying its SFN technology in San Francisco.

A concept image from the GBS website.

A five-node single-frequency MaxxCasting network is scheduled to be completed in March, serving FMs KOIT (96.5 MHz), KMVQ (99.7 MHz) and KBLX (102.9 MHz).

Each station will share antenna infrastructure through a multiplex system. GBS said the improved signal should also increase penetration with Nielsen PPM Portable People Meters.

“The three stations were acquired by Bonneville from Entercom in 2018,” the supplier noted in a project summary.

“A particular challenge to all stations in the region is the terrain of the East Bay hills. By implementing a MaxxCasting SFN system, the technology provides a solid, interference-free signal, sound, and HD Radio in the East Bay for all three Bonneville stations. Bonneville will use the MaxxCasting system to simulcast the main signal for the three stations to provide greater coverage in the East Bay.”

[See Our Who’s Buying What Page]

Partners working on the project include GatesAir, supplier of Flexiva transmitters; Goldman Engineering Management for the project architecture; Jampro Antennas; SCMS for equipment sales and staging; Covington & Burling, LLP and partner Gerard J. Waldron for legal advice; Rich Redmond, managing partner at Strativa Advisors; and Gary Krantz, CEO of Krantz Media Group.

GBS says its MaxxCasting SFN system expands the coverage area of a FM signal and allows for potential geographic targeting and fencing of text advertising and messaging, though the latter applications are not currently authorized by the commission. The synchronized transmitter infrastructure uses cellular network design broadcast, and SFN software tools that incorporate high-resolution terrain data, analysis of vehicular traffic and other parameters.

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

 

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The Federal Communications Commission is questioning whether a licensee of a station in Pennsylvania is qualified to retain his license — or if it should be revoked after he pled guilty to felony use of a communication facility and several related misdemeanors.

The chief of the Media Bureau has begun a hearing proceeding to determine whether 70-year-old Roger Wahl, licensee of WQZS(FM) in Meyersdale, Pa., should be allowed to keep his broadcasting license.

In July 2020, Wahl pleaded guilty to criminal use of a communications facility (the station is located in his home) and four related misdemeanors after he admitted to recklessly endangering another person, unlawfully disseminating intimate images and tampering with evidence.

At the time of his sentencing in November 2020, the judge decided against jail time for Wahl due to his age and underlying health conditions that put him at risk for the coronavirus, according a report in the Pittsburgh Post-Gazette.

Wahl, the station owner as well as a disc jockey, pled guilty to secretly taking nude photographs of a woman inside her home using a concealed camera that had been installed in her bathroom. According to court documents, he also impersonated the woman on an online dating site, sent nude photos of the woman to at least one man whom he connected with through that site and solicited that man to have sexual relations with the woman without her consent. According to the Pittsburgh Post-Gazette, one man from the dating site came to the woman’s address and was met by Wahl who solicited the man to rape the woman, according to authorities quoted by the Post-Gazette.

Once he learned an investigation was underway by the Pennsylvania State Police, Wahl was accused of tampering with evidence by deleting the nude photos from his mobile device and erasing the communications he made at the online dating site.

Initially, Wahl also pleaded guilty to invasion of privacy; after learning that that charge would require him to register as a sex offender, however, he withdrew that guilty plea and instead pled guilty to identity theft. He was sentenced to three years of probation, four months of electronic monitoring, and was required to pay $600 in fines as well as the costs of his prosecution and supervision.

Local sources also reported that Wahl was prohibited from hosting his morning show on WQZS for the duration of the electronic monitoring but has since returned to the airwaves.

Charges of this type — which in Wahl’s case include a third-degree felony, first-degree misdemeanor and several second-degree misdemeanors — raise the question of whether the holder of a broadcast license possesses the character qualities to remain a licensee. Following guidelines under the FCC’s Character Qualifications Policy Statement, the Media Bureau instigated a hearing proceeding in which an administrative law judge will serve as a presiding officer.

The commission has the authority to revoke a license when the character of an applicant is called into question, according to language within Section 312(a)(2) of the Communications Act. The Media Bureau started a hearing proceeding in this case because it considers any felony to be a serious crime. In some cases, certain misdemeanors may also be relevant when it comes to determining the character of a licensee. In this case, the bureau said it was necessary to evaluate Wahl’s character in light of the felony and multiple misdemeanor convictions.

[Read: FCC Hands Down Decision on Four St. Louis AM Stations]

“Furthermore, the fundamental purpose of the commission’s character inquiry is to make predictive judgments about an applicant’s truthfulness and propensity to comply with the [Communications] Act and [FCC] Rules,” wrote Media Bureau Chief Michelle M. Carey. “For this reason, we find that Wahl’s misdemeanor convictions directly implicate his character qualifications.”

If he chooses, Wahl has the opportunity to be heard by the administrative judge as part of the hearing proceedings. To do so, a written request must be filed within 20 days of the Notice of Opportunity for Hearing he received.

A hearing will commence from there to determine if Wahl has the qualifications to be a commission licensee and whether or not the license for station WQZS should be revoked.

 

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Nautel has introduced an online Factory Acceptance Testing program for new transmitters.

“A FAT is a set of predefined tests that many customers must witness being completed in real-time as part of project specifications,” the company stated in an announcement.

[Read: Transmitters Prepped for Turkey]

Test Supervisor Charles Andrews said restrictions on travel because of the pandemic have made it harder for clients to come to the factory.

Nautel said the test team can use online meeting platforms paired with virtual communications interfaces such as Teams or Team Viewer, to allow customers to witness transmitter testing in real time as part of their acceptance process.

“The Nautel AUI and multiple pieces of measurement equipment are employed along with a suite of cameras, wireless microphones and personnel to conduct the tests. Customers are able to communicate with their transmitter(s) via the AUI and view performance measurements throughout the final testing process,” it stated.

The company posted the video below to explain the process.

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Gordon Smith, president/CEO of the National Association of Broadcasters, is one of nine people being honored as “giants of broadcasting” by the Library of American Broadcasting Foundation.

Its list of giants was begun in 2003 and now consists of more than 200 broadcasters. The foundation will salute the new additions in an online ceremony on Nov. 9. (The nine additions are shown at bottom.)

“The Giants of Broadcasting celebration was created by LABF, a charity dedicated to preserving the past, reflecting the present, and informing the future,” the organization stated. “It was created to honor the remarkable creators, innovators, leaders, performers and journalists who have brought the electronics arts to the prominence they occupy today.”

Gordon Smith has led the NAB for the past 12 years. He will step down at the end of this year.

[Related: “The Broadcasters Foundation Honors Gordon Smith”]

Proceeds from the November online luncheon support the work of the LABF, including the Library of American Broadcasting, which is housed at the University of Maryland. It will also support student training and diversity initiatives of the International Radio and Television Society Foundation.

For event information email joyce@giantsofbroadcasting.com.

The 2021 Giants of Broadcasting & Electronic Arts honorees:

Emily Barr
President and CEO
Graham Media Group

Frank Boyle
President & CEO
Frank Boyle & Co.

Bob Costas
Hall of Fame sports broadcaster

Russell Perry
Founder & President
Perry Publishing & Broadcasting Co.

Robin Roberts
Co-anchor, “Good Morning America”
President, Rock’n Robin Productions

Marion Ross
Emmy, Golden Globe nominated Film and TV Actress
Cast member Marion Cunningham. “Happy Days”

Neal Shapiro
President & CEO
The WNET Group

Sen. Gordon H. Smith
President & CEO
National Association of Broadcasters

Jordan Wertlieb
Senior vice president, Hearst Communications
President, Hearst Television

 

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