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Radio World

Bohn Broadcast Is Now The MaxxKonnect Group

Radio World
4 years ago

Bohn Broadcast Services made several business announcements, most notably a name change.

The technical services company founded by Josh Bohn has rebranded as The MaxxKonnect Group (TMG).

“TMG will continue to focus on providing MaxxKonnect Wireless connectivity solutions, as well as expanding broadcast technical integration services across the U.S.,” it stated in an announcement.

MaxxKonnect is also the name of its high-speed internet service designed for transmitter sites and remote broadcasts.

“TMG will also expand our equipment sales and turnkey service offerings.”

Joe Myers joined the company as sales manager. He has worked in broadcast sales at Broadcast Electronics, Northeast Broadcast, ENCO and DJB.

Also, the company hired Emily Hager as office manager. Her background is in education and retail; she will handle inventory and logistics operations, sales support and customer interaction.

And support engineer Micah Dempsey was promoted to operations manager of TMG; Josh Bohn called him “my right hand on daily operations.”

The company was founded in 1998 and is based in Pelham, Ala. It provides technical and turnkey services, connectivity solutions and broadcast equipment sales. Its repair arm is based in Dallas.

 

The post Bohn Broadcast Is Now The MaxxKonnect Group appeared first on Radio World.

Paul McLane

Bynes Will Lead iHeart’s Texas Stations

Radio World
4 years ago

Spencer Bynes will take the reins for iHeartMedia’s Texas operations.

He was named area president to oversee the Beaumont, Bryan, Corpus Christi, McAllen and Waco markets, which include 29 radio stations. Bynes reports to Division President Nick Gnau.

[Visit Radio World’s People News Page]

This is his second stint with IHM; he was director of talent management and talent acquisition for five years before starting a consulting business.

Gnau complimented Bynes’ “contagious” energy “and his ability to develop teams and talent.”

Bynes was VP of business development for Lee Hecht Harrison’s southern region; prior he was managing partner and co-founder of Accendo International Consulting.

“He has more than 25 years of demonstrated business acumen and proven strategic and tactical success in a diverse group of industries,” the company said in the announcement.

Send news of radio engineering and executive management positions to radioworld@futurenet.com.

 

The post Bynes Will Lead iHeart’s Texas Stations appeared first on Radio World.

RW Staff

FCC Receives 158 Applications for CP Auction

Radio World
4 years ago

One hundred and fifty-eight initial applications to participate in Auction 109 have been received by the Federal Communications Commission.

That auction of 136 FM and four AM construction permits is scheduled for July 27.

The FCC says 107 of the applications arrived complete, 50 more require additional information, and one was rejected.

Applicants whose information was incomplete or deficient (here’s the list) will get a letter instructing them to resubmit by June 16.

Applicants accepted for filing must make an upfront payment by the same date; if the applicant later becomes a winning bidder, it will have to fill out a longer-form application showing its qualifications to hold a CP or license and its eligibility for any bidding credit.

Many applications named only one permit, but some are pursuing numerous permits. Those include 3D Built, ColdTrain Media, Estrella Broadcasting, Mainstreet Broadcasting Co., Mekeddesh Group, Michael Radio Co. and Tracy K. Wood (here’s the list of completed initial applications).

One application, from 2820 Communications, was rejected because the FCC isn’t accepting any in this auction for a noncom educational station that is mutually exclusive with any application for a commercial station.

If multiple short-form applications pursue the same permit, the CP will be decided by competitive bidding.

The FCC expects to release the final list of applicants that are qualified to bid in early July, along with schedules for a mock auction and the first day of actual bidding.

Details are on the FCC’s info page for Auction 109.

 

The post FCC Receives 158 Applications for CP Auction appeared first on Radio World.

Paul McLane

NAB Will Honor “All Things Considered”

Radio World
4 years ago

“All Things Considered” will be inducted into the NAB Broadcasting Hall of Fame.

The announcement was made by National Association of Broadcasters President/CEO Gordon Smith.

The iconic public radio program will be honored at the NAB Show in Las Vegas in October. Executive Producer Cara Tallo and host Ailsa Chang will accept the award.

“ATC made its debut broadcast 50 years ago on May 3, 1971, airing on 90 public radio stations,” NAB stated in the announcement. “Now broadcasting live every weekday for two hours and for one hour every Saturday and Sunday, ATC is the most listened-to, afternoon drive-time news radio program in the country.”

“Hosted by Chang, Audie Cornish, Mary Louise Kelly and Ari Shapiro and on weekends by Michel Martin, ATC airs coverage of the most important news of the day, reports from NPR correspondents in the U.S. and around the world, thoughtful commentaries, interviews with newsmakers and features on arts, music and entertainment.”

In this image from the NPR website, the staff of “All Things Considered” celebrate its 10th anniversary in 1981. Click the image to see an NPR timeline.

NAB noted that ATC has been honored with the George Foster Peabody Award, the Alfred I. duPont-Columbia University Award and the Overseas Press Club Award.

Recent radio inductees include Cathy Hughes, Elvis Duran, Delilah and Mike & Mike.

[Read our profile of John Records Landecker, the 2020 radio recipient.]

Iconic radio people inducted earlier include the likes of Walter Winchell, Wolfman Jack, Ronald Reagan and Kate Smith. The Hall of Fame began in 1977.

The post NAB Will Honor “All Things Considered” appeared first on Radio World.

Paul McLane

Listeners Deserve a Smooth, Comfortable Ride

Radio World
4 years ago

Jeff Keith is senior audio processing product development engineer for Wheatstone Corp. This is one in a series of interviews from the ebook “Trends in Audio Processing for Radio.”

Radio World: Jeff, what would you say the most important development in processors?

Jeff Keith: The radio broadcast medium is in the process of reinventing itself. While over-the-air radio is still important, especially with the ability of HD to simultaneously carry multiple program types, technology now makes the delivery of other information not just a fad but the soon-to-be norm.

I can see a time where those huge broadcast towers we’ve seen for many decades are all but gone, and replaced by high-speed internet or cellular technology — technology that will allow listeners to carry their favorite programs and stations not just out of the local market, but to anywhere in the world.

RW: What should readers know about the differences in processing needs for various platforms?

Keith: Each transmission medium requires different audio processing treatment in order to deliver the best quality audio to the listener.

I’ve seen many stations that are still using retired on-air processing for their internet stream, or worse yet, feeding the internet stream encoder from the output of a radio or modulation monitor. I can’t think of a better way to make a nasty sounding internet stream!

Purpose-built streaming processing will always sonically outperform any other form of processing not specifically designed for streaming codecs.

RW: How will the concepts of the cloud, virtualization and software as a service affect the processing marketplace? 

Keith: There is no question that it is possible to run anything software-based, including audio processing, on cloud servers. It’ll be awhile before we see the end of this movie, though — how broadcasters will handle redundancy, encryption and failover to an alternate when the main goes offline.

Software as a service will be the norm, and I can see a time when radio stations will no longer “own” their audio processing, at least in the form of today’s hardware box. Audio processing will be a chunk of software running on a cloud server somewhere and licensed by instance, probably annually, on a recurring schedule.

The whole game will be different.

RW: With audio originating from so many locations, what role do loudness and loudness range play?

Keith: It is my personal wish that the United States would adopt some form of over-the-air loudness regulation.

Listen to stations in countries where they need to adhere to ITU BS.412, for instance. Those stations are much more pleasant to listen to because the processing hasn’t been tuned to the singular goal of “louder than everyone else on the planet.”

I think many stations have forgotten that it isn’t loudness, it’s program content. Every radio made in the last 100 years has had a volume control …

RW: What recently introduced new features or capabilities in processors are most notable?

Keith: Nielsen’s PPM audio software encoder embedded in processing is significant because it’s a step closer to cloud and virtualization, and we’ve been working with their development team to make that happen. Our X5 FM/HD processor now has the PPM encoder inside.

It’s worth noting that broadcasters are looking for much more quality out of their processors, and this is why we recently came out with our MP-532 multipurpose audio processor that can be used for FM, AM, FM HD, or AM HD. It’s a very practical processor that has all our latest distortion canceling algorithms and lookahead limiters and I don’t mind saying it sounds amazing. I didn’t mean for this to turn into a shameless plug, but you did ask!

RW: In 2014 we wrote that processors were so powerful that it was hard to imagine further dramatic improvements. How do you answer today?

Keith: We’ve made tremendous strides since 2014 (and in the past 20 or so years), and I think algorithms will continue to improve. Over time developers have learned more about what people prefer to hear and how subtle differences can make or break the perception of what is “good” processing.

We’ve also learned more about masking distortion from the ear and what we can get away with as far as different forms of distortion. Evolution will continue, processing will continue to get smarter, and the availability of wickedly powerful hardware will enable us to do things that were only imagined five years ago.

Oops, did I say hardware? Remember … what you have “running in the cloud” is actually running on somebody’s hardware.

RW: One expert says, “My perspective is that radio processing already attained a condition of ‘hypercompression’ years ago and there has been little further change in how loud one can make over-the-air audio.” Do you accept that, and how do we break out of that plateau in the loudness wars?

Keith: My goal, and I suspect that of most audio processor designers, has been to deliver to broadcasters a new processor that can be as loud on the air as their previous processor was, but be much cleaner while generating that same loudness.

Unfortunately, what most stations do is crank the new processor up until the distortion is back to about where it was before … and now they’re 2 dB louder than before.

Don’t be a wimpy station on the air but there’s no need to blast listeners out of their car, either.

RW: We understand AES loudness metrics are moving to a lower target level for content, streams, podcasts and on-demand file transfer, like metrics already established for online and over-the-top video. If radio stays with the current environment of modulation limiting, reception noise and lingering loudness wars, could radio see loss of audience due to listening fatigue?

Keith: Loudness wars only seem to serve the egos of the individual stations, and I’m not aware of any research showing that louder wins even when the program content is poor.

I do agree, however, that a loud signal helps overcome noise. And I’ll also agree that we should carefully manage the audio so that listeners aren’t lunging for the volume control every time a new song comes along.

Listeners should get a smooth and comfortable ride with our station’s audio; and the better and more pleasant that ride is — accompanied by something worth listening to, of course — the longer they are going to listen.

As professional people who have dedicated ourselves to this industry to perform our art, we intuitively know what can turn listeners off; and yet sometimes we still do it. Puzzling.

RW: We read about how processing can mitigate FM stereo multipath distortion and reduce clipping distortion in source content. How can equipment buyers evaluate such claims, and could there be some kind of third-party scientific testing?

Keith: The problem with evaluating anything that’s not actually running in the field is that it’s not actually running in the field, i.e., lab tests can only show what things do under lab conditions.

Stereo multipath mitigation is a good example, and one must understand that it is receiver behavior that needs to be modified.

The technique that Wheatstone uses is something that I designed back in the ’90s for solving a different problem; mono loudness when airing ping-pong stereo recordings (oldies). It cured that problem very nicely but it also had a greater-than-expected effect on multipath on most stereo radios. Customers have reported similar findings in the field and while it doesn’t help everyone, it appears to help most.

RW: What’s your take on the demo from Nautel and Telos to eliminate alignment issues by locking the FM and HD1 outputs from the processor through the HD air chain to the transmitter?

Keith: Great idea, and extremely similar in function to the SyncLink product Wheatstone demonstrated at NAB 2017. A guaranteed way to preserve FM/HD synchronization over an IP STL is to ensure that the two audio signals always look like one signal to the link. That way, even if packets are dropped the two signals can never get out of sync.

We also recognized that not every station can afford shiny new state-of-the-art transmitters so we designed SyncLink to be compatible with every single FM transmitter and exciter ever made.

The post Listeners Deserve a Smooth, Comfortable Ride appeared first on Radio World.

Paul McLane

Tieline Ships Gateway 4

Radio World
4 years ago

An update to an earlier product announcement: Tieline said it has now begun shipping its Gateway 4 IP audio codec.

As we reported in February, it is a DSP-based 1RU IP codec for live remote broadcasting applications, as well as STL or SSL links.

The codec supports AES67 and ST 2110-30 interoperability with AoIP protocols including WheatNet, Ravenna, Dante and Livewire+. An optional WheatNet-IP card is available.

The Gateway 4 supersedes the company’s Merlin and Genie STL codecs. Its Gateway codecs replace the Merlin Plus and Genie Distribution codecs.

“Production of the Merlin and Genie families of codecs has ceased. Tieline will continue to provide support and software updates for all Merlin and Genie codecs,” the company said.

Info is at www.tieline.com/gateway-4.

 

The post Tieline Ships Gateway 4 appeared first on Radio World.

Paul McLane

Radio Industry Honors Life and Work of Doug Wilkens

Radio World
4 years ago

The radio industry is remembering Doug Wilkens, an audio engineer, business owner and manager, sales and marketing professional whose international experience along with background in managing sales networks is recognized as much as his reputation as friend, mentor and leader.

Wilkens life was one of travel and exploration. Born in Chicago, Wilkens spent his childhood in India where his parents worked for a mission organization. During his time there, he became fluent in numerous Indian dialects. He returned to the United States to finish high school and then earned his degree in Broadcast Engineering and Design at Moody Bible Institute. It was in college where he met his wife, Fran, and the two of them traveled extensively, living overseas in Monaco and in Dubai. He had an ease in understanding foreign languages, learning to speak French fluently.

It was during these travels that he put his other skill to good use: designing and managing broadcast studios across Europe in the late 1960s for Trans World Radio (TWR), an international Christian media network. He and business partner Charlie Moore founded Dimension Five Sound and the audio division of Peirce-Phelps in Philadelphia. He became the University Sound product manager at Electro-Voice, served as director of sales and marketing at Community Professional Loudspeakers and then became vice president/general manager of Inter-M Americas. Along the way he expanded his expertise to include sound system contracting, specializing in church installations. Wilkens ended his career as senior project manager at the Dubai office of Maryland-based AVI-SPL.

He served as an active member of the Audio Engineering Society, completed training programs for the organization SynAudCon, served as a volunteer for the Boy Scouts, specifically assisting scouts as they worked to achieve their Radio Merit Badge. He also volunteered as a shortwave monitor for the U.S. Navy and was a dedicated ham radio operator.

“I’ve lost my best friend who was like a brother,” said Charlie Moore, his business partner of 52 years, through an announcement from TWR. “He will be sorely missed by his family, friends and the professional audio industry where he worked in making gains in both technology and education. His work was impeccable and he was always careful to do what was right. Our prayers are with his wife and sons for the loss that they have suffered.”

Others who knew Wilkens spoke of his values, principals and strong Christian faith, calling him a dedicated friend who had mastered the art of listening. He is survived by Fran, his wife of 56 years; their two sons, John and Joel; a grandson, Kristian; a brother, Steve Wilkens; and a sister, Charlotte Gift.

“He knew the value of knowledge and encouraged others to learn,” said SynAudCon principal owner Brenda Brown. “The thing that probably amazed me the most about Doug was his ability to adapt to, understand and appreciate other cultures. His childhood, being a missionary kid instilled great values that served him well in the AV industry.”

Contributions to Wilkens’ memory can be made to Trans World Radio while memories of him can be left on the tribute page for the Donohue Funeral Home. Services will be held June 5 at Proclamation Presbyterian Church in Bryn Mawr, Pa.

 

The post Radio Industry Honors Life and Work of Doug Wilkens appeared first on Radio World.

Susan Ashworth

George Beasley Dies, Age 89

Radio World
4 years ago
George Beasley in a photo released and partly colorized by the company.

George Beasley has died.

The founder and patriarch of Beasley Media Group was age 89 at his passing in Naples, Fla., today.

An announcement was issued by the company, which called him a “radio industry innovator, advocate, mentor and pioneer and community philanthropist” who led his company for 60 years.

He had stepped down as CEO in 2016 but continued as executive chairman of the company’s board.

A memorial service is planned in Florida; details will be announced later. His family will hold a private burial in his home town of Ararat, Va.

“In lieu of flowers, the Beasley family requests donations be made in his name to The Broadcasters Foundation of America, 125 West 55th Street, 4th Floor New York, New York 10019. Online donations may also be made at www.broadcastersfoundation.org.”

His daughter Caroline Beasley, now the company CEO, was quoted in the announcement, “George’s unconditional love for our mother, Ann and our family, along with his passion for the radio industry, helped to guide him throughout his lifetime. A loving father, mentor, and friend, I will especially miss his incredible wisdom, keen insight and gentle smile.”

George Beasley is shown in 2015 with company award winners and family members: Rear, from left: AJ Lurie, Brad Beasley, Brian Beasley, Bruce Simel, Bruce Beasley, Marie Tedesco, Tom Humm, Kimberly Sonneborn, Mike Cooney, Justin Chase. Front: Caroline Beasley, George G. Beasley, Diana Beasley, Heather Monahan, Denyse Mesnik.

George Beasley built his first station, 500-watt WPYB(AM), in Benson, N.C. while working as a high school assistant principal in 1961. The company now has 62 stations in 15 markets, digital platforms and an esports arm. Four of Beasley’s five children joined the company as employees: Bruce, Brian, Caroline and Brad Beasley. The company went public in 2000.

George Beasley, right, is shown in an archival photo with Al Jones, former general manager of WGAC.

He told Radio World in 2015 that radio’s value proposition remained as solid as it was five decades earlier.

“I am proud to say that Beasley has been a pioneer in the adoption of technologies such as FM radio, which surpassed AM in the late 1970s; HD Radio and PPM in the ensuing decades; and streaming and mobile applications today. Each of these innovations enhanced the listener experience and strengthened the medium as a core buy for any brand or product seeking to reach consumers at large or consumers within distinct demographics.”

NAB President and CEO Gordon Smith issued a statement about his death: “George was a pioneer in broadcasting and a giant in his field, building Beasley into one of the premier radio station groups over the course of 60 years and serving the radio industry with distinction.”

Beasley was born in April 1932, “working in the tobacco fields in his hometown of Ararat, Virginia.”

He enlisted in the army to pursue a degree in education through the G.I. Bill. “Upon completing his B.A. and M.A. from Appalachian State University, he taught in Virginia, before moving to North Carolina in the late 50’s to become a high school principal and coach.” Even after starting his first station he only worked evenings and weekends in radio until 1969 before leaving education to focus on broadcasting.

Beasley receive the National Radio Award from the National Association of Broadcasters in 2015, and his daughter Caroline will receive it this fall.

Husband and wife: George and Ann Beasley in an undated photo.

He was a former president of the board of the North Carolina Association of Broadcasters and had been inducted into its Hall of Fame as well as those of the Pennsylvania Association of Broadcasters and Nevada Broadcasters Association.

He was also in the Country Radio Broadcasters Hall of Fame and received the Broadcasters Foundation of America Lifetime Achievement Award. The Library of American Broadcasting listed him as one of its “giants of broadcasting.” He received honors from the Florida Association of Broadcasters and Country Radio Broadcasters.

He remained close to his alma mater Appalachian State University, where he was a former chairman of the Appalachian State University Foundation Board of Directors as well as a member of the university board. A media complex on campus bears his name.

“The many challenges that George faced over the years, he did with humility, dignity and grace. A loving husband, father, grandfather, and great grandfather, his legacy serves as a reminder that anything is possible with dedication, hard work and respect for one another,” the company stated. “George is survived by his wife of 67 years Ann, five children, 16 grandchildren and 12 great grandchildren.”

 

The post George Beasley Dies, Age 89 appeared first on Radio World.

Paul McLane

Texas Honors the Late Jim Baum

Radio World
4 years ago

The late Jim Baum now has part of a Texas highway named after him.

The Texas Gov. Greg Abbott signed a measure honoring the owner-operator of KVMC(AM) and KAUM(FM) in Colorado City, who died in 2018. Baum was also a three-time mayor of that community.

“SB 1124 by Sen. Charles Perry, R-Lubbock, renames a stretch of Business Interstate Highway 20-J in his honor,” the Texas Association of Broadcasters noted in its newsletter.

“Baum owned and operated KVMC(AM) Colorado City, ‘the Voice of Mitchell County,’ for nearly 40 years. He signed KAUM(FM) on the air later in the 1980s.”

According to his obituary, Baum “found his lifelong love of radio” when he worked for KCRS(AM) in Midland. He later managed KBYG(AM) in Big Spring.

In an earlier post, TAB described Baum as “well remembered by those in Mitchell County and by the TAB staff as a tireless public servant, whether it was leading Colorado City through challenging times as mayor or by his dedication to reporting the day’s events in his radio newscasts. If wildfires or a tornado threatened the area, day or night, he was on the air with lifesaving information. Baum also brought Mitchell County history alive with on-air stories about the area’s past events.”

The post Texas Honors the Late Jim Baum appeared first on Radio World.

RW Staff

WBA Announces Broadcasters Clinic Lineup

Radio World
4 years ago

The Broadcasters Clinic returns with an in-person event in September.

The Wisconsin Broadcasters Association has announced the conference agenda.

“We are committed to making the Broadcasters Clinic safe for all. Masks and hand sanitizer will be available at the Clinic,” WBA stated on its website. “If you are not vaccinated, please wear a mask. Guidelines are subject to change based on the latest public health guidance.”

The longtime, engineering-friendly event will be held Sept. 8 to 10 at the Madison Marriott West Hotel in Middleton, Wis.

Topics relevant to radio attendees include virtualization, cloud infrastructure and ”containerization”; computer modeling of FM directional antennas; on-air processing in the cloud; SRT protocol for signal distribution; the role of metadata in radio; saving power in FM transmitters; lessons from Alternative Broadcast Inspections; cybersecurity; LED obstruction lights; and post-pandemic management strategies.

Of the three days of the conference, the first day focuses on radio topics, the third is about television, and the middle day bridges both.

David Layer of the National Association of Broadcasters is among the featured speakers. An early bird rate applies for registration until July 15.

 

The post WBA Announces Broadcasters Clinic Lineup appeared first on Radio World.

RW Staff

Copier Takes Over in SLC for iHeartMedia

Radio World
4 years ago
Judy Copier

iHeartMedia named Judy Copier as president of its Salt Lake City market.

She succeeds Stu Stanek, who has retired after two decades with the company. Copier will report to Division President Tom McConnell.

[Visit Radio World’s People News Page]

Joyce Wirthlin was promoted to senior VP of sales, Copier’s former position; and Jeff McCartney was recently named senior vice president of programming for the market.

McConnell thanked Stanek for his work. “Stu has been one of our strongest leaders over the past two decades, and I can’t thank him enough for all of his hard work and countless contributions.”

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

 

The post Copier Takes Over in SLC for iHeartMedia appeared first on Radio World.

RW Staff

My Favorite Mics: Joan Baker

Radio World
4 years ago

June is Microphone Month here at Radio World. This is one in a series of interviews with people who work in and around radio about the kinds of mics they love and why.

Joan Baker is co-founder and vice president of the Society Of Voice Arts And Sciences. She is a voice actor, author and coach.

Radio World: What is your personal favorite microphone for the kind of work you do, and what sets it apart?

Joan Baker: I’m at a place in my career where I can afford the best, so I stick with Neumann and Sennheiser.

I have several mics. Some I rarely use unless a client specifically asks me to use a certain mic to help better match with previously recorded material.

But I’d say the one that sets me apart is my Neumann U 67. I can use it for multiple genres in voice acting especially commercial and narration because it blends the lower, mid and upper tones in a way that seems to add a certain sparkle to my sound. Also, no one’s ever asked for their money back, so why fix what isn’t broken?

RW: What is your choice for remote work or other specialty applications out of the studio like live venues? 

Sennheiser MKH 416

Baker: My choice is the Sennheiser MKH 416. It’s great because it reduces ambient noise and allows you to really work the mic. So when I’m doing remote work in unfamiliar or less than ideally treated spaces, the MKH 416 deliver a clean sound. I use it for promos as well, because it cuts through with a touch more edge, even when I’m performing in a naturalistic, conversational voice.

RW: If you were training someone about using and buying mics for voiceover or radio applications, what’s a tip you might share or a common misconception you’d try to dispel for them?

Baker: One of the most common questions, and it’s an honest one, is “What mic should I buy?” Choosing a mic depends on personal factors, like affordability, the equipment that will be needed to compliment the mic, the environment in which the mic will be used, and the predominant type of work for which you will use the mic.

No one can answer this question properly without knowing all these factors. So one misperception is that there is one mic that works best for your voice, without knowing all the other circumstances.

I recommend that all my students speak to full-time audio engineers, and learn to discern the different mic qualities when comparing (apples to apples) under various conditions.

Read more of Radio World’s coverage of microphones.

The post My Favorite Mics: Joan Baker appeared first on Radio World.

Paul McLane

Vermont Station Celebrates Transition to Public Ownership

Radio World
4 years ago
Young Vermonters learn the ins and outs of working at WGDR/WGDH, which is now the only full-power community owned and operated noncommercial radio in the state. Photo: Central Vermont Community Radio

Nearly 50 years after its first broadcast, a Vermont community radio station has announced that is officially owned by the public — a rare feat in the annals of radio ownership transition.

Station WGDR/WGDH was built and operated by Goddard College in Plainfield, Vt., as a college and community radio station. In 2020, the newly established nonprofit Central Vermont Community Radio (CVCR) was gifted the radio station from the college, making it the only full-power community owned and operated noncommercial station in Vermont.

The transfer represents “a huge milestone nationally for the public and community radio industry,” the station said in a release. The move is noteworthy, especially for a college station, since university- and college-owned stations across the country are often sold to meet budget shortfalls, the station said.

[Learn more about community broadcasting with our Community Broadcaster column]

Under CVCR’s ownership, the station will continue its affiliation with the Pacifica Network, a community of independent radio stations that give local communities a platform on which to share local issues on a national level. The Pacifica Network also airs nationally broadcast programming like “Democracy Now” and live coverage of international events.

With this move, Goddard College is saying that their commitment to residents, students and the local culture is far greater than money, said Ernesto Aguilar, executive director of the National Federation of Community Broadcasters. “When institutions like Goddard say they want to pass the torch of media access in this way, it’s worthy of thanks and celebration,” he said.

The transition allows WGDR/WGDH to continue to broadcast a diversity of ideas, stories and culture to Vermonters across the northern part of the state.

“Radio is more relevant and relatable today, especially on a local level,” the station said in its statement. “When you tune in to community radio, you hear the voices of your neighbors, which, during the pandemic, has proven to be a powerful tool in remaining connected.”

CVCR said it will continue the mission of the station, providing a forum that covers issues such as social justice, arts and music and protection of the environment.

“As an independent station, WGDR/WGDH will be able to pursue a variety of ways to diversify not just what is broadcast, but who is given a voice on the air, uplifting the stories of those who are underrepresented in the current Vermont media landscape,” the station said. “CVCR takes this deep responsibility of community radio to heart as it takes on ownership of WGDR/WGDH. CVCR invites all to tune in to help program what comes next.”

 

The post Vermont Station Celebrates Transition to Public Ownership appeared first on Radio World.

Susan Ashworth

Adthos Ad-Server Is Free Ad-Serving App for Radio

Radio World
4 years ago

Adthos has introduced what it calls “the only free ad-serving technology built specifically for radio.”

Adthos Ad-Server is an ad sales application that replaces playout of ads by an existing automation system, allowing digital audio and radio “to be sold seamlessly within a single integrated campaign.”

The company said the accompanying “integrations” provide users more flexibility; replace audio live and quickly without having to take multiple actions; and send reconciliation back to the user’s traffic system. The system also can facilitate local insertion on boosters and translators, and integrate workflows between the user’s digital and broadcast products.

Its streaming encoder encodes streams in AAC, HE-AAC and MP3, and is compatible with major streaming servers.

The platform is free to stations, and Adthos says further releases are planned later this year.

Adthos is a trademark of Wedel Software. The introduction was announced by CEO Raoul Wedel.

“Adthos Ad-Server can be installed without the need for multiple integrations and zero downtime. Radio stations gain the ability to easily sell, schedule and execute multi-platform campaigns with minimal intervention and with many tasks completely automated,” the company stated.

“In the first release, users can enjoy features such as instant reconciliation and an intuitive customer interface providing for updates and insights on campaigns at a moment’s notice, while the ability to replace spots in real time delivers incredible responsiveness.”

The post Adthos Ad-Server Is Free Ad-Serving App for Radio appeared first on Radio World.

RW Staff

Livestream Production: From Emerging Format to Industry Cornerstone

Radio World
4 years ago
U.K. singer YungBlud took over L.A.’s Troubadour with Mötley Crüe ’s Tommy Lee and Jane’s Addiction’s Dave Navarro and Chris Chaney for the one-year anniversary of his live HD livestream, “The YungBlud Show,” produced by Bulldog DM. Photo: Tom Pallant

In the 12 months since the World Health Organization declared the global COVID-19 outbreak a pandemic, the music livestream production business has chalked up some remarkable records and is now looking toward what could be a bright future. Livestreaming is not new, of course, but when venues were shuttered last year, a surge in virtual concerts helped fans scratch the live music itch while artists were able to earn some income in an otherwise lackluster year.

“The pandemic certainly accelerated the music industry’s adoption of livestreaming, in terms of artist awareness, artists’ willingness to explore it and fans’ interest in it,” says game entrepreneur Gordon Su, CEO of Sessions, which launched in April 2020. Su co-founded the interactive livestreaming platform with Pandora founder Tim Westergren, aiming to help both established and up-and-coming artists build their audiences and generate income.

Livestreaming certainly exploded this past year. Europe’s Tomorrowland EDM festival in July attracted a pay-per-view audience of over one million, more than doubling 2019’s in-person attendance. In October, BTS sold 993,000 livestream concert tickets, offsetting some of the revenue the K-pop band lost when it had to cancel a 40-date tour. More recently, on Valentine’s Day, Justin Bieber’s live performance on TikTok attracted more than four million unique views.

Taking Notice
Billboard and Pollstar have taken notice, both launching new charts tracking artists’ livestream tallies. And as Billboard recently reported, U.S. consumers spent $610 million on virtual concerts in 2020, more than they forked over for either music downloads or CDs.

Livestream production studio Sessions handled a Valentine’s Day Eve livestream by CeeLo Green, followed by an online meet-and-greet, direct from his living room in Atlanta. Photo: Alysse Gafkjen/Sessions

The concert industry has also cottoned on to livestream production. In January, entertainment juggernaut Live Nation acquired a majority stake in streaming platform Veeps, which launched in 2017. On Mar. 22, Todd Rundgren wrapped a novel 25-show virtual tour, performing and streaming live from Chicago at 8 p.m. local time at each city on the route.

While many practitioners have been working in the field for 10, even 20 years, livestreaming came to most people’s attention around 2015, when Twitter introduced Periscope. Established platforms, including Facebook, YouTube and Twitch, soon followed suit with new live streaming products.

Over the past year, the number of companies offering music livestreaming suddenly went through the roof. “This time last year, I had three to five competitors. Now there are estimated to be between 100 and 200 pay-per-view livestreaming companies, just for music,” says John Petrocelli, founder and CEO of Bulldog DM.

Music producer and musician Kerry Brown was one of those launching a new company, Rolling Live Studios, in June. He’s no Johnny-come-lately; as one example, he partnered with Roland to do its first global livestream for 909 Day in 2016.

“For years, I was pitching promoters and artists to do virtual meet and greets, aftershows and ancillaries; no one wanted to listen,” says Brown. “They either thought it would be pennies compared to the dollars they were making, or it would take away from the live experience.”

When COVID initially closed everything down, he says, “It was interesting how unprepared the big players were for this, and still are, including the network guys. Very few people know how to do it.”

Indeed, livestream production requires some expertise with the technologies, but while the tech may be too daunting for some artists and their teams, others have jumped in with both feet.

Bee’s Knees
“TourGigs has been in concert filming and livestreaming since 2013,” says company COO Sean Barnicle. TourGigs did more than 190 sets of livestreams in 2019, many in collaboration with sister streaming technology company Gigcasters. Clients include Umphrey’s McGee, with whom they have done more than 100 shows, and String Cheese Incident — “bands that are very adventurous and technologically savvy,” he says.

“A really full-sounding stereo mix is still the bee’s knees for us,” says Barnicle, who is also exploring the potential of Dolby Atmos. “Someone like [Umphrey’s McGee FOH engineer] Chris Mitchell knows how to mic shows to make it interesting. You want some crowd and ambient mics, but you want control of the levels. Chris has it dialed, but if we don’t know the band, more than half the time, we will bring in an audio person and do a submix.”

As the founder of Livestream Remote, Stephen Tucker has mixed 40 concerts and 280 streams in the last year. That included an “UnderCover” gig by Parisian artist Francesca (pictured), who he mixed from New York by using Zoom’s remote-control capabilities. Photo: The Control Room

Sessions works similarly, says Guy Streit, head of production. Clients’ engineers need to remember, he says, “They’re not mixing to the front-of-house; they’re mixing to a broadcast. We have producers that are with them, virtually, to listen in and make sure that the mixes are to our standard.”

“We work with the artist’s team to make sure that their sound and look and how they want to present themselves carries through in the best way to the audience,” adds Jesse Dondero, director, program management and production. That extends to the rising artists admitted to the Sessions platform, each of whom is paired with a coach. “They review the streams and give them guidance. We also have tips and tricks for anyone getting started,” he says, such as how to improve their audio or use a virtual mixer.

Stephen Tucker, a broadcast and streaming veteran, launched his Livestream Remote operation shortly after lockdown. “Since May, we’ve done 280 streams, 40 concerts,” he says. That includes work with Daniel Kramer’s “UnderCover” series, where two bands cover each other’s songs. Kramer, Tucker and a third partner have now formed The Control Room, a livestream production, branding and marketing strategy company that sits between producers and distributors in the chain.

One UnderCover artist was in France. “I mixed her rig in Paris from my studio,” Tucker says, using Zoom’s remote-control capabilities. He was an early adopter of remote control and uses it on his own “Morningside Sessions” show. “I send my sound engineers my virtual board. I have them mix my show and do the cues, and I just host.”

TourGigs has performed similar technological feats, says Barnicle. Adam Robinson, Josh Groban’s engineer, mixed an L.A. show from his home in Chicago. “The audio was going from Los Angeles to Chicago on the internet, then back to Los Angeles to be married to the video. The video went to our operations center in Texas and from our servers to the globe. They had to do some math, but they got it to work — and it was amazing.”

Livestreaming is a powerful marketing tool, especially as artists prepare for the world to reopen, post-pandemic. Bulldog DM helped with Bieber’s TikTok stream, says Petrocelli. As a free stream following right on the heels of Bieber’s New Year’s Eve pay-per-view event, “If I’m one of those four million [viewers], I’m buying a ticket to his show,” he says. Bieber’s world tour begins June 2 in San Diego, Calif.

Advantages
Unlike broadcast television, livestream production allows platforms to analyze viewers’ data, and to a granular level, identify who in what country watched on which type and brand of device using what operating system. TourGigs has been working with some major artists during the pandemic, doing drive-in shows or performing in empty clubs or Hollywood soundstages. “When they threw it out there, the whole world got back to us,” says Barnicle. The data showed that Trans-Siberian Orchestra was watched in 101 countries, Josh Groban in 85, Billy Gibbons in more than 60 and Air Supply in over 40, he reports — a broader reach than any physical world tour.

Sessions’ Hank Williams Jr. livestream did almost as well financially as the physical show, underlining possibilities for post-pandemic hybrid concerts Photo: Sessions

Virtual concerts have now become so ubiquitous that Rolling Live is producing a constant flow. “We do all the streams for the Bowery Electric out of New York City,” says Brown. “What started as an iPhone in Jesse Malin’s apartment is now eight cameras, a video switcher and a full production crew, almost every day, doing ticketed live streams.”

That has allowed Brown to focus on big curated events, like “A Bowie Celebration,” a 74th birthday special that mirrored Bowie’s 50th at Madison Square Garden and included 40 Bowie band alumni. “It was a global livestream with some of the most iconic musicians in the world paying tribute to one of the most iconic artists in the world,” says Brown.

For the celebration, Rolling Live worked with Logitech company Streamlabs, which develops fan engagement software. Brown has now formed a business partnership with the company.

Fan engagement, which comes to music livestream production from the gaming world, is key to the Sessions platform, even for hybrid shows, where there is also an audience in the venue. “We did one with Hank Williams, Jr. where the livestream did almost as well as the physical show, financially,” says Su. “The potential of the hybrid show is not just the extended reach, but also the potential of that interactivity, both from virtual fans tuning in but also fans in the space being able to interact live with the artist in real time.”

For Barnicle, it also goes beyond commerce. “Music heals, motivates and consoles and does things that have been crucial in this period. We really do believe we’re playing a role in helping get this art and music out to the world.”

 

The post Livestream Production: From Emerging Format to Industry Cornerstone appeared first on Radio World.

Steve Harvey

Community Broadcaster: Masks Off

Radio World
4 years ago

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

The start of summer is officially June 20, though you may not know it from the number of outings afoot. For stations, that will require evaluation of a critical safety consideration: face coverings.

Some weeks back, I noted in Radio World some of the top-line issues radio stations that had previously been closed would have to meditate on before reopening to staff, volunteers and the public. From cleaning and entrance protocols to vaccination requirements, radio stations will have many matters to decide about.

[Read: Community Broadcaster: Going to the Doges]

Masks are another subject entirely. They create in us some anxiety because face coverings almost always signify being in close quarters with others. The notion of contact with possible illness heightens stress. In some circles, masks have also become a flashpoint in an old-school culture war.

Earlier in May, the Centers for Disease Control and Prevention said fully vaccinated individuals could safely not wear face coverings indoors, prompting dozens of states to lift restrictions for masking during indoor activities. However, most Americans say they will continue to be cautious.

For radio stations with staff and/or volunteers, the conversation may be partially resolved by understanding how many people are vaccinated and overall infection rates locally. In the case of radio stations that welcome guests or the public into their facilities, management decisions get more complex. Is it better to require face coverings until vaccination rates grow in a community? What about taking into account vulnerable communities such as young children who can’t get vaccinated yet or those with health complications?

As is always the case in local health questions, stations should talk with city, county and state leaders to help determine the right course of action. You will want to understand your area’s latest infection numbers as well as progress on and availability of vaccinations. If your state has particular edicts in place, your station should confirm that whatever policy you choose adheres to state and county rules, especially if they forbid specific business restrictions. Your station may want to inquire about how local businesses or nonprofits are handling mask requirements and, when lifted, how operations are changing. For instance, are there new methods for air circulation, or limits to the number of people in spaces?

Communication and signage about mask rules in your studios and building are also important. If you will have requirements, it is wise to ensure there are signs, notices on your website for guests, and contact with your staff and volunteers about station policy. Similarly, if your station will allow staff, volunteers and guests to take their masks off, it is vital that you share word of this in the same fashion. Getting out in front with messaging will reduce confusion.

Although lately it seems like the pandemic ended, it is remains a specter in many communities. Face coverings are still critical in preventing the spread of the virus. But, if community trends say it is time to reassess your station’s guidelines around masks, you may do so with prudence.

 

The post Community Broadcaster: Masks Off appeared first on Radio World.

Ernesto Aguilar

Time Running Out for FM6 Stations?

Radio World
4 years ago
An image from the media kit for WDCN(LP) near Washington, D.C.

The future of “Franken FM” stations remains in serious doubt because the operators of those stations, along with any other low-power Channel 6 TV broadcasters, face a deadline of July 13 to cease analog broadcasting and begin digital TV transmission.

As of mid-May the Federal Communications Commission had not answered requests to allow TV stations that present themselves as radio stations on 87.7 MHz to continue analog broadcasts on that frequency.

Some proponents don’t think they actually need further permission.

The FCC was notified by one LPTV station that it had converted to digital but plans to continue FM6 operations too. Venture Technologies Group, licensee of KBKF(LD) in San Jose, Calif., hopes its correspondence will help clarify the commission’s stance. It also operates FM6 signals in Los Angeles, Chicago, San Diego and Sacramento.

The FCC confirmed to Radio World that it had received KBKF’s notification, which it described as a “request,” and said it was “being considered and remains pending,” a spokesperson said in April.

The TV station began ATSC 3.0 digital operations in February. “The station is in compliance with the ATSC 3.0 rules for digital LPTV stations,” wrote Venture Technologies.

“The ancillary or supplementary audio signal occupies a portion of the remaining bandwidth assigned to the station as part of its DTV channel.”

It continued: “The licensee provided notice to all potentially affected Channel 5, Channel 6, 87.7 FM and 88.1 FM stations in San Jose-San Francisco-Oakland and adjoining DMAs that it was beginning digital service with ATSC 3.0 video and an ancillary audio signal. None of these stations has reported any interference or other issues to the licensee. Should any unexpected interference occur, the licensee will promptly take remedial action, including termination of all or part of the station’s signal, if necessary.”

Paul Koplin, president of Venture Technologies Group, said, “We believe the FCC’s existing rules permit the use of an analog audio carrier on an ancillary or supplementary basis under these circumstances.”

KBFK airs contemporary Christian music from the Air1 Radio Network from the Educational Media Foundation.

EMF in March urged the FCC to “act expeditiously” on the FM6 proceeding because stations need to be able to plan “to avoid a potential unhappy surprise should their audiences lose service that they have enjoyed for many years.”

“Uncertainty” created by FCC

Meanwhile, the Preserve Community Programming Coalition (PCPC), which represents half-dozen LPTV Channel 6 stations, said the earlier ATSC 1.0 digital television standard did not contemplate the use of less than a full 6 MHz.

“Under the ATSC 3.0 standard, the DTV signal can occupy as little as 5.509 MHz, leaving room for an analog audio carrier that does not in any way derogate the station’s DTV signal. The KBKF(LD) application describes this configuration, but prior FCC approval is not required to offer an ancillary or supplementary service.”

According to PCPC, the language of the FCC’s rules permit digital LPTV stations “to offer services of any nature” including audio as long as they “do not derogate DTV broadcast stations’ obligations” to transmit at least one over-the-air video program signal at no direct charge to viewer.

“In fact, the rule goes on to state that services may be provided on a broadcast, point-to-point or point-to-multipoint basis — meaning they do not need to be part of the primary ATSC television signal,” a PCPC spokesperson said.

The group believes that no further FCC action is required, though it hopes the commission will clarify its position.

“The FCC should authorize currently operating analog channel 6 LPTV stations to continue using a portion of their spectrum to provide an analog aural service on 87.7 FM following the digital transition,” it wrote in comments to the commission.

A PCPC spokesperson added, “Given the uncertainty that the FCC has created … the commission should reassure the underserved listeners these stations serve that their 87.7 FM stations are not going away.”

Legitimacy question

The so-called Franken FM phenomenon has sparked radio industry debate about the legitimacy of the operations. There are two dozen or so such stations in the United States. Their leaders say they are serving the public interest by carving out a radio niche and have found a profitable business model in doing so.

These Channel 6 LPTVs air limited visual programming to meet their license requirements while transmitting an audio signal programmed and branded as a radio station. The FCC has an open rulemaking on whether to permit FM6 operations to continue on an ancillary or supplementary basis after the July date.

It asked for additional feedback in a public notice in December whether digital LPTVs should be allowed to operate analog radio services. The FCC first asked the very same question in 2014.

Operators of FM6 stations have lobbied for several years to be able to maintain an analog output on 87.7 even while converting to a digital TV6 service. But their outlook seemed to dim when the Media Bureau released a Public Notice this year reminding LPTV stations on Channel 6 that their deadline to terminate all analog operations was “fast approaching.”

LPTVs were allowed to request an extension to complete their digital TV facilities beyond July 13, but such extensions do not allow for continued radio operations beyond that date, the FCC said.

FM6 advocates met with Media Bureau Chief Michelle Carey in March to discuss “the process for converting existing analog Channel 6 stations to digital in the absence of a decision by the commission on whether to permit digital LPTV stations to operate analog FM radio type services on an ancillary or supplementary basis,” according to an ex parte summary.

Public interest

Critics of the LPTV FM6 stations, including National Public Radio, have consistently argued that the FM6 stations are a misuse of public airwaves since their TV licenses were not issued with radio service in mind. In addition, they pose an ongoing threat of harmful interference to public radio stations in the adjacent FM band reserved for noncommercial educational broadcast stations.

NPR commented previously: “So-called Franken FM stations exploit regulatory gaps to transmit a silent video signal for TV receivers and an unrelated audio service for reception by FM radios tuned to 87.7 with each Franken FM occupying 30 times the spectrum a traditional FM station uses.”

But PCPC claims the FM6 stations “don’t fit in any regulatory box.” It dismisses the interference argument, saying that Channel 6 stations have been broadcasting audio on 87.7 MHz since the 1950s without causing interference to other services, and further that “there has never been a documented case of any Franken FM interfering with another radio or TV station.”

Supporters also say FM6 programming often focuses on underserved ethnic and minority communities who historically have had limited access to the airwaves.

For example, an 87.7 FM station in New York serves the Korean community, while a station at 87.7 MHz in Los Angeles targets Latino audiences. In Sacramento, an FM6 provides programming for the Russian community.

In Chicago an FM6 station airs a soft AC and oldies format on 87.7 and claims to average a weekly cume of over a half million people.

“A voice and lifeline”

WDCN(LP) “La Nueva 87.7 FM” is a low-powered Spanish-language station with offices in Rockville, Md., and a radio signal that covers much of Washington, D.C. It is owned by Signal Above LLC, which says Washington is the country’s 13th largest and most affluent Hispanic market.

Wray Fitch, managing member of Signal Above, says the station has targeted the market with Spanish-language radio programming for 11 years. It broadcasts a community bulletin board on its video signal.

“This should be the moment when all small businesses are encouraged, especially those that are serving as a voice and lifeline to underserved communities. These small businesses and the focused broadcast services they provide are a night light, if not a beacon along the path of COVID recovery and flourishing to all these small communities.  That light should not be unplugged,” Fitch wrote in an email to Radio World.

Fitch said he has requested an extension for the digital TV migration since WDCN’s digital facilities will not be completed by the July deadline.

“We plan to timely construct our digital Channel 6. We are negotiating for equipment, tower space and hiring tower crews. The engineering has been completed,” he said.

Snycom Media Group operates KXDP(LP) in Denver, which is branded as La Invasora 87.7 FM and serves the local Hispanic community.

“We are the only station in Denver that broadcasts live news, traffic and weather reports in Spanish,” said Christopher Blair, owner of KXDP. “Our intentions are to continue to serve our listeners as we have in the past. We are hoping the FCC has the wisdom to realize we are essential lifelines to our communities.”

KXDP, which broadcasts music videos on its TV signal, has yet to build its LPTV digital facilities; it too requested an extension from the FCC.

“We focus on the local community. We identify needy families during Christmas, Thanksgiving and other times and help them with cash or presents. And provide no charge, weekly on-air time for Alcoholics Anonymous to come to our studio and extend an invitation to those who may have the need to attend meetings,” Blair said.

Daniel Melendez, president of Omega Media Broadcasting, licensee of KIPS(LP) in Beaumont, Texas, said his station is the only Spanish-language radio station in the city and is important for public safety.

“We are in an area with tons of hurricane activity and our station has been essential to bring the community detailed information. We also have been able to help with community services,” Melendez said.

KIPS(LP) transmits video loops on its TV signal and plays Spanish music on 87.7 MHz, Melendez said. He has requested an extension to transition its digital facilities and hopes there will be some kind of provision to extend the station’s analog aural services too.

The post Time Running Out for FM6 Stations? appeared first on Radio World.

Randy J. Stine

Working With Mics: Rob Byers

Radio World
4 years ago

June is Microphone Month at Radio World. Here’s one in a series of interviews with people who work in and around radio, about the kinds of mics they love and why.

Rob Byers is director, Broadcast and Media Operations, at Minnesota Public Radio and American Public Media.

Radio World: What’s your favorite kind of microphone for on-air work? 

Rob Byers: In a good-sounding, well-treated room, a quality large-diaphragm condenser can sound wonderful on the voice. Combine that with an onboard high-pass filter and you get a natural, clear and present sound.

In a room that doesn’t sound so great, a dynamic might be the ticket, though they usually require tonal shaping. There are some traditional choices when it comes to dynamic mics in radio, but I find they sound too muddy and unnatural to my ears. I prefer to reach for a mic that reduces proximity effect and provides clarity in the low mids.

RW: How about for remote work and/or specialty applications like live venues?

Byers: It’s incredibly application-specific! A choice of microphone will be driven not just by what is being recorded — the environment plays a critical role. The size and ambient noise level of a space can influence a mic choice, as can factors like weather, mobility, and any potential risk to the gear.

Working outdoors, some accessories are essential. Proper wind protection is well worth the investment, as are ways to mitigate vibrations. Backups — even for microphones — are essential. And don’t forget that a dynamic omni can be a great tool in windy, wet, less-than-ideal weather conditions!

RW: Tips about using and buying mics for radio applications?

Byers: The high-pass filter is your friend. It can mitigate many issues like vibration, low-frequency muddiness, HVAC rumble or wind and plosive problems. Engage it at the mic, which will prevent these issues from ever reaching the preamp.

Second, when choosing a mic for voice work, find a mic that achieves — out of the box — clarity in the low mids. The 100–400Hz range makes all the difference in intelligibility and naturalness.

Read more of Radio World’s coverage of microphones.

 

The post Working With Mics: Rob Byers appeared first on Radio World.

Paul McLane

Report Offers Guidance on Music Modernization Act

Radio World
4 years ago

Changes to American copyright law as it relates to music licensing and sound recording is expected to have a significant impact on libraries and archives that preserve sound recordings.

That’s the consensus of a new report published by the National Recording Preservation Board of the Library of Congress. Back in 2018, Congress passed some of the most significant legislative reforms to American copyright law in the last 20 years in the form of the Orrin G. Hatch-Bob Goodlatte Music Modernization Act. According to the Library of Congress, the act fundamentally reshapes music licensing and the legal status of sound recordings made before 1972 by bringing these recordings under federal copyright law for the first time.

[Read: Glimpsing History Through New Digitized Radio Programs]

The law addresses music modernization in three sections: the Musical Works Modernization Act, the Classics Protection and Access Act, and the Allocation for Music Producers Act. The Library of Congress report — called the Orrin Hatch-Bob Goodlatte Music Modernization Act: A Guide for Sound Recordings Collectors” — offers clarification on each section of the law it as it applies to curators of recordings and provides a summary of the legislation and its implementation. “It will serve to guide holders of recordings in their efforts to preserve sound recordings and make them accessible through digital streaming,” the Library of Congress said in a release on May 27.

One of the most significant changes implemented by the act is the fact that recordings made before 1972 will now be under federal protection for the first time. The law also creates rolling terms of protection that enable historical recordings to enter the public domain beginning in 2022.

In addition, the law establishes new responsibilities for libraries, archives, museums and individuals who hold sound recording collections. In addition to creating a public domain for sound recordings, the law created new rights and procedures for institutions to obtain a license to stream holdings and revised the process of licensing music performed on recordings, often known as underlying works.

The new law attempts to provide uniform procedures to license recordings for streaming, which vary depending on the age and type of the recording. The act also establishes new requirements and processes in terms of streaming audio through an interactive service where listeners select content (as opposed to the preset content found on over the air radio for example).

The report also offers a series of tools and resources including guidance for owners of sound recordings who offer digital streaming services of their collection, information for streamers of educational audio programming, and an explanation of how the law impacts sections of copyright law applicable to libraries and archives.

 

The post Report Offers Guidance on Music Modernization Act appeared first on Radio World.

Susan Ashworth

Retired General Underscores Life-Saving Potential of ATSC 3.0

Radio World
4 years ago

While much attention is focused on ATSC 3.0’s advanced emergency alerting capabilities like geo-targeting warnings and TV wakeup, retired Lt. Gen. Reynold Hoover illustrated precisely why the technology’s ability to disseminate information post-event may ultimately prove to be its most valuable quality in an emergency. He delivered his remarks on May 25 during the first day of the virtual 2021 AWARN Summit.

“Ladies and gentlemen, for the last 15 minutes we’ve actually been working a missile launch from North Korea,” Hoover said. “We detected a launch of a Hwasong-15, which is an ICBM. It has a max range, we estimate, of about 13,000 kilometers, which takes in the entire United States.”

“NORAD [North American Aerospace Defense Command] has assessed this launch as a threat to the United States. NorthCom [U.S. Northern Command] has launched our ground-based interceptors. We’re reporting flight as nominal. We estimate now impact in 14 minutes,” said Hoover, who among a long list of career accomplishments served as chief of staff at FEMA and integrated the agency into Homeland Security following the Sept. 11, 2001, attacks as well as being a driving force behind the adoption of IPAWS (the Integrated Public Alert & Warning System).

[Read: Rosenworcel Wants to “Revitalize” CSRIC]

Surprising Ron Prater, executive director of Big City Emergency Managers who moderated the session before the keynote, the lieutenant general said, “Ron, let me ask you, the mic’s going hot in 30 seconds. We have NORAD telling us 14 minutes to impact. What are you going to tell the public, and what do you want them to do?”

Clearly caught off guard, Prater said he is not an alert originator. “I would personally just panic, and then I would probably call Becky [Rebecca Baudendistel, director of public warning for the New York City Office of Emergency Management and a prior panelist] in New York City and ask her what to do.”

Hoover responded: “OK, Becca. Thirteen minutes to impact…. What are you going to tell people, and what do you want him to do?”

Taking a few seconds to digest the situation, Baudendistel replied: “I think, you know, the first thing is we need to do is address the problem as quickly as possible and put in a trusted source in that message to make sure they [the public] know[s] this is not just Becca saying this. This is coming from… the officials on this call.”

Hoover persisted in his description of the missile flight status. “Sure, sure. OK. So, NORAD now says impact is going to be on the West Coast, and impact is estimated at about 15 minutes.”

Shifting gears, Hoover recounted the Jan. 13, 2017, emergency warning issued in Hawaii that a missile strike was imminent. Public alerts explicitly stated the warning was not a drill and to seek shelter, he said.

“What do you think they [the public] did?” asked Hoover. In the 38 minutes it took the state to rescind the alert and issue a message telling people the emergency warning was false, many people panicked.

“There was chaos. People panicked in the streets. People said their last goodbyes. People, you know, went to get their kids. They were hiding in the bathrooms. They didn’t know what to do. They were searching for more answers.”

Going back to Baudendistel, Hoover resumed the description of the hypothetical missile attack. “Now NORAD advises that missile impact is imminent and most likely [will strike] Seattle, Wash. … Becca, is that going to change anything… [regarding] what you are going to tell people? Impact is imminent.”

Baudendistel replied: “I don’t think so. I’m not sure what else they can do at that point.”

Building on her observation, Hoover explained that in cases like the one in the roleplaying exercise, it is important to tell people what you want them to do, know who is going to communicate that message and how that message will be conveyed.

“And is that message going to cause more panic and harm than good?” he asked. “Certainly, we saw in Hawaii…panic, and we saw chaos. People didn’t know what to do.”

Continuing with the scenario, Hoover reported the missile struck Seattle, knocking out all communications and power in the area, collapsing bridges and highways, shutting down rail and auto traffic and causing general devastation.

“It seems to me that that is where ATSC 3.0 and that is where what we think of NextGen TV, and that is where what we think of IPAWS 2.0 … comes into play,” said Hoover.

“Because it’s post disaster in an event like that that is going to save more lives than the chaos we created [in Hawaii].”

Acknowledging the emergency management community wants to warn in advance of an event what and when it can, Hoover said in “a catastrophic, no-notice event,” it’s important to tell people exactly what to do, where to go and what steps they can take to save lives in its aftermath.

Hoover illustrated what he meant drawing on the work of Genie Chance, a journalist and radio broadcaster, during the 1964 Alaskan Earthquake.

Chance, who was running an errand with her son during the quake, drove to the public safety headquarters and using the VHF radio she had in her car began submitting reports to KENI radio.

“What does she say?” asked Hoover. “She says things like, ‘John Lawson, your family is at the Ross’s house, and they want you to know they’re safe, and they would like you to come there as soon as you can.’

“Things like, ‘The city manager is asking all department heads to report to him at the public safety building immediately.’

“Things like, ‘All engineers and pipefitters please report to the maintenance building in downtown Anchorage immediately.’”

IPAWS, ATSC 3.0 and other technologies need to be survivable “in any situation” to relay these sorts of critical messages following a catastrophe, he said.

“We are going to save more lives when we think about how we can apply ATSC 3.0 post-event than in some cases we might have saved pre-event with a warning that might cause chaos.”

“I would urge you, as you think about all of the great capabilities of NextGen TV and the broadcast capabilities that we have, we need to think how it’s going to survive post-blast or how it’s going to survive post-earthquake, … and we need to think about how that system is going to work in the future post-incident because that’s where I think… we’re going to end up saving lives,” he said.

 

The post Retired General Underscores Life-Saving Potential of ATSC 3.0 appeared first on Radio World.

Phil Kurz

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