Radio World

(Image credit: Public Knowledge)

Gigi Sohn, the Democratic nominee for the FCC told the commission this week that she would recuse herself from television broadcast copyright and retrans issues if her nomination for commissioner is approved.

Sohn’s nomination has garnered some pushback from broadcasters who object to her role as a member of the board of Locast, a streaming service that was found by a court to violate broadcast copyright laws. In add

In a letter to acting FCC general counsel Michelle Ellison and obtained by TV Tech sister publication NextTV, Sohn said the recusal would last for the first three years of her term, but that she would not recuse herself from other media related issues such as media ownership or transfer of control of broadcast, cable, and satellite companies.

Sohn told Ellison that in 2010, as president of Public Knowledge, she signed a Petition for Rulemaking to change rules governing retransmission rules and that in order “to avoid any appearance of impropriety and in interest of ensuring that the public has full confidence that policymakers will make decisions free of bias,” she would voluntarily recuse herself when the FCC considered retrans and broadcast copyright issues.

The NAB welcomed Sohn’s decision.

“Ms. Sohn’s recusal agreement resolves the concerns NAB raised regarding her nomination. NAB appreciates Ms. Sohn’s willingness to seriously consider our issues regarding retransmission consent and broadcast copyright, and to address those concerns in her recusal. We look forward to the Senate moving forward with Ms. Sohn’s confirmation and are eager to work with her and the full complement of commissioners in the very near future,” said NAB President and CEO Curtis LeGeyt.

The Commerce Committee is scheduled to vote on Sohn’s nomination next week.

A version of this story first appeared on our sister publication TV Technology’s website.

The post Sohn Says She Will Recuse Herself from Broadcast Copyright, Retrans Issues appeared first on Radio World.

Radio World’s latest ebook is the biggest yet, almost 50 pages chock-full of photos of new studios recently built by leading broadcast organizations.

Yes, new radio studios are still being built during the pandemic, and here’s the proof. Check out the equipment and design choices made by your peers who solved technical problems and overcame challenging deadlines in these exciting buildouts.

You’ll read about new facilities at Audacy Miami, 77 WABC in New York, Nashville Public Radio, CBC/Radio-Canada, Educational Media Foundation in Tennessee, IB3 in Spain, Rider University’s WRRC, Hubbard Cincinnati, the Huskers Radio Network, Midwest Family in South Bend, Urban One Atlanta, The Station of the Cross in Buffalo, University of Sherbrook’s CFAK, Cumulus Kansas City and Cumulus Lake Charles.

Read it here.

The post Spectacular Radio Studios: A Radio World Ebook appeared first on Radio World.

Gimme Radio announced $3 million in funding in a round led by iHeartMedia.

Gimme is a digital radio service for artists and music fans. It provides a venue where artists choose the music and fans show support through tipping, merchandise sales and vinyl subscriptions.

iHeartMedia joins The Orchard, Concord, Metal Blade Records, Riser House Entertainment and Quartz Hill Records, who also have backed Gimme. Gimme said iHeartMedia’s investment enables the company to extend its reach to more fans and genres while offering iHeartMedia a way to build communities around its own programming and talent.

[See Our Business and Law Page]

Gimme noted that more than 1,200 artists host shows on two stations, Gimme Metal and Gimme Country.

The Gimme Radio executive team, led by Tyler Lenane, CEO and co-founder, consists of music industry executives with experience at digital music services including Beats, Apple Music, Google Play Music, and Napster (formerly Rhapsody).

In a statement announcing the funding and partnership, Lenane said, “Creating rich communities of artists and fans who can have meaningful conversations, build real relationships and transact directly with one another is how the world will experience music and support artists.”

Chris Williams, GM and chief product officer at iHeartRadio, said the company was pleased to help extend the connection between artists and fans, as well as enabling Gimme to reach the iHeartRadio audience.

Submit business announcements to radioworld@futurenet.com.

The post Gimme Radio Raises $3M, Partners With iHeartMedia appeared first on Radio World.

(Credit: Getty Images)

The authors are director of technology and product manager, respectively, for StreamGuys.

Every engineer and station manager knows that actively monitoring their broadcast operations is critical. Techniques for monitoring over-the-air broadcast signal chains have been honed over many decades and may be well understood.

But streaming distribution brings with it a new set of potential points of failure that must be monitored in different ways. Understanding each step of how your streamed content goes from point A to point B, and how you can monitor each of those steps, is essential to fixing problems if they occur.

Stream monitoring for radio broadcasters starts with source production in the studio and extends all the way out to the audience consuming the content. At StreamGuys, we talk in terms of four primary layers of the signal chain: content production; the facility network that connects the production to a streaming service provider or CDN; the service layer that hosts and streams the content to the world; and the application layer where listeners access the content.

The content layer

Streaming radio content essentially takes one of two forms: on-demand content such as podcasts, or live streams as a corollary of traditional linear broadcasts.

Verifying on-demand content is fairly straightforward, as you’re only really worried about whether the media file is “good” — for example, whether it is encoded in the correct codec and bitrate, with proper metadata, and normalized correctly for its purpose (such as the TD1008 spec for speech-centric content).

Validating live content is more complicated as it requires multiple facets to be verified in near real time, starting with playout from the automation system. Normalization and digital signal processing may occur prior to the encoder, and you need to ensure the encoder receives a valid audio signal that is true to the producer’s intent. The output of the encoder itself — MP3, AAC, or even HLS — must also be validated.

The network layer

Eduardo Martinez

The network is how your signal is transported to your streaming media provider or CDN, which in turn reflects that signal out to the world. The network comprises the switches, routers and gateways that make up your local area network (LAN) at the origination source, and also interacts with a dedicated internet service provider (ISP) connection for uploading streams from the encoder.

Tools like Ping, Traceroute and PingPlotter should be used constantly to monitor the consistency of the network and ensure connectivity to the outside world. You should be monitoring against the points of presence where your CDN is ingesting your streams. Generic speed tests don’t offer useful perspective, as they don’t accurately represent the path between your network and the service layer to which you’re broadcasting.

Persistent tracing provides the operational visibility necessary to identify intermittent issues. This long-term approach to monitoring the health of your network enables you to correlate issues reported by listeners — such as stream buffering at specific times of day — against network events such as packet loss or jitter on the link between the studio and CDN. Such data can help when working with your ISP to resolve such issues.

The service layer

Robert Minnix

After the live feed reaches your CDN or you have uploaded file-based media file to your CMS, the service layer is the delivery mechanism that distributes your content to your audience. It consists of multiple purpose-built streaming servers and usually is operated by a CDN or streaming media company, spanning multiple points of presence globally.

For monitoring purposes, look at the service layer as if you are part of your audience. First, ensure you can connect to the stream from your location, like a listener in your own DMA. From there, cast a wider net to ensure the stream is available from other parts of the country, or even globally. Automated monitoring agents can be set up in different geographic areas and even on specific consumer networks to help narrow down issues affecting only specific groups of listeners.

In addition to verifying that streams are accessible, you also want to ensure listeners are correctly receiving your audio. Silence monitoring is an important aspect of that, and can help detect issues with the automation system or encoder. The silence detector “listens” to the stream, and if it falls below a particular audio level for longer than a specified time threshold, triggers an alert. Audience measurement can also help identify issues, as sudden dips in traffic can correlate to technical issues with your streams.

The application layer

The application layer is essentially any mechanism the audience can use to interact with your content. This could be via your website using various browsers; it could be a dedicated mobile app; or it could be through increasingly popular smart speakers.

Monitoring the application layer comes down to verifying proper playback of your content. Are there any audio issues that weren’t present in the source, but are audible through the player? Such problems may be platform specific. For example, the audio specifications you’re delivering might be fine in one browser but not in another.

Analyzing the user experience is also important, as how people interact with your content — such as voice commands — can impact their engagement.

There isn’t yet a great, automated way of testing the human experience. Manual testing is still the best way to verify that your player is outputting the right content properly in various locations, and that commands are fulfilling the interactions you want your consumers to have.

While you should obviously perform your own testing, you can supplement it with feedback from people who are essentially constantly monitoring the application layer for you — your audience! Pay close attention to their feedback, even unique problems you haven’t heard of elsewhere. They may be the clues you need to track down problems elsewhere in the chain.

The post Streaming Monitoring: Media Operations in the Digital Age appeared first on Radio World.

Gigi Sohn (image credit C-SPAN)

With the asterisked caveat that the items are “subject to change,” a vote on the nomination of Gigi Sohn to the open Democratic seat on the FCC has been slotted.

The Senate Commerce Committee has scheduled an executive session for Wednesday, February 2, and among Sohn is among a 14 nominations scheduled to get a vote. Among the other nominees are Alvaro Bedoya for the open Democratic seat on the Federal Trade Commission and four members of the board of the Corporation for Public Broadcasting, Kathy Im, Thomas Rothman, Elizabeth Sembler, and Laura Ross.

[Read More of Our Coverage of the FCC]

But the Sohn nomination is the highest profile agenda item given the pushback from Republicans and the call by Commerce ranking member Roger Wicker (R-Miss.) for a second nomination hearing before a vote, which looks like it is not happening.

Commerce chair Maria Cantwell (D-Wash.) had signaled she wanted to firm up a vote by this week.

The Committee vote would be a big step forward, but Sen. Thom Tillis has threatened to put a hold on her nomination before a full Senate vote.

Sohn this week got endorsements from the Communications Workers of America and the National Urban League.

A version of this story appeared on our sister publication, Broadcasting & Cable.

The post Sohn Nomination to Get Commerce Committee Vote appeared first on Radio World.

The Federal Communications Commission is flexing its regulatory muscle to help resolve an impasse between two radio licensees — as the two argue over channel changes, reimbursement details and whether an escrow account should be required to ensure proper payment.

The situation began when Entravision Holdings LLC filed an application proposing to upgrade one of its stations, KVVA(FM) in Apache Junction, Ariz., by changing the the station’s transmitter location and shifting its community of license to Sun Lakes, Ariz. To facilitate this, Entravision proposed moving one of its other stations — KDVA(FM) — from Channel 295 to Channel 294, a change that would require another licensee to move the station it currently operates on Channel 294 to Channel 295. When that licensee, Prescott Valley Broadcasting Co., modified KPPV(FM)’s license to Channel 295, Entravision said it would reimburse Prescott for the costs of the channel change.

The Media Bureau then notified Prescott of Entravision’s proposal and asked the licensee to show cause why KPPV’s license should not be modified. The bureau reminded Prescott that these types of involuntary channel changes are allowed in instances where such a change would allow for new or expanded service in another community.

But Prescott balked at the request, saying it could not support modification of the KPPV license unless Entravision agreed to deposit an estimate of the reasonable costs into an escrow account. While Entravision said it was committed to reimburse Prescott, the reimbursement amount Prescott requested —$2.75 million — “far exceeded” the amount typically specified in moves such as this, Entravision said. Entravision then alleged that Prescott was abusing commission processes and filed an objection to simply delay the channel change, otherwise known as a bad-faith strike pleading.

[Read: FCC Addresses Reconsideration Petitions on FM Translator Interference Rules]

And so began an exchange of character-related attacks and insults by Entravision and Prescott, the bureau said.

In the midst of these back-and-forth battles, the Media Bureau took several steps. The bureau granted Entravision’s applications in July 2020, issued construction permits for KVVA and KDVA, modified KPPV’s license to operate on Channel 295 instead of Channel 294, and directed Prescott to file an application to implement the channel change by Oct. 19, 2020.

As is customary in an involuntary channel change situation such as this, the bureau placed special operating conditions on the permits it issued to Entravision. As a result, Entravision is not permitted to commence program tests or officially license the new channel as its own until the Prescott station is officially licensed and begins tests from its new location.

The bureau also reminded Entravision that it must reimburse Prescott for “reasonable and prudent” costs incurred in changing KPPV’s channel, though Entravision would not be required to place funds in an escrow account. The bureau also dismissed Entravision’s allegation that Prescott was filing a strike pleading.

Prescott filed a minor modification application to implement the program change (which was granted by the bureau) but the licensee also argued against the bureau’s decision not to require an escrow deposit. Entravision opposed that petition, again accusing Prescott of filing a strike pleading.

More name-calling ensued. According to the Media Bureau, Prescott accused Entravision of engaging in reprehensible and unprofessional behavior, accusing the licensee of stonewalling. Prescott further charged Entravision with obfuscation, disingenuousness, bullying and intimidation. According to Prescott, the bureau should reconsider its decision and require Entravision to place funds in an escrow account because, Prescott said, Entravision’s trustworthiness should be questioned.

Again, the bureau issued several denials. It denied Prescott’s request, saying the licensee had not shown adequate reasoning to require an escrow account, and it denied Entravision’s allegation that the latest Prescott petition was another strike pleading. Another round of objections were filed with the bureau again dismissing Prescott’s request for an escrow account.

By January 2021, Entravision filed a request asking the bureau to remove the special operating condition initially placed on the construction permit for KDVA because the licensee had “no idea whether or when [Prescott] will commence construction.” Because of the various delays, Entravision said that KPPV should no longer be entitled to protection on that channel.

But eliminating protections to its station would result in interference to more than 300,000 listeners, Prescott responded. The licensee again characterized Entravision’s moves as a way to avoid its reimbursement obligations.

The two licensees also accused the other of other blunders, including defective filings, late-filed pleadings, mislabeled mailings and wrongly routed packages.

But in its most recent order on the issue, the commission made several things clear.

It upheld the Media Bureau’s decision not to require Entravision to deposit funds into an escrow account. The commission also found no merit in Entravision’s assertion that Prescott’s pleadings were simply to cause a delay. And the commission upheld the bureau’s earlier decision to modify Prescott’s channel of license because, as the bureau wrote at the time, such a change would “promote the public interest, convenience and necessity.”

The commission also declined Prescott’s request that the FCC modify its reimbursement rules so that Entravision would also cover the cost of moving an FM translator (Prescott’s FM translator would also be affected by the channel move).

The FCC reminded Prescott that FM translators are authorized as a secondary service and can be subject to displacement by a full-service station. (Any related costs would fall to the translator licensee — not the station causing displacement — because in constructing an FM translator station, the licensee knew the risks and accepted the secondary status of the translator construction permit.)

The commission also denied Entravision’s request that the FCC remove the special operating condition on the station that prevents Entravision from conducting tests on its new channel.

Finally, the commission addressed the contentious negotiations between Entravision and Prescott, directing the Media Bureau to monitor the situation and make a decision on which expenses are covered if the two licensees cannot come to an agreement.

Comment on this or any article. Write to radioworld@futurenet.com.

The post Channel Change Stirs Discord in Arizona appeared first on Radio World.

A new climber rescue training standard has been issued by NATE: The Communications Infrastructure Contractors Association.

The new document, known as the Climber/Rescuer Training Standard (CRTS), is designed to assist in standardizing fall-protection and rescue training for climbers in the tower and communications infrastructure industry.

Guidelines in the newest version of the NATE CRTS include new evaluation strategies an employer can use to properly identify authorized climbers/rescuers. The new document also offers guidelines to help an employer develop and maintain its fall-protection program, which can be used to comply with the ANSI/ASSP A10.48 “Criteria for Safety Practices with the Construction, Demolition, Modification and Maintenance of Communications Structures” standard and other regulations.

[Related: NATE, OSHA and FCC in Safety Partnership]

The new document replaces the fourth edition of the NATE training standard and is available in electronic format at no cost to NATE members and for purchase to non-members.

The development of the new CRTS is a by-product of hours of sweat equity from prominent subject-matter experts, said John Paul Jones, a member of the NATE board of directors who presided over the ad-hoc committee that produced the new document.

“NATE is thrilled to offer this new CRTS resource to better facilitate and standardize climber and rescue training and ultimately improve safety in the industry,” said Kathy Stieler, director of safety, health and compliance for NATE. “This new CRTS document instantly becomes the association’s signature safety resource and provides an invaluable tool in the toolbox to ensure that climbing and rescue training is consistent regardless of who is conducting the training.”

Other features in the new standard include a series of training topics, details on the skill that a climber should possess and guidance on setting a baseline of knowledge for tower professionals.

At the organization’s NATE UNITE 2022 Conference in Las Vegas on February 22, the association will host an educational session exploring all aspects of the new CRTS update.

Across all worksites and industries, fall protection was the most commonly cited standard violation by OSHA in 2020, the most recent year for which data has been reported.

The post NATE Issues New Climber/Rescuer Training Standard appeared first on Radio World.

Tony Peterle will transition to a consulting role at WorldCast Systems in April.

Peterle is manager for the Americas at the France-based company, which he joined in 2005.

“I’m honored to remain a part of the WorldCast family and will remain available to our customers for pre and post-sale support, planning, installations, presentations — and hopefully still get the occasional trip to Bordeaux, my beautiful ‘second home’ on the Garrone,” he wrote in a social media post.

[Read Tony Peterle’s article “Using the SNMP Protocol in Broadcast Monitoring”]

“I’m also excited about the new opportunities that await. I’ll have time for some freelance and consulting work, professional writing, voice work and who knows what else might come along.”

He plans to move from Florida to Ohio by mid-year.

Peterle began in radio in 1975 and started engineering in 1978. He was a chief engineer in Honolulu, Wichita and Kansas City, and spent years in the air as a traffic pilot in Honolulu, Kansas City and Seattle.

He is a past recipient of the James C. Wulliman SBE Educator of the Year Award who has trained engineers through SBE University, Ennes workshops and SBE webinars as well as articles in Radio World and elsewhere.

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

The post Peterle Looks to Next Chapter appeared first on Radio World.

The FCC has updated its political programming and record-keeping rules for broadcast licensees.

A Report and Order adopted this week revises the rules with the goal, the commission said, of aligning them with modern campaign practices and increasing transparency.

The rules revise the list of ways that define if someone is a “legally qualified candidate” to add the creation of a campaign website and the use of social media to promote or further a campaign for public office.

The revision will help determine whether an individual running as a write-in has made “substantial showing” of his or her bona fide candidacy.

David Oxenford, a communications attorney with Wilkinson Barker Knauer LLP, wrote about it on his Broadcast Law Blog. “Legally qualified candidates, even write-ins who have made this substantial showing, are entitled to all the protections of the commission’s political rules, including equal opportunities, lowest unit rates and, for candidates for federal office, reasonable access to buy advertising time on commercial broadcast stations.”

A person just saying that they are a write-in candidate is not enough to qualify for protections under the FCC rules, he continued; a substantial showing is also required.

[Previously: Rosenworcel Wants to Update Political Programming Rules]

“The FCC is simply recognizing that online media is an important factor in determining if a candidate is a serious candidate who should receive the benefit of FCC protections, “ he wrote.

The commission does specify in the order that a legally qualified candidate needs his or her campaign to be more than totally virtual. “Some real-world activity is still necessary for a write-in candidate to be considered legally qualified,” the FCC wrote.

The National Association of Broadcasters, in comments filed during the political programming and record-keeping rulemaking proceeding in 2021, expressed support for these changes, according to the FCC.

The revisions, which Oxenford deemed as minor, includes a second part that brings the FCC in line with existing federal statutory requirements by requiring stations to upload to their political file any information about advertising on federal issues.

This record-keeping requirement makes the FCC’s political file rules consistent with the Bipartisan Campaign Reform Act of 2002, according to the commission. This extends a station’s political file requirements to any request for the purchase of advertising time that “communicates a message relating to any political matter of national importance.”

The requirement was adopted some 20 years ago but never formally carried over in the FCC’s rules, Oxenford explained in his blog; yet the FCC has been enforcing the record-keeping requirement, even issuing admonitions to some TV stations for perceived violations of the political file rules.

“So formally adding these obligations to the rules just reiterates what is already required of broadcasters dealing with federal issue ads,” according to Oxenford’s blog.

The FCC first adopted rules requiring broadcast stations to maintain public inspection files documenting requests for political advertising time more than 80 years ago. It says the record-keeping requirement is integral to ensuring compliance with the statutory protections for political programming.

Comments made during the FCC’s political programming and record-keeping rulemaking proceeding (MB 21-293) can be viewed here.

The post FCC Adopts Revised Political Broadcast Rules appeared first on Radio World.

He calls himself “The Other Alan Peterson,” but here at Radio World there’s really only ever been one.

Al, who has worn many hats in his radio career, has announced that he is retiring. His gig for the past 18 years has been at Radio America Network, based in Arlington, Va., where he most recently held the titles of national production director and weekend program coordinator.

In that time he was the engineer and/or producer behind programs like “The Pet Show with Warren Eckstein,” “Intelligent Medicine with Dr. Ronald Hoffman,” “Liberty Nation,” “Tech It Out” and “Eat Drink Smoke.” He also was co-creator of the comedy jingle collection “Dork-a-Pellas,” now produced and distributed by Dan O’Day’s L.A. Air Force.

But Radio World readers know him as ARP, because for 15 years he authored “From the Trenches” and “The World According to ARP” in our pages, and ultimately became our technical editor. He reviewed audio equipment, offered tips, spun yarns and made readers laugh. Al says he started using the nickname “The Other Alan Peterson” when the late radio consultant Al Peterson began writing for Radio & Records.

I worked with Al daily for eight of those years — in our beloved, hated old dump of an office building at Bailey’s Crossroads — and I have a warm appreciation for his communication skills, storytelling ability, photography eye and, most of all, his wacky, ever-present sense of humor.

Al also has done live radio in Washington; Syracuse; Danbury, Conn.; and Springfield, Mass., and he wrote comedy and song parodies for air talent, including Doug “The Greaseman” Tracht.

In a postscript to the announcement, Al was quoted saying he’ll be moving to Williamsburg, Va., “where — just out of boredom — he will probably offer to board-op the Sunday polka show at a local AM’er.”

Congrats Al, and please keep in touch. Your byline is always welcome in our pages.

The post Al Peterson Retires (or So He Says) appeared first on Radio World.

Steve Moore has been promoted to operations manager of Audacy St. Louis.

“He will now oversee the market’s six brands: 102.5 KEZK (KEZK-FM), Y98 (KYKY-FM), 97.1 FM Talk (KFTK-FM), News Radio 1120 KMOX (KMOX-AM), Hot 104.1 (WHHL-FM) and 96.3 The Lou (WFUN-FM),” it stated.

The announcement was made by Becky Domyan, senior VP and market manager for Audacy St. Louis. She said Moore “has been so instrumental in building operational alignment, collaboration and synergy across our St. Louis footprint.”

Moore has worked in the market for CBS Radio, then for Entercom/Audacy, since 2000. He already had brand management and operations oversight of KMOX and KFTK, according to his LinkedIn profile.

Send People News announcements, especially concerning technical and executive management roles, to radioworld@futurenet.com.

The post Audacy Promotes Steve Moore in St. Louis appeared first on Radio World.

Stephen Hartzell (left) and Coe W. Ramsey

The law firm of Brooks, Pierce, McLendon, Humphrey & Leonard LLP will take on the duties of regulatory counsel to the Society of Broadcast Engineers.

As we previously reported, SBE General Counsel Chris Imlay announced last year he was stepping down, having worked with the SBE since 1980 and as its general counsel since 1993.

Former President Wayne Pecena led a search committee and considered several candidates before making its recommendation to the SBE board in December.

[Read our profile story: “Imlay Prepares His Next Chapter”]

Two partners at Brooks Pierce, Stephen Hartzell and Coe W. Ramsey, will work with the society on its regulatory needs. “They both are experienced with broadcast technical regulatory issues, and Broadcast Auxiliary Services in particular, and they have worked with state broadcast associations,” SBE said in its announcement.

Imlay expressed support for the choice.

“In my experience, these able lawyers are well-positioned to work with the SBE Board to advocate for our members at the FCC, the NTIA and on Capitol Hill, especially in the area of spectrum protection,” said Imlay. “I have promised to be available to consult with them on current open issues and going forward to the extent they would like, and I will help [Executive Director] Jim Ragsdale and the SBE’s Indiana counsel with non-FCC legal issues going forward, as a volunteer.”

As we reported earlier, the society has split Imlay’s duties, planning also to hire an attorney for business matters based near its headquarters in Indianapolis.

The post SBE Names Its New Regulatory Counsel appeared first on Radio World.

AudioScience has a heads-up for customers that use CobraNet: It’s time to say goodbye.

The company wrote in an email to clients, “We have been notified of the end-of-life date of the Cirrus Logic chip, the main component needed for CobraNet, with the option to make a last-time purchase. AudioScience is asking all CobraNet customers to place a last-time purchase. We ask for your assistance to ensure we are able to cover the quantities your company requires.”

The company said affected users should send purchase orders covering outstanding quotes, including spares for the rest of this year. “If you have longer-term contract commitments for CobraNet product support, these quantities should also be added/included in this purchase.”

CobraNet is a technology from Cirrus Logic that provides distribution of isochronous digital audio, control and monitoring data over Ethernet. It operates at the Data Link Layer, also referred to as OSI Layer 2 or MAC layer.

According to its website, AudioScience developed a variety of CobraNet sound cards and standalone CobraNet interfaces.

The post AudioScience Notes “End of Life” for CobraNet appeared first on Radio World.

Genelec’s Aural ID software is now available as a DAW plug-in, which the company says delivers a more reliable and headphone-listening experience, providing audio professionals the confidence to switch between monitors and headphones freely.

Using video footage supplied by the user via the free Aural ID Creator mobile app, Genelec will analyze the way the user’s head, external ear and upper body affect and color audio arriving from all directions. Unique to the individual, this effect is called the head-related transfer function (HRTF).

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

ID’s cloud-based calculation engine then models the user’s head and upper torso to calculate their personal HRTF, and then renders audio in any direction within the Aural ID plug-in. The plug-in is available in VST, AAX and AU formats for integration into DAWs.

The Aural ID plug-in also allows users of Genelec Smart Active Monitors to import calibration files directly from Genelec GLM loudspeaker manager software.

Suitable for audio professionals, including those working remotely, according to the company, the Aural ID plug-in compensates for the sound coloration headphones can introduce.

The Aural ID plug-in is available directly from the Genelec Cloud platform via a cloud-based subscription service. For more information, visit www.genelec.com/aural-ID.

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

The post Genelec Personalizes Headphone Monitoring appeared first on Radio World.

This article is part of our Buyer’s Guide feature on telco and talk show products for radio.

Glory Communications has been using the Broadcast Bionics Caller One talk show system since 2020 at urban inspirational station WFMV(AM) in Cayce, S.C., and the Worship and Word Network, which serves a large portion of South Carolina.

Caller One is a software talk show system that runs on a PC, webRTC and SIP Voice over IP technology to route calls to air without dedicated hardware. It was designed with smaller studios in mind.

Tony “Gee” Green, program director of WFMV and vice president of programming for Glory Communications, said installation and integration was easy. “It’s also a telephone interface that is very easy to learn and use.”

For WFMV, Caller One is used in a variety of ways, he said. “Since it’s a digital application, it has a superior sound for on-site remote broadcast. It’s also used, now more than ever due to COVID-19, as a platform for advertisers both for recording commercial content as well as live programs.”

It’s used to provide audio for artist interviews and for daily interactions with the station’s listening audience.

“As for the Worship and Word Network, its primary use is for talk show interviews and listener interactions. It’s an excellent application for the talk format because it offers you the opportunity to use more than one line at a time. Callers can not only call in to the host but they can hold conversations with each other or a remote host.” Broadcasters General Store is the U.S. dealer for the product.

Info: www.bionics.co.uk, www.bgs.cc

The post Caller One Goes for the Glory appeared first on Radio World.

The FCC’s Media Bureau is reminding everyone that applications and submissions that can be submitted using its Licensing and Management System must be submitted that way.

This may seem obvious; however, as we’ve reported, the bureau recently announced that it will no longer accept any filings in its old Consolidated Database System (CDBS), and it set up procedures for the public to submit certain types of filings by email pending final transition of all filings to LMS.

This apparently caused some confusion, so now comes a reminder that the Media Bureau will not accept applications that are required to be filed using LMS but that are submitted using those new email filing procedures. The latter procedures just apply to those types that until recently would have been submitted via CDBS. (Here’s that earlier announcement, if you’re not sure which types are involved.)

“As of Jan. 12, 2022, all Media Bureau filings that cannot be submitted using LMS must be submitted by email to audiofilings@fcc.gov.”

It also reminded filers that emailed submissions must include the required Anti-Drug Abuse Act Certification. It also addressed other required information and fees. For those details and guidance about sending questions to the FCC, see the bureau’s latest announcement.

The post FCC Issues Reminder on Filing Process appeared first on Radio World.

Cox Media Group has appointed Darren Moore as VP/GM of CMG Ohio effective immediately. He will oversee CMG Ohio operations, including news, programming, sales, digital, engineering, production and community affairs for WHIO-TV, 95.3 and 101.1 The Eagle (WZLR), 1290 and 95.7 WHIO, and K99.1 New Country (WHKO-FM), in Dayton, Ohio.

Moore joined CMG 26 year ago as an intern for WPXI(TV) in Pittsburgh, launching a career built on his early childhood memories of visiting the station with his father, a former CMG employee. After finishing his internship, he relocated to Charlotte to work as an account executive for the newly launched WAXN-TV, before returning to Pittsburgh where he eventually became director of sales at WPXI.

“Darren’s passion for people, the broadcasting industry and CMG is infectious and inspiring,” said Paul Curran, EVP of Television at CMG.

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Calling all vinyl aficionados: Apr. 23, 2022, will be the day to celebrate the unique, much-loved and resurging medium known as vinyl. Vinylthon 2022 will feature a full day of vinyl-only broadcasts from stations across the U.S. and around the world.

The nonprofit College Radio Foundation, which is organizing the event, described Vinylthon as the radio industry’s response to the “remarkable vinyl renaissance” that continues around the world. The event is open to all stations both commercial and noncommercial and will raise scholarship funds for students interested in a career in the radio industry.

“This event is a hugely fun day for both listeners and broadcasters alike,” said Vinylthon Founder Rob Quicke, a faculty advisor at WPSC(FM) at William Paterson University in Wayne, N.J. “People are still very passionate about the magic and warmth of vinyl.”

Over the past 15 years, sales of vinyl have seen steady growth, reaching a “post-Napster high” of $467 million in the first half of 2021, according to the Recording Industry Association of America, despite supply chain shortfalls affecting production. In 2020, vinyl sales overtook CD sales for the first time since the 1980s.

2022 marks the seventh Vinylthon event, with more than 150 radio stations participating in 2021. The event has been supported in the past by music artists such as Andrew Farriss from INXS, Edie Brickell & New Bohemians, Ritchie Kotzen from Mr. Big and Poison, and Mike Peters from The Alarm.

The event is free for noncommercial radio stations to register; there is a small fee for commercial stations to participate, said Quicke. “Commercial radio stations that participate are paying it forward to the next generation of professional broadcasters, who really need the financial support,” he said.

Stations that air more than 12 hours of vinyl-only recordings during the event will earn the Golden Slipmat Award — a pair of golden slipmats that can be used on turntables or displayed on a studio wall.

“Playing vinyl on the air is an amazing, hands-on experience for many of today’s radio broadcasters, and a trip down memory lane for the listeners,” Quicke said.

The organization has released additional information on the event, including information on registering and a list of participating stations. As of press time, nearly 100 U.S. stations and a dozen international stations had registered.

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Tracy Gilliam (left) and Todd Storch

From our People News page: Futuri has created two new positions. Tracy Gilliam was named chief strategy officer, and Todd Storch becomes chief revenue officer.

Futuri offers audience engagement and sales intelligence services for broadcasters and digital publishers, using artificial intelligence and the cloud. Daniel Anstandig is its CEO.

“Gilliam will focus on M&A and strategic growth, as well as further developing Futuri’s client solutions and best-in-class Customer Experience team,” the company wrote.

Futuri in 2015 acquired TopLine Matters, a sales intelligence system Gilliam launched. She also is a former general sales manager for CBS Radio in Los Angeles and VP/market manager for Clear Channel, now iHeartMedia.

“Storch will be responsible for driving Futuri’s continued revenue growth through aligned sales and marketing go-to-market strategies and operational plans for profitable growth,” Futuri wrote.

He is former CEO of Kindrid and Five Star Global, and was SVP, Strategic Initiatives at Ministry Brands. He’s a former VP/senior consultant at The Center for Sales Strategy and co-founder of Taylor’s Gift Foundation.

Send your people news to radioworld@futurenet.com.

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Lawo has announced the end of production of its sapphire mixing console.

In an email notice to clients, it said existing users have a window to buy modules and boards through June.

The sapphire was introduced in 2010. “We always aim to maintain availability of our products for as long as possible; however, the discontinuation of key components and other factors inevitably leads to the end of a product’s life,” the company stated.

“Sapphire and Nova17 technology have been at the heart of many of the largest broadcast productions over the last decade. The product family supports many different application scenarios and various types of audio formats, with the introduction of Ravenna connectivity as early as 2012,” it wrote.

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“With the introduction of the new diamond surface in late 2021, sapphire and its related components approached the end of its life as a mixing console.”

For existing installations that use sapphire modules, Nova17 core and DALLIS Master boards, Lawo is offering a final purchase window until June 30.

“Lawo’s service team will continue to support all sapphire installations based on the final software release for each sapphire module,” it continued.

“Support will be offered according to our terms and conditions of sale; however, due to increasing complexity in supply chain, Lawo’s support team will only be able to service sapphire with components still in stock; supplies of replacement components will be limited to stock on hand. Limited numbers of products for replacement may also be available until end of stock.”

As a product alternative, Lawo suggests its diamond console and Power Core.

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