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Following a report citing three individuals close to the matter that appeared in POLITICO, the National Association of Broadcasters (NAB) confirmed early Wednesday that its President/CEO — former Oregon Senator Gordon Smith — will transition to a 36-month advisory and advocacy role at the end of 2021.

His successor is the NAB’s Chief Operating Officer.

Smith will be succeeded by Curtis LeGeyt, who will take on the media industry’s largest and most influential lobbying and advocacy association on Jan. 1, 2022.

In a video message to NAB members, Smith said, “It has been my great honor to give the lion’s roar for broadcasters – those who run into the storm, those who stand firm in chaos to hear the voice of the people, those who hold to account the powerful – and to stand with those of the fourth estate who have the hearts of public servants.”

Smith joined the NAB as its President/CEO in November 2009. Under his leadership, NAB saw its New York show grow as the Radio Show evolved to a co-production with the Radio Advertising Bureau (RAB). The 9-0 Supreme Court decision in FCC v. Prometheus, which saw the NAB join the Commission in its fight to win approval of cross-ownership rule “modernization” the FCC approved in November 2017, is perhaps the crown achievement of the NAB during Smith’s run as its head.

Before joining the NAB, Smith was a well-admired two-term Republican Senator from Oregon. After leaving the Senate, he served as a senior advisor in the Washington offices of Covington & Burling LLP.

Among those saluting Smith is Hearst Television President Jordan Wertlieb, who serves as the NAB Joint Board of Directors.  “Gordon is the ultimate statesman, bringing people together from both sides of the aisle to discuss ideas, find common ground and lead NAB to success on countless fronts,” Wertlieb said. “On behalf of the leadership of NAB, we extend our sincere gratitude for more than a decade of service to the broadcast industry. We look forward to continuing to work with Gordon and benefiting from his guidance for years to come.”

Wertlieb noted that Smith worked closely with the board leadership on a succession plan that will enable him to continue to serve NAB in a special advisory role through December 31, 2024, which includes lobbying on behalf of the broadcasters.

“I am also delighted to share that NAB is in the enviable position of having cultivated top talent within the organization to provide for a smooth and stable transition in leadership,” Wertlieb said. “Curtis has the utmost confidence of the NAB leadership and staff to lead our association into the future.”

LeGeyt has been with NAB for nearly a decade, during which time he led several highly successful legislative advocacy efforts on behalf of broadcasters, including the permanent reauthorization of the Satellite Television Extension and Localism Act Reauthorization (STELAR), inclusion of $1 billion in RAY BAUM’s Act to reimburse stations impacted by the spectrum auction repack, and successful passage of the Music Modernization Act.

Prior to assuming his current role as COO, LeGeyt served for five years as NAB’s EVP of Government Relations. Before joining the NAB, LeGeyt was senior counsel to then-Senate Judiciary Chairman Patrick Leahy, of Vermont.

“I am honored and humbled to be named the next leader of this great organization,”  LeGeyt said. “To represent the broadcast industry and the local stations that bind our communities together in a moment of such tremendous change across the media landscape is a privilege. Our stations’ role in communities across this country has never been more important, and I look forward to working every day to ensure their ability to grow and thrive.”

MORE ON CURTIS LeGEYT FROM THE RBR+TVBR ARCHIVES:

NAB COO Talks Up Radio Value At Senate DMCA Briefing Adam Jacobson What did the NAB’s COO say Wednesday to a group of U.S. Senators regarding the scope of music rights within the Digital Millennium Copyright Act (DMCA)?  Curtis LeGeyt had a lot to discuss, and much of his conversation centered on the role broadcast radio plays in the U.S.

Remote workflows are great until they aren’t. Hypercommunication and Zoom burnout are now part of daily life for college radio teams just like those at other stations. (GettyImages Thananit Suntiviriyanon EyeEm)

“Study Abroad Gone Wrong.” “Coronavirus Outbreak Leaves USC Empty.” “Students Protest on Campus.” “Voices of COVID-19.”

These could be descriptors from a college media time-capsule of the past year. In fact they are headlines from award-winning pieces at the National Student Electronic Media Convention held late last year and produced by College Broadcasters Inc.

“Students across the country are successfully engaging with their audience and community in ways they’ve never attempted before,” says Laura Mooney.

Working amid unusual circumstances through most of 2020, students documented stories and news of campuses and communities grappling with the global pandemic.

“In a primarily virtual world, as due to the effects of the coronavirus pandemic, it can be hard to constantly adapt our functioning, even though we’ve been living through the pandemic for months,” said CBI’s Student Representative Laura Mooney.

While the situation was different at every campus and college radio station, the months of trial and error prompted lively conversations about education and radio. These themes were at the forefront at the convention as students, educators and professional broadcasters dug into the myriad ways that radio work adjusted.

Breaking News, Overlapping Crises

Laura Haefeli, TV reporter for CBS13, was new to the Sacramento area in the early days of the coronavirus outbreak. She was soon covering breaking news about quarantines, wildfires and civil rights protests.

Acknowledging the risks, she emphasizes the vital role that journalists play in reporting factual information to the public.

“We all do this to help people. It’s our way of doing our part,” Haefeli said. “If I didn’t do this, I’d probably be some kind of first responder … It’s an important job. .. It’s a dangerous job and I couldn’t imagine doing anything else.”

WCBS Newsradio 880 reporter Peter Haskell is a veteran of crisis reporting in New York City after the terrorist attacks in 2001 as well as following a devastating earthquake in Haiti. Haskell advises reporters to “be smart and protect yourself,” pointing out that “you don’t want to be the one doing a story from a hospital bed.”

Equally vital to Haskell is to “not lose your humanity” when covering the news. In difficult situations, he implores journalists to treat people the way they would want their own family to be treated.

Laura Haefeli also encourages student journalists to think creatively and to look for the positive angle on a story during a crisis. “Find the stories that are based in humanity,” she urges.

Remote Tips and Tricks

Of course, many interviews for radio took place remotely by phone or through online video and audio tools. Haskell points out that developing a rapport is key to a good interview and that it is much easier to do that in person.

For that reason, reporter Julia Ritchey of North Country Public Radio in the state of New York prefers Zoom or video interviews instead of the phone so that she can see the person she’s talking to and keep an eye on their reactions and body language.

As far as remote audio logistics, Ritchey recommends asking interview subjects to record audio to help add color. She provided an example of having a chef use a phone to get the sound of sizzling bacon for inclusion in her radio piece.

While Ritchey records herself using a Zoom recorder and a microphone she always has backup plans and has used the voice memo app on her phone “in a pinch.”

She cautions students to be prepared for equipment failure, check levels and capture at least a minute of sound wherever they are recording. This ambient sound serves as “glue” for the final radio story, allowing for smooth transitions.

Finally, when away from a proper studio, Ritchey suggests recording in one’s closet, saying that “it’s foolproof.”

Remote Best Practices

Educators and industry professionals continue to evolve approaches to distance learning and working. There have been bumps, as teaching radio remotely has obstacles. Radio station advisors labored to obtain licenses for editing software so students could work from home. Workarounds via remote computer access may seem viable, but for some latency makes it impossible.

Students may prefer methods or apps that their instructors are less familiar with. At Montclair State University’ WMSC(FM), demand to use the communication platform Discord prompted General Manager Anabella Poland to establish a virtual radio station studio in that space.

WMSC at Montclair State University uses the Discord platform to support its virtual studio workflow.

With countless ways to create and edit radio, some reported quality control issues. To help mitigate that, many stations crafted instructional videos and tutorials. At Pennsylvania’s Muhlenberg College, WMUH(FM) General Manager Paul Krempasky took the challenges in stride, philosophizing, “when it doesn’t work, that’s where education starts.”

Even working professionals grapple with these problems, as they navigate new technology for remote work and shifting expectations. Millie De Chirico, programming manager at Turner Classic Movies, commented on the good and bad sides of working at home.

While appreciating the non-commute and the flexibility, she found that the early days of the pandemic brought with it “hypercommunication.” She speculates that with people feeling isolated at home, there was a tendency to overcompensate.

In addition to Zoom burnout, she felt communication burnout and had to set more work/home boundaries. To help her “clock out” at night so that she wasn’t responding to texts at all hours, she got a dedicated work phone that she can put away and turn off at night, and set up a specific workspace in her residence.

The blurry boundaries between work, home, school and socializing affected college radio participants as well as those out in the business world. When not in person, it can be tricky establishing a sense of community at a station. Because of that, stations have experimented with remote events including game nights, talent shows, scavenger hunts, trivia contests and speed-friending. Similarly, some stations are introducing their community to newcomers by recording video tours so that people can get a glimpse of the operations. In some ways, this can even make stations more accessible than before.

CBI’s Laura Mooney was hopeful after hearing about the resourcefulness and resiliency of college radio peers. “Students across the country are successfully engaging with their audience and community in ways they’ve never attempted before. I think that’s really inspiring.”

[Related: “Remote Radio: Phase II,” a free Radio World ebook,]

The post College Radio Felt Pandemic Effects Too appeared first on Radio World.

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Denied the Informal Objection of Triangle Access Broadcasting, Inc., filed against the license renewal application of Educational Media Foundation

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The Bureau enters into a Consent Decree with Metropolitan Management Corporation of Tennessee

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Standard General and its leader, Soohyung Kim, may be intent on grabbing greater influence in the broadcast TV company it has invested in.

But, its latest attempt to woo over shareholders may fall on deaf ears. Why? TEGNA stock finished upward again on Tuesday, bringing it to its highest point in five years.

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In November 2019, paperwork was filed at the FCC indicating American General Media (AGM) would be growing its Bakerfield properties with a Class A FM licensed to Arvin, Calif., to the south on a high peak allowing the signal to reach the southern San Joaquin Valley.

It is now known that the deal never closed. Now, this FM is going to a woman in Glendale, Calif., who is agreeing to pay more than what AGM had planned to spend.

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In June 2013, David Walker agreed to purchase a Class C3 FM serving the Lubbock, Tex., market. Today, it is the “Red Dirt Rebel,” focused on Texas-flavored country music.

Walker hopes it will continue to serve as a home for this local music. But, that will only come with more financial stability.

His Walker Radio Group has voluntary filed for Chapter 11 bankruptcy protection.

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As first reported Wednesday morning (4/6) by Streamline Publishing’s Radio Ink, Bustos Media Holdings has agreed to purchase an FM radio station with a broadcast tower due east of Portland, Ore.

Until recently, covering the Rose City wasn’t possible. Now that it is, Bustos isn’t waiting for the deal to close to attract new listeners. A format change has already transpired at this FM.

How much is Bustos spending to obtain it? We have the details.

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ENCO enCaption4 Sample Web Page

WAMU(FM) in Washington is using a captioning system from ENCO to put live automated transcripts of its programming on its website, serving deaf and hard-of-hearing audience members.

The highly rated public station deployed an enCaption4 captioning system.

“The Washington area is home to a substantial population of deaf and hard-of-hearing individuals, including approximately 1,500 students at Gallaudet University,” the company stated in a press release. “The inspiration for WAMU’s captioning project came when a deaf political candidate seeking office in Washington requested to appear on the station’s popular ‘Kojo Nnamdi Show’ and wanted the result to be accessible to all of his constituents.”

[See Our Who’s Buying What Page]

A pilot project drew about 150 people watching the captions, and now the station plans to promote it to the general public.

ENCO enCaption4 rack hardware

To make it work, audio is taken from WAMU’s Telos Alliance Axia audio-over-IP infrastructure and converted by an Axia xNode to an AES/EBU signal that feeds the captioning system. “enCaption4 ingests the same on-air signal path being routed to WAMU’s transmitter and online streaming encoders, enabling live, 24/7 captioning of all of WAMU’s on-air content,” ENCO stated. The captions it creates are fed to the website, where they are displayed on a transcription page.

ENCO said WAMU also plans to upgrade its content management system to allow integration of internal data sources, which will provide a dictionary of local names and events. It also intends to integrate captions into its streaming player.

Rob Bertrand is senior director of technology at WAMU.

Send news for Radio World’s “Who’s Buying What” coverage to radioworld@futurenet.com.

 

The post WAMU Puts Captioning to Work appeared first on Radio World.

As Q1 2021 came to a close, so did Star Communications Inc.‘s intent to own an AM/FM combo and an FM translator serving a small West Virginia city situated between Charleston and Parkersburg.

The facilities have been sold, and await FCC approval before being handed to a new owner.

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India is working to decide how to deploy digital radio on the FM band; and Nautel is calling attention to its part in that process.

The RF manufacturer noted that both Digital Radio Mondiale and HD Radio are being evaluated in digital broadcast tests in India.

“All India Radio, operated by Prasar Bharati, has been testing methods of broadcasting multiple digital signals from a single FM transmitter in order to provide a wider range of services,” it said in an announcement.

“Both DRM and HD Radio standards are being evaluated; in both cases Nautel’s proprietary Digital Multiplexing technology has been instrumental in demonstrating the full potential of digital transmission.”

Nautel’s user interface shows digital multiplexing that combines multiple digital signals in the FM band using HD Radio, left, and DRM.

Nautel CTO Philip Schmid is presenting a paper on digital multiplexing at this week’s ABU virtual conference.

The digital multiplexing concept allows a user to combine multiple digital radio signals in the FM band, which are received via existing digital radio receivers.

“Nautel transmitters using digital multiplexing allow broadcasters to operate multiple channel allocations out of one transmitter, one antenna, and one location, which reduces their equipment needs,” Schmid said.

[Related: “Digital Radio Mondiale in Focus in India”]

[Related: “HD Radio and Digital FM in India”]

Nautel said the tests done by Prasar Bharati “have successfully demonstrated the viability of operating up to six separate digital channels from one transmitter, each of which carries multiple HD Radio or DRM services. Each channel can be operated independently, allowing several broadcasters to use the same transmitter while maintaining control over their content and distribution.”

Schmid said the concept is a suitable solution for nationwide rollouts of digital broadcasting, “especially in applications where multilingual services are required.” He also said the technology is applicable to single-frequency networks, with some of the content remaining local or regional while other channels are sent nationwide.

Nautel was involved in the rollout of digital MW broadcasting in India; 33 NX Series transmitters cover most of the country with a DRM signal.

The post Nautel Participates in India’s Digital Tests appeared first on Radio World.

It’s been nine months since Philip Falcone exited HC2 Holdings Inc. under a black cloud, with accusations that Falcone defaulted on loans leading to today’s efforts under new chief executive Wayne Barr Jr. to raise capital by divesting non-core assets.

For Falcone, he’s swiftly moved on, and in Q1 2021 became an active buyer of low-power TV stations through a newly created entity.

He’s at it again, and has just entered the Pacific Northwest’s biggest market.

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Xperi says the pandemic has increased the importance of personal vehicle and in-dash infotainment, and that “this is especially true for Millennials and Gen Z.”

It cites a survey of about 1,000 adults in the United States that was conducted in January on behalf of Xperi subsidiary DTS, which released the findings.

Xperi makes automotive technology platforms like DTS AutoSense, DTS AutoStage and HD Radio, and it is highlighting results of the survey that support the importance of car radio, personalization and hybrid radio features.

[Read: Xperi Has Big Ambitions for DTS AutoStage]

“Close to half (47%) of all vehicle owners feel their personal vehicle is more important than ever to them today versus pre-COVID, with only 6% saying their vehicle is less important as they no longer commute, according to the survey,” the company stated.

“The survey also found that nine out of 10 vehicle owners say it is important to have radio in their dashboard, with nearly 80% of Millennials valuing radio in the dashboard more than their generational counterparts (Gen Z/GenX/Boomers). The pandemic has also changed content consumed in-vehicle, and the significance of in-vehicle dashboard entertainment personalization has increased.”

It found that 91% of vehicle owners believe it is important to have radio in their dash, with 72% saying it is indispensable or very important.

The survey was done by Engine Insights. Xperi quoted Eric Corliss of the survey company saying it was notable that Millennials value radio in the dashboard so highly.

Xperi also said the survey supports the importance of personalization, cost-free content and “service following,” being able to continue listening to a station digitally when the car has gone out of broadcast range. That’s a feature of hybrid radio platforms like the company’s DTS AutoStage.

 

 

The post Xperi Says Pandemic Put Emphasis on Dashboard appeared first on Radio World.

WASHINGTON, D.C. — When it comes to texting and hand-held communications, there’s perhaps no group of National Capital Region residents more experience and savvy with such devices as the Gallaudet University student body and faculty.

This Northeast Washington institution has provided higher education opportunities to the deaf and hard-of-hearing for generations. While TV has been, along with print media, major services consumed by the hearing impaired, radio has been left out.

American University‘s NPR Member station, across town in Northwest Washington, has changed that — thanks to ENCO.

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To bring WAMU-FM‘s programming to all Washingtonians, the station deployed an enCaption4 captioning system from ENCO.

This generates live, automated transcripts of its on-air audio via the WAMU.org website — not so dissimilar to the audio transcripts of FCC open meetings found on the agency’s website.

As of today, live on-air captions remain in beta test. “We’re working to add live real-time captions to our radio broadcast,” WAMU says. “While we continue to refine this early release effort, please pardon our errors and inaccuracies.”

Interestingly, the caption feed is several seconds ahead of the audio streaming feed; this suggests the captions are synched with the over-the-air broadcast.

The inspiration for WAMU’s captioning project came when a deaf political candidate seeking office in Washington requested to appear on WAMU’s Kojo Nnamdi Show and wanted the broadcast to be accessible to all.

“At that moment, it stood out to us that we hadn’t been serving that important part of the population before and that there was demand for bringing our content to this audience,” said Rob Bertrand, WAMU’s Senior Director of Technology.

For that particular broadcast, the station used a service provider with live human transcription and live sign language interpretation for that particular broadcast. From there, Bertrand knew that a different approach would be needed to serve the hearing impaired community on an ongoing basis. “The timing of the content can be unpredictable, which means we can’t schedule a transcriptionist or sign language interpreter,” Bertrand said. “We realized there was now technology that would allow us to automate the process. Automated closed captioning has existed for television for some time. What if we could take the equipment used to generate captions for TV, and instead use it for radio to bring captions to our website?”

The enCaption4 was selected by Bertrand after learning of lots of positive feedback from broadcasters using it for television. “We did a demo of enCaption4, and our web development team came up with a way to present the captions it creates on our website,” he said.

How does it work?

Audio from WAMU’s Telos Alliance Axia audio-over-IP backbone is converted by an Axia xNode to an AES/EBU signal that serves as the input to enCaption4. Then, enCaption4 ingests the same on-air signal path being routed to WAMU’s transmitter and online streaming encoders, enabling live, 24/7 captioning of all of WAMU’s on-air content. The captions created by enCaption4 are then fed to the station’s website, where they are displayed in a dedicated transcription page.

As a pilot project until now, WAMU developed a small but loyal following, with roughly 150 people routinely watching the station’s captions for around 30 minutes per day. WAMU expects this to grow once the service starts getting promoted.

Furthermore, WAMU plans to upgrade its content management system to allow integration of its internal data sources with enCaption4, thus providing a dictionary that will further increase the accuracy of WAMU’s captions with the spellings of challenging local names and events.

The station also ultimately intends to integrate the captions directly into its core streaming player.

— Reporting by Brian Galante. Editing by Adam Jacobson.

Adam Jacobson is a 1994 graduate of the American University School of Communication.

It started off as a Generation Z and Millennial-focused news and information offering distributed strictly in the “over the top” (OTT) space. Then, it morphed into a MVPD-distributed cable channel.

Now, Newsy is headed to free-to-air television as a “DigiNet,” come this autumn.

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