Aggregator

.

.

.

.

.

Burk Technology is now offering preconfiguration of its ARC Plus and ARC Solo remote control systems. This new service includes configuration of monitoring and control points, automatic functions using Jet Active Flowcharts, alarm notification setup, periodic log capture and distribution, and AutoPilot custom views.

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

Burk’s product experts will tailor a system to meet a station’s unique requirements, giving clients the visibility and control needed to manage an entire broadcast environment. Jet Active Flowcharts make the decisions and take the actions a client specifies, using an easy-to-read graphical format that is intuitive and natural. AutoPilot custom views highlight the information most important to managers and engineering staff providing at-a-glance status of the broadcast facility.

Preconfigured systems provide a reliable, effective facilities control including important features that are sometimes overlooked. Email or text alerts provide instant notification of equipment failures or off-air events. Up-to-the-second status lets users decide whether to drop everything and head to the site in the middle of the night or let it wait for the next scheduled service visit. Automated logging and reporting of critical parameters for the transmitter and tower lights demonstrate FCC and FAA compliance. Long-term variations in logged data help to define the scheduled maintenance plan. Early warning thresholds on key parameters identify equipment degradations before failures occur.

Info: www.burk.com

 

The post Burk Offers ARC Preconfigured Systems appeared first on Radio World.

Visual radio systems developer MultiCam Systems has announced an exclusive distributor for Russia.

Okno-TV, a large multimedia production systems integrator, will manage distribution, installation, training and after-sales support for the entire MultiCam product range.

MultiCam European sales representative Anton Kuznetsov said, “This partnership with Okno-TV is a logical way to increase MultiCam’s brand visibility and product availability across Russia.”

 

The post MultiCam Signs Russian Distributor appeared first on Radio World.

Detail from the author’s engineering analysis; click on the link in the story text to open PDF

This is a response to the reply by Larry Wilkins in Radio World, which includes the statement, “This will render an approximate maximum AM coverage radius of 200 feet, according to the FCC July 24, 1991 Public Notice (still in effect).”

The information in FCC Public Notice #14089 referenced above does not supersede the requirements of 47 CFR §15.219, which define and govern the legal use of unlicensed transmit systems operating in the AM broadcast band (530-1700 kHz).

Here is an engineering analysis showing that an unlicensed AM transmitting system strictly meeting U.S. 47 CFR §15.219 can produce a useful coverage area having a radius in excess of 500 meters (1,640 feet). See page 2 of this PDF:

F.I. vs H-distance from Part 15 AM Transmit System, read it here.

The analysis is based on the use of NEC4.2, which use is accepted by the FCC even for the design and documentation of the directional arrays they require of some licensed AM broadcast stations.

Such an unlicensed, FCC-compliant AM system easily should provide service to cars in a very large parking lot, as might be useful to some religious organizations and other entities during the COVID-19 pandemic, for example.

Richard J. Fry, CPBE, worked for two decades in engineering at the Harris Broadcast Division.

The post Letter: Richard Fry on Part 15 AM Coverage Area appeared first on Radio World.

Ashley McCarthy

The author of this commentary is director of client services at Write Label.

Local radio ad sales have been hit particularly hard by COVID-19. Content like radio and podcasts, when the world is the most captivated, are taking an unfortunate hit to revenue even though consumers are tuning in. Media is being consumed across a broader range of time slots and outlets, and despite what you might assume, platforms like Netflix are not the only winners.

In fact, according to Nielsen, 83% of Americans report that they’re listening to as much or more radio as they did prior to the pandemic. It is through these more traditional mediums, like local radio and television (which has seen a 7% spike in local news viewership) where broadcasters and advertisers can provide useful, relevant material to communities.

So, what are we seeing, and how can radio, especially on a local level, navigate this rapidly changing situation?

Not only will consumers remember this time forever more, but the brands that invest in advertising in a bare market are often the ones that come back with a vengeance when the market returns.

Non-traditional advertisers, that usually don’t focus on standard mediums, are now using radio to target people at home who are likely consuming content via traditional media streams they may not have frequented in the past. Traditional advertisers are also now faced with an increasing need for relevant content that speaks to consumers in the time of COVID-19.

What is radio doing right?

Radio as a medium has always been intimate, making it an effective tool during a crisis. Captive audiences like commuters have long been the lifeblood of radio, and while those folks are no longer commuting, radio is still serving a purpose.

Someone speaking in your ear is as personal as it gets, and as we are all barricaded inside, local radio is rising to the challenge during COVID-19 to inform and assist their listeners. In urban hubs like New York City, people are spoiled by endless food delivery options, and access to sufficient aid and relief platforms, where in suburban and rural areas, folks are not so fortunate.

We have seen local media outlets responding to the rally cry from consumers and local businesses by setting up useful and meaningful tools to better the community. From dedicated food delivery platforms for restaurants that are still operating, to raising money for causes around COVID-19 and providing access to food services for those in need, these interactions create a unique, personal and emotional connection with audiences that perhaps only radio can achieve during this time. Communities can come together and feel connected via the medium.

For example, Adams Radio Group CEO Ron Stone recently developed a radiothon for Feeding America. What started with a few independent radio stations coming together, turned into 2,000 individual stations planning to air the radiothon.  The recent “Rise Up New York!” telethon also helped Robin Hood’s COVID-19 relief fund reach $115 million, thanks to iHeartMedia executive John Sykes, credited with leading the charge in booking the big names for the event.

Additionally, iHeart’s New Hampshire cluster, with help from TV station WMUR, raised over $760,000 for the New Hampshire Food Bank following a one-hour broadcast called: “Project Community: New Hampshire Together From Home.” And Cox Media Group (CMG) Tampa partnered with Metropolitan Ministries to host “Feed It Forward: A Virtual Food Drive” on April 16. More than $250,000 was raised to help families that have been directly impacted by the pandemic.

Radio is a cost-effective medium for brands to utilize during this kind of crisis, with minimally required production efforts but messaging does have to shift rapidly to address unfolding circumstances and consumer needs. As a local medium, it’s also keeping consumers informed and up-to-date on business opening hours as well as closures, and information around where it is best to shop locally. Radio is in a unique conduit for community connectedness for consumers, as they increasingly crave information (as well as comfort) from the media.

What needs to happen next?

Now, more than ever brands need local, targeted messaging, and platforms that can produce swift and relevant content to address the ever-changing COVID-19 situation.

As we see brands and agencies quickly and strategically developing reworked content around the pandemic, local radio outlets need to be preemptive about what brands need, and have sales teams getting in front of the crisis rather than being reactive as the situation unfolds.

Advertisers should not underestimate the power of radio as the pandemic unfolds. As the recent study from Nielsen showed, 72% of daily radio users plan to shop for groceries over the next week, while 53% will be getting gas for their vehicle, and 43% collecting take out from a local restaurant.

Consumers often have a distrust of national media, and so now is the time for local radio to shine, becoming part of community infrastructure and providing a unique mix of information and anxiety releasing content, like music, that other media platforms are unable to deliver.

In good times people like to advertise, in bad times, people have to advertise. If radio plays it cards right, it can come out of COVID-19 as a savior for local businesses.

Write Label is a writing platform that offers crowdsourced creative writing solutions. See http://www.writelabel.com.

Radio World welcomes proposals for guest commentaries and thought pieces. Email mailto:radioworld@futurenet.com

The post Radio Is the Local Lifeblood for Brands During COVID-19 appeared first on Radio World.

The author is host of “Dan Sweeney’s One-Hit Wonders.”

AM/FM, low-power and internet radio stations increasingly are turning to an abundance of very good, no-cost, targeted programming to add “personality” to their format mix — including doo-wop, oldies, classic hits, variety and specialty. Passionate radio vets, former media execs, professors and retired enthusiasts all participate in creating fresh, new content as a “labor of love.”

“Not only has it been fun to promote, it’s created new and very loyal listeners,” says Zeb Navaro, general manager of KKSM(AM) in Oceanside, Calif.

Unlike podcasts, these shows are built specifically for over-the-air and internet linear radio operations that need to allow for IDs, commercials and local news break. Most syndicators have invested in jingles, logos, websites and content. New professionally built shows are distributed weekly. [For a list of low-cost/no-cost shows, see bottom.]

For example, my show, “Dan Sweeney’s One Hit Wonders,” which recaps “one and done” music from 1955 through 2015, is distributed to about 60 stations in the United States, Canada, U.K, Germany and New Zealand. The 55-minute shows are free to air for affiliates, and I reserve two minutes for underwriting.

This niche program complements other syndicated shows and is frequently packaged into program blocks adjacent to local market content and random  music segments.

KKSM is licensed to the Palomar Community College District; it broadcasts on 1320 kHz and is located in the San Diego DMA. KKSM packages a “Super Saturday” lineup that includes my show along with “That Thing With Rich Appeal,” a classic Boss Radio format, on approximately 100 stations; Larry Kratka’s “Nothin’ But Old 45s,” telling back stories of old 45s, available on 40 stations; and Craig Orndorff’s “Seems Like Old Times,” featuring music from the 1940s through the 1960s, on almost 40 stations.

The lineup has increased stream numbers by 200% over the same period before the package was created and promoted. Navaro says, “No other station in the San Diego market is offering this programming.”

Mike Putnam, general manager of WMNB(LP) in North Adams, Mass., part of the Albany, N.Y., DMA, serves the listening area with extensive local/regional politics, talk shows and news. His variety format also includes several nationally syndicated shows that help build audiences and keeps them tuned in between the local content.

Asked why he carries the shows, Mike said, “The shows are entertaining, there is no cost to run them and I receive significant positive feedback from listeners. It’s unique programming with personality versus just music. Anyone can use Spotify for that.”

WQFB Surf 97.3 FM, an LPFM in the Daytona Beach DMA, has long embraced “no-cost” nationally syndicated programs as a way to keep expenses low and complement local programming. Vern Shank, the general manager, said most of the staff is made up of volunteers and that WQFB carries a fair amount of free syndicated programs with personality that complement its local shows.

Clear Communications WVLT(FM) Crusin’ 92.1 in Vineland, N.J., near Philadelphia added several free nationally syndicated shows as local DJs were confined at home because of COVID-19. Some may remain after the pandemic passes.

The balancing act between cost-cutting to protect an ever-shrinking financial margin and keeping listeners has intensified. Local radio content is still king. No-cost nationally syndicated programming goes a long way to reinforcing the needed personality of a station. If the syndicators can afford to produce and distribute quality content using creative monetary strategies including underwriting, merchandising and bartering, this could be a “win-win” strategy for stations and syndicators.

The author says “Dan Sweeney’s One Hit Wonders” features unique stories about some 2,300 one-hit wonders, artists and songs including “where are they now” updates. The show was chosen “Best Community Volunteer Program” by the Intercollegiate Broadcast System in March. For info email  djsweeney.ds@gmail.com.

>>

Program Sampler

Here’s a selection of professionally produced syndicated shows worth considering, all at little or no cost:

Dan Sweeney’s One Hit Wonders

That Thing with Rich Appel  https://www.thatthingshow.com/

Nothing But Old 45s, Larry Kratka

UK USA Rock n Soul Connection

Seems Like Old Times

Ken Michaels, “Every Little Thing”

Bart Shore’s Time Warp Radio

Greatest Hits USA

Dennis Mitchell’s Breakfast With the Beatles

Rockabilly N Blues Hour with James Riley

Music Expert Retro Countdown

Ryan Doran

Al Cocchi’s Saturday Nite Fever Classic Dance Party

Pat Gwinn at the Beach

 

 

The post No-cost Targeted Programming Is a Win-Win appeared first on Radio World.

Now available for the Omnia Volt audio processor is Version 2.0 of its software. The company says the V 2.0 includes things suggested by users.

The new version has a “revamped” preset collection. “Telos Alliance has combined constructive feedback, custom preset development for key customers, and creative input from worldwide power users in this latest version.” In addition eight wholly new presets have been created.

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

Also new is a port forwarding feature for local networks with multiple Volts engaged.

And for the international market, improved ITU-R BS.412 power limiting. According to the announcement, there are nine new or revised presets which “make the most of the allotted deviation without the audible artifacts sometimes heard with BS.412 limiters.”

SNMP is also now available for all versions of Volt.

Info: www.telosalliance.com

 

The post Telos Alliance Updates Omnia Volt appeared first on Radio World.

This is part of a Radio World series to celebrate early broadcasters as the industry prepares to note the 100th anniversary of what is, traditionally, considered the birth of modern commercial radio. This article was prepared with special assistance from Jim Hilliker.

In 1920, Fred Christian left his employment as a Marconi shipboard radio operator to become the manager of the Electric Lighting Supply Co. in Los Angeles. In addition to selling lighting fixtures, he began to offer the radio parts that tinkerers needed to build their own homemade radio sets.

From a back bedroom of his home, Christian also operated his 5 W amateur radio station, 6ADZ. On or about Sept. 10, 1920, he began broadcasting phonograph records borrowed from a local record store. Music transmission was not prohibited by amateur operators at that time, and dozens of hams around the country were broadcasting on informal schedules.

Christian, operating at the bottom of the ham bands on 200 meters (1500 kHz), was only the second radio station to broadcast in Los Angeles to that time. His aim was to promote the sale of radio parts in his store by giving his customers something to listen to.

The California Theatre
In 1920, there were still no fixed regulations governing broadcasting, and the first stations operated under a variety of license classes, such as amateur, experimental or “commercial land station.” (The renowned pioneer station KDKA debuted with a new category called “limited commercial” license under the call sign 8ZZ.)

But starting in December 1921, the Department of Commerce required all stations broadcasting news or entertainment to hold a “Limited Commercial” license, and so most of the handful of stations already broadcasting by that date obtained new licenses with new call signs.

By March of 1922, there were 66 such licenses issued. Regrettably, they were all required to transmit their programs on one of just two frequencies: 360 meters (833 kHz) for entertainment, or 485 meters (619 kHz) for market and weather reports.

Thus, Christian’s station 6ADZ acquired the call sign KGC, and it was now sharing a single frequency with about eight other broadcasters in the Los Angeles Basin. Those stations met periodically to agree on a shared operating schedule, and KGC was only able to operate a few hours a week.

In May of 1922, Christian made arrangements to broadcast live music from the California Theatre, a prominent silent movie house. He built a new 50 W transmitter (soon increased to 100 watts), and moved his entire operation into the theatre. The move necessitated a change in operating license, and he was assigned the new call sign, KNX, with the old KGC license being deleted shortly afterwards.

Christian’s was one of several stations that changed licenses that year, considered by the government then to simply be the transfer of a station from one license class to the other without an interruption in service. Both licenses were in the name of the Electric Lighting Supply Co., and Fred Christian was listed as the station manager and operator in both instances.

Calling itself “The California Theatre Radiophone,” KNX was now broadcasting live music four or five days a week, featuring Carli Elinor’s California Theatre Concert Orchestra and the music of the theatre’s organ. A nightly newscast was also featured.

But finances to support the station were limited; advertising was not yet condoned on broadcast stations, and so the entire operation was being supported by the sale of radio parts at the store.

KNX 500 W transmitter in 1926. Paul O’Hana at the controls. Credit: Source unknown (Click here to enlarge.)

“The Voice of Hollywood”
In October 1924, Christian sold KNX to Guy C. Earle, publisher of the Los Angeles Evening Express newspaper, who had the means to turn it into a first-class operation. Starting in 1923, stations that agreed to transmit with at least 500 watts and abstain from playing recordings were eligible for the new Class “B” license and their own dedicated frequency, so Earle bought a new Western Electric transmitter and moved KNX to 890 kHz.

KNX was now “The Voice of Hollywood” — on the air from morning to late night with sports, news, informational talks, drama by the “KNX Players” and live evening broadcasts by Abe Lyman’s Orchestra from the Hotel Ambassador.

Earle hired Carrie Preston Rittimeister to be his program director. She had experimented with paid programs at another Los Angeles station, and soon had KNX on a paying basis five nights each week.

The sponsors were local companies seeking name recognition, and there was a minimum of direct advertising in the programs themselves. By 1925, KNX was showing an operating profit of $25,000.
In 1929, Earle signed a five-year contract with Paramount Pictures, moving the KNX studios onto the Paramount movie lot. KNX was now the “Paramount-Express” station. Taking advantage of its Paramount connections, KNX became the first station to broadcast the Academy Awards in 1930.

In 1929, KNX was awarded 1050 kHz, one of two new clear channels the Federal Radio Commission had assigned to Southern California. A new 5,000 W transmitter plant was erected in Sherman Oaks in the San Fernando Valley, and a star-studded 24-hour dedicatory program was planned for Nov. 11, at which time KNX would debut its new powerful signal for the first time.

When the dramatic moment came to switch over to the new transmitter, radio listeners heard only a tremendous screech on the new frequency, and then … silence! After a few moments, the old 1 kW transmitter was coaxed back onto the air.

It was several days before the engineers could sort out the problem and settle KNX into its new channel. Then they discovered another problem: The new 5,000 W signal was not being reaching out as well as the old signal.

Consulting engineers were brought in from across the country to puzzle over the case, and they eventually determined that the fault was in the antenna, a 179-foot wire cage suspended between two 250-foot supporting towers. The towers were resonating at the 1050 frequency, disrupting coverage. The problem was ultimately solved by inserting porcelain insulators at the base of the towers.

Guy Earle soon sold his interests in the Evening Express newspaper and devoted all of his energies to KNX, now operating as the Western Broadcasting Co. One of California’s renowned engineers, Kenneth Ormiston, went to work planning to increase power on the clear channel frequency — to 10,000 watts in 1932, to 25,000 in 1933 and finally to 50,000 watts in 1934. In all cases, the 1929 Western Electric 5,000-watt transmitter was used as a driver for the high-powered amplifiers built by Ormiston.

After WLW in Cincinnati was allowed to operate experimentally at 500 kW, plans were drawn up for a further increase to 250 kW, but the idea was abandoned in favor of a new half-wave self-supporting tower, constructed in 1935, which greatly increased signal strength at a fraction of the cost of a huge transmitter.

KNX studio building, 5939 Sunset Boulevard, Hollywood. Credit: Security Pacific National Bank photo collection (Click here to enlarge.)

In 1935, Guy Earle bought the 20,000 square foot Motion Picture Hall of Fame building at 5939 Sunset Boulevard in Hollywood, and rebuilt it into the new KNX studio building at a cost of $250,000. It featured six studios suspended on floating floors. Studio “A” was 30 x 60 feet, and Studio “B” featured a new $35,000 Morton organ. Brand new RCA studio equipment was installed throughout.

Enter CBS
KNX was now a powerhouse station, with a powerful signal covering eleven Western states a night. It’s 1935 gross income of $675,000 ranked it among the six highest-billing stations in the country.

But the FCC became aware that much of that revenue was coming from the advertising of patent medicines, which the commission was seeking to eliminate from the airwaves. It decided to make KNX into a test case, and it set its license renewal for hearing over its advertisement of Marmola, a miracle fat-reducing product that the Federal Trade Commission determined to be ineffective and dangerous.

The hearing in October 1935 did not go well, and the KNX license was now in serious jeopardy.
In 1936, under pressure over the license hearings, Earle sold KNX to the CBS network for $1.25 million. It was the highest price ever paid for a single radio station to that date.

CBS/KNX Columbia Square dedication ceremonies, 1937. Credit: Author’s collection (Click here to enlarge.)

KNX was now CBS’s key station on the West Coast, and would soon become the home base for CBS’s Hollywood program origination.

In January 1937, CBS moved its Los Angeles network affiliation to KNX from KHJ and the Don Lee network, which caused a major realignment of network affiliations up and down the West Coast. Then on April 30, 1938, KNX and CBS moved into its new $1.75 million Columbia Square studio complex at 6121 Sunset Boulevard.

It would be the origination location for dozens of CBS radio shows heard nationwide over the next decade, featuring stars such as Jack Benny, Bing Crosby, Burns and Allen. (KMPC then moved into the former KNX Sunset Boulevard building.)

The RCA 50-D transmitter installed at KNX in 1938. The photo has been colorized. Credit: Author’s collection (Click here to enlarge.)

In September, 1938, CBS debuted a new KNX transmitter complex on a five-acre parcel in Torrance. A gleaming new RCA 50-D transmitter was showcased in a streamlined domed building that was open to the public for regular tours. A new 500-foot guyed tower propelled the KNX signal across all of the Western states in the evening hours. In March 1941, KNX moved to its present frequency of 1070 kHz after the nationwide NARBA treaty adjustment.

As network radio transitioned to the disc jockey era of the 1950s, KNX adopted a middle-of-the-road format, featuring personalities like Steve Allen and Bob Crane, who broadcast his popular KNX morning show from 1957 to 1965 before leaving to become the star of the TV series “Hogan’s Heroes.”

Bob Crane at KNX, about 1960. Credit: Author’s collection Click here to enlarge.

In September 1965, vandals cut a guy wire, destroying the KNX tower. The station operated from a 365-foot unused tower acquired from KFAC until a new antenna could be built. An experiment using both antennas as a directional array during the 1960s was abandoned, but both towers still exist today.

The 365-foot tower is now the KNX standby antenna, located inside a city park in Torrance.

In April 1968, KNX adopted an all-news format, which has successfully maintained it as one of the top ten news stations in the country. Entercom Communications acquired KNX in 2017 when it merged with CBS Radio. KNX will celebrate its 100th anniversary on Sept. 10, 2020.

John Schneider is a lifetime radio historian, author of two books and dozens of articles on the subject, and a Fellow of the California Historical Radio Society. He wrote here in April about Lee De Forest, and last winter about the centennial of KRJ, perhaps the first in the U.S. to achieve a century of continuous broadcast activity.

References & Further Reading
• KNX History, by Jim Hilliker
• Email from Jim Hilliker, 2/27/2020
• “Broadcasting Magazine,” 10/1/35, 3/1/35, 2/1/35,
• “Radio Digest,” October, 1924; November, 1924; May, 1925
• “Radio News,” March 1930
• “Department of Commerce, Radio Service Bulletin,” 6-30-21, 5-1-22, 6-1-22
• “Radio’s Version of ‘Who’s on First?’” by Jeff Miller
• “Los Angeles Times,” 6-12-22
• KNX AM, Wikipedia

View the images above at full resolution:

The post KNX, Los Angeles — A Centennial Station appeared first on Radio World.

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

Public media is in soul-searching mode right now. Big organizations like WBUR, Houston Public Media and Minnesota Public Media have laid off scores of staff. The death of George Floyd and nationwide Black Lives Matter protests have sparked many prominent organizations to have their quinquennial (that’s “every five years,” nongrammar nerds) introspection about racial diversity. And the pandemic has pushed others to consider how to ensure noncommercial media’s existence for years to come.

The diversity conversation is of particular interest to me because, for one, to paraphrase something that became clear during my fellowship with the Maynard Institute for Journalism Education, inclusion is a strategic decision for any organization, which relates back to sustainability. As well, as someone not white in noncommercial radio, I appreciate how diverse voices inform fuller conversations in media.

[Read: Community Broadcaster: Rest in Peace]

Dozens of public media groups have made statements on racial equity in the last month. I respectfully submit that anyone pondering why public media has a diversity challenge may wish to try a little harder, because those answers are quite obvious.

Public media has a fundamental problem with its orientation. Just like chasing the big headline, there is a lot of focus on the top players. Making dominant voices the default can have disastrous effects. When the frame of reference is one in which the attention is on top-tier organizations and what they do, diverse voices will always be marginalized until the aforementioned every-five-years rolls around.

To be clear, some of the biggest organizations are doing wonderful work. But they and many others would concur this is a systemic, not individuated, matter. If this normalization of power is to stay the name of the game, let’s not suffer handwringing about why black, indigenous and people of color don’t stay.

In addition, a lot of attention is also paid to hiring and leadership, but very little to governance. All-white or virtually all-white public media staffing should have been addressed long ago, of course, but hasn’t in many organizations. A board that is white by 75% or more is something worthy of conversation. This issue is complicated by boards not making diversity and inclusion explicitly central to discussions with new board members. Boards and top staffing must be replaced with those who appreciate contemporary currents.

Finally, it does not take an internet sleuth to see all the latest words from everyone in public media about racial equity and Google what actions they have taken and demonstrable successes you can see from them in the last five years in pursuit of inclusion. What is their staffing and board diversity now, last year, or the year before? How are they investing in communities of color? Who glossed over diversity or accountability? What were they doing before these statements? Maybe you can set a calendar reminder to check up on them in 12 months, too.

In full transparency, the National Federation of Community Broadcasters has a strong record on these issues since our founding in 1975. We were conducting producers of color conferences in 1982; launched African-American, Latino and indigenous initiatives in subsequent years; have the most diverse board in public media; consistently diverse staffing for decades; and are working with stations now to not just talk about, but address these issues. We’ve worked on diversity, equity and inclusion for generations. I applaud any organization that can say the same.

Diversity, equity and inclusion are more than simply the right thing. They are a choice that organizations make to align with donor and community values, and to solidify their futures.

 

The post Community Broadcaster: Try Harder appeared first on Radio World.

Ryan Steelberg. “Today, we are ingesting, indexing and analyzing over 60,000 hours of unique audio and video content each day. The scale of this processing, for audio and video, is a first in any industry.”

Ryan Steelberg is the president of Veritone. Our interview with him originally appeared in the free Radio World eBook “AI Comes to Radio.”

Radio World: What is Veritone’s AI offering in radio?

Ryan Steelberg: Veritone’s suite of AI-powered services and applications enable both local radio stations and networks to significantly accelerate their workflows, save costs and deliver incremental value to their advertising customers.

Veritone turns media streams into indexed and searchable data in near real-time. With Veritone Discovery, users can easily search for keywords such as brand names or talent, perform fast ad verification, analyze content and leverage custom reports and dashboards.

Veritone Attribute gives broadcasters the ability to correlate ads (including prerecorded, live and in-program executions) with the advertiser’s website traffic. This award-winning application arms sales teams with comprehensive performance insights to share with their ad clients and help them optimize campaigns, nurture client relationships, and ultimately secure more share of ad spend.

RW: What prompted you to explore this? 

Steelberg: If there’s one industry that can take advantage of the power of AI, it’s media and entertainment. Considering the large amounts of data broadcasters and content owners have to manage on a daily basis, AI is a critical component to success — it not only reduces costs and time but also opens up opportunities for incremental revenue generation as well as product innovation.

Our AI-enabled technologies put linear media on a more level playing field with digital media, giving broadcasters the analytics, transparency, efficiency and immediacy they need to help their advertising customers measure media ROI and as a result, maintain share of wallet against digital alternatives.

RW: Does any of this constitute a first for the industry?

Steelberg: At Veritone, we unify substantial domain knowledge from previous successful companies and technologies (AdForce, 2CAN Media, dMarc, Google) with in-depth AI technology expertise and vision, all of which position us uniquely in the marketplace and give us competitive advantage — we are the first AI-native company in this industry.

Today, we are ingesting, indexing and analyzing over 60,000 hours of unique audio and video content each day. The scale of this processing, for audio and video, is a first in any industry.

RW: What do you allow radio professionals to do that they couldn’t before? 

Steelberg: Two things: One, Veritone radio customers can validate placements in near real-time, expediting the clearance process faster than ever before. Second, our radio customers are now able to compete with digital advertising alternatives by definitive attribution of e-commerce or other website transactions correlated to radio ad placements. To validate placements, sales teams can search on-air content within minutes of the broadcast and perform on-demand or automated searches to track any advertising message, whether live-read or prerecorded, through a simple user interface.

RW: Who are some of Veritone’s radio customers using AI?

Steelberg: iHeart, Learfield IMG College, Cox Media Group, Entercom, Cumulus Media, Beasley Media Group, Bell Media, CMG Radio.

RW: Where do you think AI for radio is going next? 

Steelberg: We believe that AI is already changing the game for radio today, and broadcasters who embrace AI technologies will reap tremendous opportunities and competitive advantage. However, we are convinced that this is just the start for an industry that will reinvent itself. We are excited to be part of this development and to help those who are ready to embark on this journey.

We just announced aiWARE’s expanded content classification capabilities, powering contextual ad placements and brand safety management at scale for podcasting. And also, our VeriAds program, which is helping broadcasters to liquidate unsold ad inventory and drive incremental revenue, is growing rapidly in the radio space.

The post AI Will Help the Industry Reinvent Itself appeared first on Radio World.

.

.

.

.

Commission adopts Order extending through August 31, 2020, previous waiver of sponsorship identification requirements to promote the airing of COVID-19 public service announcements

.