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Hip-hop group Shabazz Palaces on stage at KEXP.
Photo by Renata Steiner/Nataworry Photography

Kevin Suggs arrived in Seattle just in time for the ’90s grunge-era gold rush, when the city was bursting with bands looking to score a record deal. Spending a decade of 12-hour-plus days pushing faders at studios like Avast! Recording Co. was the perfect training to head up audio engineering for the podcast series “Live on KEXP.”

“Things just started to explode,” Suggs says. “Even though I wasn’t working with any huge Seattle bands, there were just so many bands and everybody was recording. It was a very vibrant time to be making music in this town. Everybody had a shot.”

As a freelance engineer and steel guitarist, Suggs racked up credits on albums by Death Cab for Cutie, The Shins and Brandi Carlile. By the time he arrived at KEXP(FM), a nonprofit arts organization known for curating adventurous music for its FM radio station and online properties, the audio crew was producing more than 100 live music sessions a year.

“Live on KEXP” — until recently known as “KEXP’s Live Performances” — is the latest evolution of a podcasting program that began in 2004, and a key arm of the organization’s multiplatform approach that includes broadcasting to the Seattle radio market and streaming to two million YouTube subscribers.

Live sessions at Seattle’s KEXP are captured for broadcast, podcasts, streaming and other formats.
Photo by Renata Steiner/Nataworry Photography

Every note of sound, though, begins with Suggs and the audio engineering team. Today, KEXP logs about 300 performances every year. To maintain efficiency and consistency, Suggs begins each session with a proven template based around workhorse mics like Shure SM57s and SM58s and a baseline of plug-ins and presets in Pro Tools.

“My mantra for these things is just simplicity,” says Suggs. “I’m not trying to recreate a band’s record or anything. I’m trying to capture what the band is giving.”

Until a few years ago, the engineers mixed the audio to two-track on an eight-bus digital Mackie board before sending it to Pro Tools. These days, they automate the mix through an Avid S6 Pro Tools control surface.

“It’s recording every move I make,” he says. “If I didn’t quite get that guitar solo up in time, I can make a marker. And then once we’re off the air, I can go back and I can fix that [for the podcast].”

Like any live recording situation, though, control is a relative concept. There’s only so much isolation you can do when a full band is playing together in a room. Suggs has a few tricks to help keep instruments in their own lanes, but sometimes he simply has to let it bleed.

The Avid S6 control surface captains the control room at KEXP Studios in Seattle.
Photo by Renata Steiner/Nataworry Photography

“I always start my mixes with the vocal mics up because they’re going to color everything,” he notes. “It doesn’t make a lot of sense to solo the kick drum, because as soon you push those vocal mics up, it’s going to change that kick drum sound completely. It’s just a matter of embracing the bleed, because you’re going to get a lot of it.”

Instead of setting up bands according to their stage plots, Suggs positions them in a circle, with everyone facing each other like in a rehearsal. In the absence of isolation barriers, this configuration cancels some of the interference between the vocal mic and drum mics.

Every session that ends up on the “Live on KEXP” podcast is first broadcast via radio to the Seattle area. With few exceptions, what ends up on YouTube and the podcast is exactly the same as what the radio listeners heard. The main difference between the broadcast and streaming audio is in the mastering stage.

The Live Room at KEXP Studios.
Photo by Renata Steiner/Nataworry Photography

“We hit the one that goes out on the air with a little more compression [from an LA-2A compressor], and then we do a raw track [for streaming] that has nothing on it and no compression. That’s what we usually use for mastering, so we can start fresh without any other compression.”

When shelter-in-place orders came into play in March, the “Live on KEXP” team was already set up to have their engineers work remotely. Most, like Suggs, have studios in their homes, so they’re able to mix and master sessions seamlessly.

Luckily, KEXP has enough sessions in the can to last well into the summer months. The only audio being recorded at home for the “Live on KEXP” podcast is the voiceover by host Troy Nelson, who runs an AKG Perception 220 mic through a Universal Audio Arrow audio interface into Logic Pro X.

Rest assured, Suggs and the audio engineering team will be ready to go as soon as they’re able to get back to the studio.

Troy Nelson, KEXP DJ and host of the “Live on KEXP” podcast.
Photo by Renata Steiner/Nataworry Photography

“I really feed off of the vibe,” he says. “There’s really something about that live energy and the mix being a performance. At the same time as the band’s performing, you’re performing the mixing. You still get that adrenaline rush. There’s no net.”

This story originally appeared in Podcast Pro, a free weekly newsletter about the production side of podcasting. Sign up here.

The post KEXP Podcast Blurs the Lines Between Live and Studio appeared first on Radio World.

The Federal Communications Commission said the big “repurposing” of C-band spectrum for 5G services will happen on an accelerated timeline.

The commission’s Wireless Telecommunications Bureau got commitments from five eligible satellite operators to meet an accelerated “clearing” timeline that will make way for faster 5G deployment in the 3.7 GHz band.

The commission this winter adopted rules to free up 280 megahertz of spectrum for 5G. The rules required existing satellite operators — including those that support radio and TV broadcast uses — to repack operations from the band’s entire 500 megahertz into the upper 200 megahertz, leaving a guard band and a newly freed up block, the lower 280 megahertz.

[Read: C-Band Plan Aims to Limit Broadcast Disruption]

The FCC provided five space station operators with an opportunity to clear the lower 300 megahertz on an accelerated timeframe in exchange for accelerated relocation payments.

It said Eutelsat, Intelsat, SES, Star One and Telesat committed to accelerated relocation. The five must clear 120 megahertz of spectrum in certain areas by Dec. 5, 2021. In a second phase, they must clear the lower 120 megahertz in the remaining areas, plus an additional 180 megahertz nationwide, by Dec. 5, 2023.

“If the companies fulfill these commitments, they will be eligible for up to $9.7 billion in accelerated relocation payments plus reasonable relocation costs, paid for by the new flexible use licensees,” the FCC explained. “Had the satellite operators not chosen to accept accelerated relocation payments, the deadline for clearing the lower 300 megahertz of the band would have been Dec. 5, 2025.”

[Read: C-Band Repack Could Be Costly for Many Stations]

Chairman Ajit Pai positioned this as a big day for American 5G. “The acceptance of accelerated relocation by all eligible satellite operators vindicates the FCC’s approach for making C-band spectrum available for 5G more quickly. Our initiative will enable this critical mid-band spectrum to be used for new and innovative wireless services that will be delivered to American consumers years ahead of schedule.”

The commission’s C-band auction is scheduled to begin this Dec. 8.

 

The post C-Band Spectrum to Be Cleared on Accelerated Timeline appeared first on Radio World.

“New Nielsen diary data reveals there was no audience impact from COVID-19.”

That’s according to Westwood One, which published a list of “myths surrounding coronavirus and AM/FM radio listening,” particularly hoping to change a mindset about radio that it finds prevalent among media people who live in New York City.

Westwood One warned that the ad community should not project New York’s COVID-19 experiences and media habits to the rest of America; it called this “marketing malpractice.”

It said that AM/FM radio retained 97% of prior listening volumes in markets 50–100. “There was only a –3% reduction in listening from February to April in markets ranked 50–100, dispelling New York City-based media planner and strategist beliefs that no one is listening to AM/FM radio.”

A graphic from the Westwood One post.

It also cited data from Geopath showing that outside of America’s largest cities, “miles traveled match or exceed prior year volumes” during the week of May 11, and that though miles traveled fell in late March and early April, they had “recovered significantly” since then. The company sought to challenge the perception that “the barren streets of New York City, America’s capital of media planning,” are representative of America.

Seeking to highlight the ongoing effectiveness of radio, Westwood One says Nielsen diary and PPM data suggest that “American AM/FM radio has retained 93% of pre-COVID-19 reach levels and 86% of pre-COVID-19 average quarter-hour audiences.”

It also said 91%+ of Americans are not reached by Pandora and Spotify, whereas an AM/FM radio buy reaches large portions of Pandora and Spotify audiences for free.

Read the blog post.

 

The post Westwood One Slams NYC-Based Ad Buying Assumptions appeared first on Radio World.

Cox Media Group has a new president and CEO.

On May 29, Daniel York was tapped as the company’s new head. He will be responsible for managing the company’s media platforms as well as overseeing the company’s long-term strategic priorities.

York most recently served as senior executive vice president and chief content officer of AT&T and its subsidiary DirecTV.

[Read: Kim Guthrie Departs Cox Media Group]

York replaces Kim Guthrie, a 22-year veteran with the company who decided to move on from the organization on May 6. Steve Pruett, executive chairman of Cox Media Group, said Guthrie had been instrumental in positioning Cox for future success as an industry-leading media company and thanked her for her decades of service. Guthrie took on the president/CEO role in January 2017 after working in various roles including as executive vice president of national ad platforms.

After the announcement, York said in a statement that he is excited to lead the company, “[one that] has the most talented team and leadership in the industry,” he said. “I have always admired and respected the unparalleled quality of CMG’s 90-plus TV and radio stations, digital and advertising platforms, and the company’s unwavering commitment to journalistic integrity.”

York added that this has proven especially important over past few months, as consumers have underscored the importance of valuable content, local news and entertainment.

While at AT&T, York served as president of content and advertising sales and helped build AT&T’s video business. During his tenure he oversaw all content activities including licensing, operations, strategy, investments, original content, compliance, and ran AT&T’s ad sales and regional sports networks. Prior to joining AT&T, York served as senior vice president of programming and development at In Demand Networks. He started his career at HBO, where he held various management positions, including vice president and general manager at HBO/Time Warner Sports. York has also served on the boards of numerous companies, including the Tennis Channel and the Game Show Network. He currently serves on the board of the T. Howard Foundation, a not-for-profit organization dedicated to increasing diversity in the media industry.

 

The post Daniel York Named Cox Media Group President and CEO appeared first on Radio World.

Federal Communications Commission Chairman Ajit Pai issued a statement commending local broadcasters' efforts to cover the protests and violence seen in various cities across the country in recent days..

A reader asked, “Are there any industry guidelines regarding radio microphones and COVID-19?”

Our sister publication Pro Sound Network has a fun older blog post about “Cleaning That Nasty Microphone.”

Here’s what manufacturer DPA says about “Proper Mic Hygiene.”

This resource from Sennheiser is cogent.

From Audio-Technica.

And a video from high-end mic maker Royer Labs about disinfecting:

More broadly, the Recording Academy Producers & Engineers Wing compiled a list of potential safety measures that production facilities can implement as they return to work. Most can be applied to radio as well.

We welcome links for additions to this list. Email radioworld@futurenet.com.

 

The post How Should I Disinfect My Microphone? appeared first on Radio World.

Taking aim at pros working in electronic music production, Apple recently released a major update to Logic Pro X, packaging the app with a “professional” version of Live Loops, new sampling features and both new and revamped beatmaking tools. Logic Pro X 10.5 is free for existing users, and otherwise runs $199 on the Mac App Store.

Primary among the updates is Live Loops, which lets users create music in nonlinear ways. Loops, samples and recordings can be arranged on a musical grid, then used to try out and build musical ideas. Those in turn can be captured on Logic’s timeline, where they can be further developed using typical production methods. Remix FX brings a selection of effects to Live Loops — gates, filters and more — which can be used in real time over individual tracks or an entire song. Along with this, the newly updated Logic Remote iOS app now can trigger sounds in Live Loops; users can also use the app for browsing and adding loops, or applying Remix FX to a session.

Sampler updates the EXS24 plug-in with new sound-shaping controls, but is still backwards-compatible. Hand-in-hand with that is Quick Sampler which lets users add or record a sound, edit it into shape and then use it as a playable instrument. Sounds for Quick Sampler can be taken from Logic, voice memos recorded on an iPhone or recorded directly into the app.

Apple is also using the latest edition of Logic Pro X to dive deeper into beatmaking with tools like Step Sequencer, a new editor for developing and programming drum beats, bass lines, melodic parts and more, using a pattern-style production interface. Users get control over parameters like note velocity, repeat, gate, skip, playback direction and randomization. Working with Step Sequencer are Drum Synth, a collection of various drum and percussion sounds that can be granularly controlled and edited, and Drum Machine Designer, a tool for building drum kits using sounds from Drum Synth or Quick Sampler.

Info: www.apple.com/logic-pro

 

The post Apple Logic Pro X Gets Massive Update with V10.5 appeared first on Radio World.

GeoBroadcast Solutions has secured a supportive recommendation from the developer of HD Radio in its quest to get the FCC to open a notice of proposed rulemaking about FM geo-targeting.

GBS wants to be able to sell its ZoneCasting system to FM broadcasters in the United States. It says the technology, using synchronized boosters, would give stations the ability to add very localized ads, information and alerting during parts of a broadcast hour.

This would require a rule change, so it has asked the commission to open a notice of proposed rulemaking with that in mind.

The NAB has given its qualified support to the FCC taking next steps. But some in the engineering community are dubious that it could work; and several influential companies have said it’s too soon even for an NPRM, expressing concern about interference and listener confusion. They asked the commission to wait, lest it indicate implied endorsement before the idea has been fully tested.

[Read: Large Groups Raise a Caution Flag on Geo-Targeting]

Among companies raising a caution earlier was Xperi Corp., parent of HD Radio. It filed comments saying the FCC should hold off in order to gather specific information on how the ZoneCasting technology would affect the listener experience. At the time it expressed concern with the impact on HD Radio, noting that a key requirement of its digital system is the simulcasting of the analog service on the HD1 digital channel and noting that radios are designed to blend between analog and HD1 digital audio during initial tuning or under weak signal conditions.

But GBS apparently has been working hard behind the scenes with broadcast industry players to advance its proposal. And now Xperi has updated its recommendation to the FCC via an ex parte letter explaining why:

“Since filing our comments, we have engaged in conversations with GeoBroadcast and understand that it is planning demonstrations for how ZoneCasting will be deployed in a digital setting,” Xperi wrote.

“These demonstrations will involve local broadcasters and be overseen by third-party engineering consultants Roberson and Associates. Xperi will work with GeoBroadcast to develop appropriate test plans to provide data demonstrating the ZoneCasting experience on HD Radio stations. Xperi also will provide technical support in implementation of the tests and evaluation of the results.”

It now suggests that the commission “continue with the process to move toward an NPRM. The NPRM process will give all parties ample time to explore these various issues.”

In a statement reacting to this letter, GBS said it “has been continuously refining and simulating the models that will successfully integrate geo-targeting within HD Radio, and look forward to working closely with Xperi in the field and at our headquarter laboratory in Chicago. We are confident that by working closely with the industry our technology will continue to be refined.”

 

The post Xperi Says It’s OK With a Geo-Targeting NPRM appeared first on Radio World.

The author is former chief engineer at WMMM(AM) and WCFS(AM). He mans the Hobby Broadcaster and Campus Broadcaster website.

I read the recent comments from Alabama Broadcaster Association’s Larry Wilkins concerning LP/Part 15 transmission regulations with trepidation (“Low-Power Transmitter Guidance From Larry Wilkins”). I’m skeptical in regards to the validity of the information he used as reference.

It would appear that the author had taken much of their obtained knowledge from a July 1991 FCC public noticed titled “Permitted Forms of Low Power Broadcast Operation.” This notice cites a maximum coverage area of 200 feet for both FM and AM unlicensed broadcasting.

Wilkins correctly cites the applicable field intensity for Part 15 compliant FM operation as defined in Part 15.239, 250µV/meter at 3 meters. This is an absolute and, as such, the maximum service area would certainly be around the 200 foot mark, depending on the sensitivity of the receiver being used.

However, I believe Wilkins is in error in his statement of “The same is true on the AM broadcast band, where devices are limited to an effective service range of approximately 200 feet (61 meters).” While this appears to coincide with the FCC public notice this is inaccurate.

It is important to understand that the public notice is not the actual Part 15 regulations. Perhaps the 200-foot range might be accurate in regards to Part 15.209, whereas a specified field intensity is defined, which is calculated via a formula defined in the regulation. Its value is dependent on operating frequency.

However, the FCC has afforded two exceptions to this regulation which legally allows a service area greater than 200 feet under the proper conditions. Those would be Part 15.219 and Part 15.221.

Part 15.219 specifically allows a Part 15 transmitter to operate at 100 milliwatts input power to the final amplifier stage but limits the total length of the radiating element (antenna) and any ground lead used to no greater than 3 meters in length. There is no field strength limitation mentioned in this regulation.

Under a FOI request we obtained one of the FCC documents used by field inspectors as reference for pirate radio enforcement, titled “Module II 215: Unlicensed Radio Operation.” While heavily redacted, it’s interesting to note that on Page 5 of this document it specifically mentions that neither Part 15.219 nor the regulation which applies to low-power broadcasting on an educational institution’s campus, Part 15.221, has no specified field strength limitation.

What does this have to do with an alleged 200-foot service limit for Part 15-compliant AM broadcast? Back in 2013 two broadcast engineering colleagues assisted me with my undertaking of “The AM Transmitter Challenge.” The specimen for this side-by-side transmitter comparison consisted of four manufactured, 100 milliwatt, FCC certified Part 15 AM transmitters in addition to a notable Part 15-compliant kit transmitter. All transmitters where tested with their specified antenna, whether it was a 102-inch “CB style” whip antenna, a custom radiating element which was part of the transmitter’s certification and a wire antenna which accompanied the kit device.

Each tested transmitter was installed identically in a ground mounted Part 15.219-compliant manner and utilized a single 8-foot ground rod with a 0.5 millisiemens per meter ground conductivity. Each transmitter’s field strength was measured using my Potomac FIM-41 and documented for comparison. The highest performing transmitter had a coverage area just short of one mile using a typical automobile receiver.

While I haven’t been able to personally document the effects of better ground conductivity I’ve been informed a small improvement in range is enjoyed with similar installations in areas which have higher soil conductivity.

A church down county from me recently equipped themselves with a commercially available certified Part 15 AM transmitter to allow worship services to be enjoyed by congregants from the comfort of the automobiles in the parking lot.

The newfound interest in Part 15 broadcast obligates us to provide accurate and dependable information to the broadcasters, most of whom have no technical background and little interest in learning it.

Radio World invites industry-oriented commentaries and responses. Send to Radio World.

 

The post Begging to Differ on Part 15 Regulations appeared first on Radio World.

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Grants petition for declaratory ruling filed by Cumulus Media Inc

“Always have a backup” has been a mantra of radio engineers since the earliest days of broadcasting. Much time and energy has been spent developing disaster recovery plans that outline responses to fires, floods, tornadoes and other cataclysmic events.

But the outbreak of COVID-19 required most station employees, including air staff, to work at home for extended periods of time, a contingency that some engineers might wish they’d spent more time considering.

Lessons learned in the first weeks of the pandemic were discussed in an interesting episode of “This Week in Radio Tech (TWiRT),” hosted by Kirk Harnack, senior systems consultant for The Telos Alliance, and Chris Tobin, IP solutionist. They convened a special edition to talk about “Broadcast Continuity in a Pandemic,” sharing experiences in adapting station workflows and technology.

Codecs and Chromebooks
Geary Morrill is regional director of engineering at Alpha Media USA, an early adopter of the WideOrbit 4.0. He said that platform was being used by those working at home for remote access to the station via iPad and iPhone apps, mainly for recording and voice track activities.

Robbie Green, director of technical operations at Entercom Houston, said his employer created a work-from-home protocol for most staff, although air talent was still in the building. Should it become necessary for them to leave, equipment was set up so they can voice track from home. For the sports staff, he purchased a number of Comrex Opal IP Audio Gateways, as well as refurbished Chromebooks to equip remote kits.

Green said that the cluster’s building includes 600,000 feet of rentable space, of which the station occupies half. If someone working there were to become infected, building management would have to close the building for decontamination, so plans were developed for that eventuality.

A challenge facing many broadcasters, including Green, is how to handle the generation of logs. “Our traffic people have been working remotely for over a week, and program directors can also do logs remotely. We have a secure portal where they can dump everything into our WideOrbit system.”

Tom McGinley, chief engineer at KUFM(FM/TV), engineering manager at Townsquare Media in Missoula, Mont., and Radio World technical advisor, said that a global pandemic occurs about once every hundred years. If this outbreak had happened 20 years ago, he said, broadcasters wouldn’t have had the internet and IP connectivity we have today. The challenge would have been much greater for stations merely to stay on the air.

With no confirmed cases of COVID-19 in his area at the time of the podcast, McGinley said buildings were still accessible for talent. Traffic was being managed off-site through an internet connection. Plans were underway to do live shows remotely via Comrex Access gear, along with RCS NexGen iPush and Remote. McGinley added that the stations were already planning an upgrade to RCS Zetta, which has more flexibility for remote broadcast.

“This is What We Do”
Consultant Gary Kline applauded the efforts of broadcast engineers worldwide. Rising to unexpected challenges and having solutions ready before management knows to ask is “what we do,” he said. Kline praised codec manufacturers whose shipping departments worked overtime in March and April to make sure broadcasters got the tools they needed to stay on the air.

He said that while there has been growing awareness in recent years of the need to prepare for disasters, not all contingencies have been addressed.

“Many stations would have emergency generators as well as backup IP and internet facilities,” he said, describing conversations with clients, “but I would ask ‘What if you have to leave your building?’ and they weren’t so sure about that. Next time, we’ll be so much better prepared for something like this, so there is a silver lining to the story.”

“I tell everyone, it’s just a remote broadcast, only from your home.” — Jim Armstrong

Jim Armstrong, director of eastern U.S. sales at the Telos Alliance, has fielded a lot of questions about accessing equipment such as consoles off-site.

“I tell everyone, it’s just a remote broadcast, only from your home.” One aspect that sometimes gets overlooked is that most AoIP consoles can be operated remotely, and routing switchers can also be controlled off-site.

Several software products are available to fill these needs. There’s third-party software from IP Studios in Paris that runs IP tablet software. He discussed Axia SoftSurface, a program that connects to an engine or console to control the mix bus and faders, and Axia Pathfinder Core Pro, a development tool that allows users to create a virtual Fusion console.

He praised radio engineers for their handling of the situation and joked that a person is not really in radio until they’ve slept at the station, a rite of passage.

Bill Bennett, media solutions manager for ENCO Systems, talked about how stations could access and use their automation playout systems remotely.

For some time, he said, automation has meant servers in the studios plus some form of offsite backup. The cloud has experienced explosive growth over the past 15 years. Engineers have gotten comfortable with the idea of the cloud as a place to store data offsite and as part of their backup plans.

ENCO’s current automation playout system has a web interface, the front of which is HTML5-compliant so it can run on a browser. At the same time, the software is running on a virtual machine in the cloud.

Another bit of software keeps the virtual machine in sync with the studio machine over a VPN line.

An important consideration is keeping viruses that might infect the studio machine from reaching the virtual machine in the cloud. Harnack noted that Paravel Systems’ Rivendell 3.0, the open source automation playout system, is capable of running from the cloud during disasters.

With this type of system in place, all that is necessary in emergencies is to access the virtual machine via a laptop, and route a stream to the transmitter.

Also participating in the conversation were Mike Sprysenski, regional director of engineering at iHeartMedia, and Bryan Waters, chief engineer at Cumulus Media, Atlanta. The podcast can be accessed at thisweekinradiotech.com, or you can watch the full episode below.

Chris Tobin had the last word, talking about understanding workflow solutions. Air talent may be accustomed to working in front of a console and a stack of three audio devices and hotkeys to fire things off. They won’t have those at home and may experience initial stress if everything is different. The goal of the engineer should be to know the workflow of your announcers off-site, and try to make it as similar to the studio environment as possible.

Lightning Round
Harnack asked panelists for words of wisdom that could fit in 30 seconds or less.

Bill Bennett — Use two-factor authentication for network authentication and file access. Yes, it’s more complicated and slows things down, but much more secure.

Gary Kline — Ask yourself who is your backup if you become sick or quarantined. Formally designate someone if you need to.

Geary Morrill — Keep an even keel and be patient with staff as they adapt to the unfamiliar. People will feed off your emotional state.

Jim Armstrong — Have essential spares on the shelf. Remember that you don’t really need it until you need it, and then you really do.

Mike Sprysenski — Remember to take care of yourself as you’re taking care of everybody else.

Bryan Waters — Keep it simple. Give people what they need to work from home, but don’t overwhelm or complicate.

Robbie Green — Create documentation that’s written for the non-technical person. Have someone do a test drive with it before you distribute.

Tom McGinley — Look for the silver linings as this situation winds down. Expect a new level of competence from stations as they revise disaster recovery plans.

To watch the full episode, click here.

The post Broadcast Continuity in a Pandemic 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.

The 2020 presidential election cycle is certain to be a fractious one. Even if the candidates and issues of the day were not heated enough, embers of foreign interference allegations during the 2016 race still linger. Recent incidents involving international entities in the noncommercial media space should be a reminder that it is necessary to handle particular issues delicately.

This week, PBS SoCal announced an investigation into a film it helped to fund, after PBS said the documentary did not meet the organization’s editorial standards. “Voices from the Frontline: China’s War on Poverty” was produced partly with the support of the CGTN TV network, a subsidiary of the China Media Group, which is supervised by the Communist Party of China’s publicity division.

Current points out funding relationships and conflicts of interest were raised as potential issues. The probe of the film is ongoing.

[Read: Community Broadcaster: Four Zoom Tips for Community Radio]

Other recent issues highlight programming and content issues that any station might want to carefully observe.

Earlier this year, media reported on Radio Sputnik, widely regarded as a proxy for the Russian government, is now broadcasting on three Kansas City-area radio stations during drive time hours. “In the United States, talk radio on Sputnik covers the political spectrum from right to left, but the constant backbeat is that the United States is damaged goods,” one story notes. “They find much to dislike in the U.S., from the reporting on the coronavirus epidemic to the impeachment of Pres. Donald Trump, and they play on internal divisions as well.”

The Kansas City cluster told the press the stations carry Radio Sputnik because management thought the programming was good, and because a group working with Rossiya Segodnya, the Russian state media organization that operates Sputnik, is paying them to do so.

Last year, it was revealed in lobbying disclosures that Chinese telecommunications hardware manufacturer Huawei had retained program services from Las Vegas Public Radio, a low-power FM best known for suing CPB for not funding the station. Although the White House had previously shut Huawei out of the U.S. market amid trade skirmishes, the firm appears intent on improving its stature in America. The agreement would provide content to tell a different, presumably more favorable, story to audiences.

Over time, I have heard of similar issues at stations. Many times, the need at a particularly bootstrapped station is filling a proverbial hole. Someone offering reliable content on a daily and weekly basis is music to the ears of many. Sprinkle money into the discussion and it is not surprising that stations might be interested.

The problems are manifest. The perception that a station is airing propaganda can damage its reputation for years to come. Both conservatives and liberals today are worried about foreign interference in U.S. elections, with 72% of Americans believing there is a high likelihood of such occurring. These viewpoints could hurt a community radio organization’s fundraising going forward.

Whether you think these relationships are valuable for noncommercial media, because they tell a story our communities rarely hear, or find them to be problematic for the appearance of bias, such partnerships must go through rigorous review. Community radio can at times miss such assessments. However, stations would be smart to exercise caution, should such opportunities arrive.

The post Community Broadcaster: Under the Influence appeared first on Radio World.

What considerations should you weigh before reopening your studios?

Helpful guidance comes in the form of a document from the Recording Academy Producers & Engineers Wing. While it targets recording and production studios, most of the advice has direct relevance to radio as well.

Just a sampling:

• Evaluate rooms in the studio facility and make necessary adjustments to ensure social distancing.
• Consider requiring individuals to wear cloth face coverings while inside the entire facility; in some parts of the country, face coverings may be required by law in outdoor areas as well.
• Have work that cannot be performed with face coverings take place in an isolation room or an otherwise empty studio.
• Consider limiting studio access to essential personnel or, at minimum, limit the number of visitors.
• You may choose to require staff or others to have their temperature taken with an infrared thermometer upon entry to the facility.
• Limit the number of people allowed to use elevators at once and consider requiring face coverings in elevators.
• Consider disinfecting footwear, or providing booties.
• Routinely clean and disinfect frequently touched surfaces. Designate a staff person to be in charge.
• Microphones should be monitored and cleaned before and after all sessions.
• Consider HVAC filter cleaning and replacement.
• Shift staff and/or session schedules where possible to maximize social distancing.

Download the full list.

The post Planning a Studio Reopening? Recording Academy Has Some Tips appeared first on Radio World.