Industry News

Entercom, one of the biggest names in U.S. commercial radio, will change that name to emphasize its focus on the broader world of audio.

Entercom Communications Corp. is transitioning its brand name to Audacy, effective immediately. It also will “sunset” the name of its digital platform Radio.com.

The new corporate name Audacy emphasizes the role of audio in the company’s business; it also has echoes of “audacity.” The company’s stock ticker symbol will change from ETM to AUD in early April.

[Read Radio World’s recent special report about how radio companies are defining themselves around on audio: “For Radio, Audio Is the New Now”]

“Over the past three years,” it stated in the announcement, “the company has purposefully evolved into a scaled, multi-platform audio content and entertainment organization with the country’s best radio broadcasting group and a leadership position in virtually every segment of the dynamic and growing audio market — including broadcasting, podcasting, digital, network, live experiences, music, sports and news. Audacy is also the #1 creator of original, premium audio content.”

The announcement was made by Chairman, President and CEO David Field. He said the company has “transformed into a fundamentally different and dramatically enhanced organization.”

Here’s how it now positions itself: “Audacy engages over 170 million consumers each month across its connected platform including the Audacy app and website, over 230 radio stations across 47 markets, influential chart-topping podcasts and premium live music experiences.”

In the announcement, Entercom listed activities over several years that built in this direction.

It acquired CBS Radio, “building scale as one of the two largest radio broadcasting groups, with unrivaled leadership in news and sports,” and it launched Radio.com. It acquired Cadence13 and Pineapple Street Studios, “establishing Audacy as one of the three largest podcasting publishers,” and established important podcast partnerships with companies like HBO and Netflix. Most recently it acquired Podcorn, a “podcast influencer marketplace.”

In sports it also acquired QL Gaming Group and built a partnership with FanDuel. And it made partnerships with Apple, Google, Amazon and Twitch “to enable its listeners to connect seamlessly with Audacy audio content wherever and whenever they want it.”

The company also made several related announcements. It created a podcast partnership with singer Demi Lovato and new podcasts and projects including shows from Boomer Esiason, Big Tigger and “The Rich Eisen Show,” as well as a revamped “Loveline.”

“Additionally, a number of original podcasts will launch exclusively in a bingeable window on Audacy’s app,” it stated.

It also announced partnerships with BetMGM for sports betting and entertainment and with Irving Azoff’s Global Music Rights to add on-demand and interactive features.

The post Entercom Changes Its Name to Audacy appeared first on Radio World.

A multi-platform broadcast and content company delivering sports betting news, analysis and data to consumers from the Las Vegas Strip since 2017 — known for its ties to the Musberger family — has been plucked by a Boston-based digital sports entertainment and gaming giant widely known for its daily fantasy, regulated gaming and digital media offerings.

Vegas Sports Information Network, Inc. (VSiN) is being acquired by DraftKings Inc.

It’s a major acquisition, and one that will enable DraftKings, which is live with mobile and/or retail sports betting in 14 states, to further build out its content capabilities. As DraftKings sees it, the deal “will augment VSiN’s ability to broaden their audience alongside the expansion of legal sports betting in the U.S.”

Commenting on the deal, DraftKings co-founder, CEO and board chairman Jason Robins said, “VSiN creates authentic and credible content that resonates with sports bettors at every level, whether they’re experienced or new to sports betting. In addition to its brand equity among sports bettors and engaging talent roster, VSiN also has an established infrastructure that DraftKings can immediately help expand, in the hopes of adding value to consumers who are looking to become more knowledgeable about sports betting.”

VSiN develops, produces, and distributes up to 18+ hours of live linear sports betting content each day. In addition to its 24/7 stream, VSiN’s original content is accessible through multiple video and audio channels including Comcast Xfinity, Sling TV, fuboTV, Rogers’ Sportsnet, MSG Networks, NESN, AT&T Pittsburgh, Marquee Sports Network, a dedicated channel on iHeartRadio and TuneIn, as well as terrestrial radio stations throughout the country, and its growing slate of podcasts and betcasts.

VSiN’s current talent roster includes veteran sportscaster Brent Musburger; Michael Lombardi, a former NFL executive; Gill Alexander, host of the “Beating the Book” podcast; and Pauly Howard and Mitch Moss, co-hosts of VSiN’s popular morning show “Follow The Money.”

“We created VSiN as a destination for sports bettors to find the most credible content to help inform their wagering decisions,” VSiN CEO Brian Musburger said. “Harnessing the power and network of the DraftKings brand will allow us to reach an even wider audience with our unique content.”

DraftKings’ vision is for Brian Musburger and his leadership team to continue to manage day-to-day operations while maintaining editorial independence.

Meanwhile, DraftKings says it “intends to fully integrate VSiN’s current employee base located in Las Vegas, including its on-air talent, into its 2,600 person global workforce.”

Since opening a Las Vegas office in January 2020, DraftKings has grown its local employee base by 132%.

More from the RBR+TVBR Archives:

RBR+TVBR InFOCUS Podcast: Bill Adee, VSiN Adam Jacobson Bill Adee is the Principal and COO of VSiN. It’s grown quickly since the spring of 2017, when Adee joined the Musbergers to launch VSiN. He shares the latest on how things continue to roll — even through the COVID-19 pandemic — in this freshly produced InFOCUS Podcast, presented by DOT.FM. LISTEN HERE VSiN Bets On iHeartMedia By Spurning SiriusXM Adam Jacobson Subscription-free sports betting audio content is poised to reach more listeners on more devices. That’s the promise VSiN and iHeartMedia are sharing, as the nation’s No. 1 audio media company has expanded its partnership with the Las Vegas-based sports information network dedicated to bettors and wagering statistics. The result is a loss for SiriusXM Satellite Radio. Skyview Networks Bets On A Big Sports Gaming Pact RBR-TVBR One of the nation’s foremost sports betting information networks has partnered up with a key sports audio company “to further gain market share and sponsorship opportunities.” The partnership comes despite the lack of wagering on live sporting events due to the COVID-19 pandemic, which has shut down all Las Vegas casinos.

Although podcasting has surged in popularity in recent years and is a major growth segment for the radio industry, television companies are just now tipping their toes into the audio arena.

With the dynamic insertion of ads along with podcast measurement and the podcast industry’s continuing consolidation all impacting radio and TV in some way, how added ears can translate to dollars for legacy linear media is at the heart of this InFOCUS Podcast, presented by DOT.FM.

To learn more on the subject, RBR+TVBR Editor-in-Chief Adam R Jacobson chats with Sean King, an executive vice president with Veritone One. 

Listen to “The InFOCUS Podcast: Sean King, Veritone One” on Spreaker.

In a major rebranding move that leaked out via social media late Monday, Entercom Communications has changed its name to Audacy.

The shift from Entercom, a name that dates to October 1968, is effective immediately.

Much has changed for the company founded by Joseph Field. Today, it is led by his son, Chairman and President/CEO David Field. And, under the younger Field, Entercom grew.

On November 17, 2017, that growth reached its apex, as Entercom completed its tax-free merger with CBS Radio. Then, a new logo was introduced.

Now, nearly 3 1/2 years after a transformative transaction that saw slow growth at legacy CBS Radio stations due to what Field believed was neglect under its previous owner, a whole new identity has been revealed.

Audacy addressed the company’s evolution since the Reverse Morris Trust-fueled merger with CBS Radio, which saved the former Entercom from a big tax bill from Uncle Sam. Among the big moves: growth in podcasting with the August 2019 acquisition of Cadence13 and Pineapple Street, and a wholesale relaunch of the Radio.com app that came with the CBS Radio merger. There’s also the acquisition of QL Gaming Group and a partnership with FanDuel, fueling its position in Sports Talk audio content delivered via key radio stations like WFAN in New York and via the Radio.com platform.

Speaking of Radio.com, that name will be “sunset,” with a rebrand to Audacy on the way.

Cadence13, Pineapple Street Studios, BetQL and recently acquired podcast influencer marketplace Podcorn remain market-facing brands.

With some self-promotion, Audacy said in a statement released Tuesday (3/30) at 9am Eastern, “Over the past three years, the company has purposefully evolved into a scaled, multi-platform audio content and entertainment organization with the country’s best radio broadcasting group and a leadership position in virtually every segment of the dynamic and growing audio market—including broadcasting, podcasting, digital, network, live experiences, music, sports and news. Audacy is also the No. 1 creator of original, premium audio content.”

In a prepared statement, David Field said, “We have transformed into a fundamentally different and dramatically enhanced organization and so it is time to embrace a new name and brand identity which better reflects who we have become and our vision for the future. ‘Audacy’ captures our dynamic creativity, outstanding content and innovative spirit as we aspire to build the country’s best audio content and entertainment platform.”

Audacy Chief Marketing Officer Paul Suchman added, “This moment is not just a change of sign, but a sign of change. Our new brand encapsulates who we’ve become in audio and will guide our forward aspirations. We are bringing it to life across all touchpoints inside and outside the organization and look forward to delivering on its promise every day.”

A BET ON DIGITAL

With the Entercom Twitter handle changed early Tuesday, ahead of the official announcement, to @audacycorp, a new chapter begins for a company with roots in radio that today made several announcements that signals its intention as of today to be an audio media company.

First, Audacy says it has signed Demi Lovato to an exclusive podcast partnership with Cadence13. It will be produced by OBB Sound, the audio division of OBB Media, and SB Projects. Further details are set to arrive in May. A revamped “Loveline,” pioneered by Audacy’s KROQ-FM in Los Angeles, will debut this summer, in addition to new podcasts and digitally delivered projects from Boomer Esiason and The Rich Eisen Show.

Audacy also has a partnership with BetMGM in place, and this follows a similar partnership announcement revealed last week that ties Audacy with Rush Street Interactive.

Lastly, Entercom has a royalties agreement in place with Irving Azoff’s Global Music Rights (GMR).

A NEW WALL STREET IDENTITY

What happens to ETM?

It’s going away.

The company’s ticker symbol will change from “ETM” to “AUD,” and this is expected to occur on or about Friday, April 9.

— Additional reporting by Ed Ryan

With the spectrum repack fully in the rearview mirror, Dielectric has promoted its TV Antenna Manufacturing Manager to Director of RF Systems and Components.

The new role is part of the company’s shift in strategy to better serve broadcasters in the post-repack world.

Earning the promotion is Mike Spugnardi, who applied his extensive Dielectric experience
to lead all strategic repack initiatives around inventory control, production planning and
maximizing capacity.

“His successful strategy ensured that more than 1,000 repack customers were transitioned to new channel assignments within very tight timelines,” Dielectric says.

Now, Spugnardi is poised to bring that same strategic focus to the company’s RF Systems
and Components division. This includes new product designs that reflect changing
customer needs in today’s reduced UHF spectrum in the United States, as well as making
products more efficient for international TV and radio customers.

“Mike’s emphasis on the finer details was a primary reason we were so well-prepared for
repack, which was arguably the busiest period of Dielectric’s nearly 80 years of existence,”
said Cory Edwards, Director of OEM, Distributor and Southeast Asia Sales at Dielectric. “He is now leading the charge with an emphasis on new products and existing product redesigns, particularly around our UHF TV filters.”

Edwards says many of these changes optimize Dielectric’s bandpass filters for Channels 14 to 36, which represent the post-repack UHF band in the United States and much of the global broadcast market. In addition to redesigning existing filters, the company is adding models to serve increasingly common power levels. This includes 5kw and 22kw models that will allow Dielectric to provide more efficient single-filter designs for these power level requirements, while providing additional headroom to accommodate the higher peak powers of ATSC 3.0.

Spugnardi will lead a newly expanded team of senior RF engineers and mechanical
designers, which Edwards says will “strengthen our bench for a new RF era.” He is also
leading the charge on developing new internal technical resources.

As expected, Univision Communications on Tuesday formally launched its streaming channels-based and VOD service created specifically for U.S. Hispanic audiences.

The launch follows the recent acquisition of VIX, the largest Spanish-language ad-supported VOD streaming service for Latin American audiences and U.S. Hispanics.

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The recently formed Independent Broadcasters Association has forged a partnership with a top distributors in the broadcast and multimedia space. This gives member radio stations access to parts and service and new inventory.

The agreement is with Broadcast Depot, and brings member-only deals to IBA stations.

“Our goal is to provide a one stop shop for members of the IBA, where they can utilize
Broadcast Depot as a resource for knowledge, service, planning and equipment
acquisitions,” U.S. sales manager Tim Jobe said. “It has also proven beneficial for us and
our clients to have a partnership with Balboa Capital where we can present financing
options and jump the hurdles that usually slow projects and reaching goals.”

The IBA presently boasts membership of 1,500 independently owned radio stations.

IBA President Ron Stone, who heads Adams Radio Group, says, “This was one of the most important partnerships we wanted to solidify for IBA members. Having an equipment provider that can respond quickly, provide industry leading prices and provide our members with potential finaancing when needed was incredibly important.”

A Forrest Breese is flowing through the Western United States for clients of Point Source Audio.

No, that’s not a typo. That’s the name of the new regional account manager at the Petaluma, Calif.-based company.

Point Source Audio expanded its sales team with the addition of Breese as Account Manager for the Western U.S. He’s a familiar face to California’s pro audio industry for many years and brings with him considerable experience from previous roles with manufacturers, distributors, integrators—and on stage as a musician.

As a gigging bassist since the age of 13, Breese has been around the music and pro audio industry for most of his life. Starting his professional career as a manufacturer’s rep, Breese has worked across just about every aspect of the industry from sales to integration, and has extensive experience working with a number of microphone brands.

He is based in Southern California.

“We are delighted to welcome someone of Forrest’s knowledge and experience into the Point Source Audio family,” said Yvonne Ho, Point Source Audio’s Vice President of Sales and Marketing. “He has an incredible grasp of the technology and our industry so he will immediately be a valuable resource for all of our customers and dealers in the Western region. He will bring a lot to the Point Source Audio community and I know he can’t wait to get out there and meet everyone.”

To learn more about Point Source Audio products, visit www.point-sourceaudio.com.

Friend MTS, a global provider of content protection services, has launched 4th Generation ASiD, an enhanced and extended set of subscriber-level watermarking solutions that address a wide range of content protection scenarios to secure high-value content and revenue across all types of broadcast and OTT devices, clients and apps.

With an increasing need for content owners, broadcasters and operators to tackle real-world piracy, Friend MTS has also included ASiD OTT Edge-switched, a new smart server-side A/B variant solution with an additional robust method of watermarking premium content that works to protect Live and VOD assets from illegal redistribution.

“We are at the forefront of developing and deploying real world end-to-end content protection solutions at scale for our valuable sports and entertainment customers, which is important now more than ever as the pandemic continues to shape the piracy landscape as well as the technology needs to combat this prevalent issue,” Friend MTS CEO Jonathan Friend said. “These new watermarking and monitoring solutions with enhancements to help our customers protect their valuable content in a larger industry effort to drive subscriber growth and safeguard revenue.”

Friend MTS’ advanced subscriber identification watermarking (ASiD) now includes:

ASiD Embedded (Enhanced): Offers accelerated watermark generation in certain devices (especially those without functional FPUs), and optimisations to enable memory and CPU-efficient watermark parameters for different content types (UHD, HD, linear channels vs on-demand content, etc).

ASiD OTT Client-composited (Enhanced): Introduces a new collaboration mechanism between headend and client, and improved intelligence feedback to take action on bad actors. The solution now offers higher precision of session identification and stronger support for cloud PVR, as well as a new feature to enable variable per-device watermark parameters for different content and playback types to enable optimised watermark compositing based on individual client devices’ capabilities.

ASiD OTT Edge-Switched (New): Based on the proprietary algorithms, ASiD OTT Edge-switched benefits from other Friend MTS’ best-in-class mature technologies and offers accelerated watermark extraction working in conjunction with the company’s distributor-level watermarking solution, Distribution iD.

The new and enhanced 4th Generation ASiD solutions remain fully compliant with the MovieLabs Specification for Enhanced Content Protection, including 4K/UHD and HDR content, and provide robust Live and VOD content protection.

As a family of advanced forensic watermarking solutions, Friend MTS’ ASiD OTT offerings share the optional ASiD iQ enhancement that monitors for fraudulent user behavior, flags bad actors, and enables content owners and service operators to react in real-time.

As a result, Friend MTS proactively prevents content theft and other business-affecting activities such as credential or account sharing by revoking access to compromised accounts.

 

Radio + Television Business Report is pleased to announce that it will be co-presenting this year’s annual Forecast conference with Radio Ink.

Both publications are owned by Streamline Publishing.

In making the announcement, EVP/Publisher Deborah Parenti explained the reasons that prompted enhancing this year’s agenda.

“The unique challenges faced over the past year have demonstrated the importance of both radio and television broadcasters to local communities as well as the leadership they have provided in leading many of the national conversations that have taken center stage during this time,” Parenti said. “As legacy media, both also share commonality in areas of advertising revenue, investment capital, and a constantly changing competitive landscape filled with digital players and streaming services. The pending Supreme Court decision on cross ownership and other critical regulatory issues are also focuses of shared interest. As such, we believe the time is ripe to examine those mutual concerns and explore how broadcasting’s combined assets can encourage and enhance industry growth over the coming years.”

Forecast 2022 will be presented on November 16, 2021 at the Harvard Club in New York City.

This will be the 19th year for the annual event that gathers the smartest minds in broadcast and advertising to forecast trends, expectations, and revenues for the coming year. The prestigious conference is capped by the traditional executive cocktail reception in Harvard Hall, this year honoring the Top 40 radio and the Top 15 broadcast television leaders.

FOR FULL DETAILS AND TO REGISTER, PLEASE CLICK HERE.