Industry News

Korean Super Group BTS visited the Radio Disney studio. Photo: Radio Disney

As The Walt Disney Co. continues to emphasize streaming video, it is shutting down its Radio Disney and Radio Disney Country operations, effective the first quarter of 2021.

The move comes at a time when the media business is changing, giving kids more personalized music choices and the pandemic prevents Radio Disney from holding in-person events that attract sponsors.

Disney has been restructuring to focus on its direct-to-consumer business. Combined with the pandemic, which has devastated the company’s theme parks and movie business, the company reported a $710 million loss for its fiscal fourth quarter and has eliminated thousands of employees to reduce costs.

Launched in 1996, Radio Disney helped launch young Disney music stars including the Jonas Brothers, Miley Cyrus, Selena Gomez, as well as Taylor Swift, Justin Bieber, and One Direction. In 2013, it began producing the Radio Disney Music Awards, which were televised on Disney Channel and showcased stars like Ariana Grande, Gwen Stefani, Meghan Trainor and Zendaya.

Radio Disney’s 36 staffers were informed of plans to cease operations Thursday morning via a teleconference with Gary Marsh, president and chief creative officer, Disney Branded Television.

“I want to thank Phil Guerini [Radio Disney’s general manager] and the entire Radio Disney team for their work over the years to cultivate and amplify the careers of music artists that became the definitive voices of their generation,” Marsh said. “The innovation and creativity of this team helped to deliver unforgettable experiences. Radio Disney has made an indelible impact on my family — and on millions of others.”

The Radio Disney staffers will lose their jobs early next year and receive an enhanced severance package.

The decision to close follows Disney’s exit from the radio station business, which began in 2007 and concluded with the sale of five Radio Disney stations to Salem Media Group for $2.225 million in 2015. Radio Disney kept one local station, KRDC(AM), Los Angeles, to originate its national programming feed. Disney will sell that station in 2021.

Sirius XM started carrying Radio Disney in 2002 and its current deal expired at the end of the year.

The shutdown process will take a few months, and the Radio Disney signal will be turned off in the first quarter.

In 2005, Radio Disney was available in 97% of the U.S. through more than 50 radio stations and SiriusXM and had offshoots in the U.K., Japan and Latin America.

The radio network became part of the Disney Channels business in 2006, consolidating the company’s kids business. Radio Disney showcased Disney Channel music and Disney Channel aired music videos. The strategy drove demand for soundtracks released by Walt Disney Records, including High School Musical, the top selling album that year.

In 2008, Radio Disney’s Next Big Thing (NBT), a multiplatform feature to showcase emerging recording artists, launched, boosting Shawn Mendes, Becky G, Fifth Harmony and others.

Radio Disney Country launched in 2015 as a digital only platform and expanded it in 2017 with the launch of two Los Angeles terrestrial stations and increased digital streaming.

Radio Disney opened a state-of-the-art studio in Burbank in 2009. Artists and celebrities would visit the studio for interviews and acoustic performances that became a big part of Radio Disney’s programming.

Radio Disney in Latin America is a separate operation and is not impacted by the U.S. shutdown announcement.

 

The post Radio Disney Shutting Down in First Quarter appeared first on Radio World.

The author is technology director at Australia Radio Network/ARN.

MELBOURNE, Victoria — ARN (Australian Radio Network) is one of the country’s leading broadcast and on-demand audio companies, “Defining Audio” with ownership or investments in 12 radio stations nationwide plus digital entertainment platform iHeartRadio and Australia’s number one podcast publisher, the iHeartPodcast Network.

We have a long history of providing our audience with the latest in streaming technology and were the first broadcaster in Australia to offer clients and listeners dynamic addressable content and interactive inventory.

To accommodate evolving technology, we have worked with several major streaming and cloud vendors. While we learned a lot in the process, the most obvious lesson was the challenge of managing a public-facing production platform. It’s not as simple as “set it and forget it.” The server farm required constant maintenance, which is time-consuming — particularly when dealing with multiple vendors.

Two years ago, we made the strategic decision to migrate our services to a hybrid hosting environment. We considered moving our streaming infrastructure to our private cloud, but we wanted to explore using a managed service that had experience with dynamic audio.

Our first goal for the transition was to simplify our streaming infrastructure to prepare for the future. We had multiple vendors and legacy systems supporting our live streams, making the existing infrastructure complicated and too difficult to scale. We also needed to increase our streaming capacity to accommodate an expanding number of audio channels and ensure suitable headroom for forecasted streaming listener growth.

Finally, we wanted to improve our reporting and analytics, as our management, commercial and content teams had no visibility of real-time or historical data.

NZME, our iHeartRadio partners in New Zealand, had transitioned to a managed service a year before us and selected StreamGuys as their provider. After speaking with multiple potential vendors, it was obvious there was a certain “peace of mind” and assurance that StreamGuys’ leadership brought to the conversation.

StreamGuys also works closely with the AdsWizz platform that we use for ad replacement and monetization, and their proposal provided the headroom we wanted for growth and a clear migration plan.

Seamless Migration

We commenced the migration of our streams to StreamGuys in March 2020. Their team was professional throughout the onboarding and user migration process. It is honestly the first time I’ve migrated so many streaming services with no noise. The “lift-and-shift” was seamless — and this was during the early months of COVID-19 when everything else was difficult.

StreamGuys now manage live streaming with midstream ad replacement for ARN’s iconic Australian brands KIIS, Pure Gold and The Edge, which are all integrated into the iHeartRadio Platform. StreamGuys handles our full audio payload, including radio simulcasts, DAB+ simulcasts, iHeartRadio stations and our expanding array of audio partnerships. StreamGuys hosts our audio streams through their Australian data center and is giving 100% uptime to our listeners.

StreamGuys’ SaaS suite provides flexible tools to help us monitor our operations. SGmetadata monitors what we are encoding from the studio complex to ensure that ad break replacement is being properly triggered. StreamGuys also created custom alerts in their SGalerts monitoring system that notify us of changes to our load balancing or other outages in our systems.

Our migration turned out to be perfect timing. During the pandemic, we have seen a significant increase in streaming traffic across all ARN and iHeartRadio audiences. In a relatively short time, StreamGuys have delivered multiple significant benefits — doubling our streaming capacity, adding new commercial inventory opportunities and overcoming our data visualization issues.

The operational stress of managing the server farms and day-to-day operation ourselves is not missed, and StreamGuys have proven to be a valuable technology partner. In many ways it’s like they have joined the ARN technology team.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

For information about this product, contact StreamGuys in California at 1-707-667-9479 or visit www.streamguys.com.

The post User Report: StreamGuys Assures Streaming Uptime for ARN appeared first on Radio World.

Digital Radio Mondiale expressed satisfaction with its progress in Pakistan.

Pakistan Broadcasting Corp. requested that the government include a policy mandating that all new cars in Pakistan have DRM receivers, a policy already supported by the Ministry of Broadcasting.

The plan will be discussed for inclusion in an Automotive Industry Development and Export Plan for the coming five-year period, created by the Ministry of Industries and Production. DRM said PBC representatives will be part of the consultative body that will issue the new automotive policy.

PBC has a three-stage plan with cost estimates, for the rollout of DRM across Pakistan.

“This represents yet another major step in the already significant progress made by PBC towards the rollout of the DRM digital radio standard in both the AM as well as VHF bands in their country,” DRM wrote in an announcement.

“This policy will be a key driver for all major automobile brands and OEMs to prepare and produce line-fit DRM radios in their new cars and also to provide solutions for the after-market vehicles in Pakistan.”

 

 

 

The post DRM Pleased With Progress in Pakistan appeared first on Radio World.

The commercial radio business may be challenged in the United States right now; but it will still be in the top five media platforms in terms of local ad revenue next year, and it should hold onto its share of the overall local ad market.

That is the projection of BIA Advisory Services, which released its U.S. Local Advertising Forecast.

It believes total local advertising revenue across all media in the U.S. will reach $137.5 billion in 2021. “This estimate represents a 2.5 percent year-over-year growth from the firm’s final post-COVID estimate for 2020 of $134.1 billion, as businesses start to adapt and rebound from the pandemic lows,” it stated.

“As the expected presence of vaccines will help with the continuing rebound in the economy, we expect this increase will occur throughout 2021 even without the presence of significant political advertising.”

Radio, the company projects, will bring in $12.6 billion in ad revenue. (This includes all spot revenue from OTA radio, from national, regional and local advertisers, as well as radio online advertising.)

That performance would be up 1.4% from BIA’s latest estimates for 2020, the company told Radio World, and it would keep radio at about 9.2% of the local ad pie, “pretty flat” with this year’s 9%.

The graphic shows the top five categories with dollar totals and percentages provided by BIA.

Overall the company thinks traditional media revenue will see a slight decline from this year, while digital media will grow a few percentage points and reach 44.7 percent of total local media revenue.

“Although we are estimating an overall increase in total local advertising next year, we do not expect spending to recover to pre-COVID (2019) levels until 2022,” said Mark Fratrik, chief economist and SVP at BIA Advisory Services.

“The availability of a vaccine early in the new year will be a key factor to a much stronger year for almost all vertical advertising as the economy rebounds and consumers start moving around more freely and even going back into the office.”

“This year saw a very strong shift into digital media for its lower costs, accountability and flexibility,” Fratrik said in a press release. “However, it also included substantially improved targeting, attribution and ROI tools from broadcast TV, broadcast radio and MVPDs that cannot be ignored.”

Speaking of TV and radio, the company wrote: “Even with the onslaught of new digital competitors, these traditional media still retain sizable audiences that many national and local advertisers want to reach.”

But it said local mobile and online will account for more than one-third of all local advertising, and that OTT advertising will continue to grow; it described OTT TV and the connected TV segment as “game changers for the broadcast industry” because of how easy it is to purchase fragmented inventory and do audience targeting.

The post U.S. Local Ad Revenue to Grow in ’21, BIA Predicts appeared first on Radio World.

It’s an SBE special! We talk with Society of Broadcast Engineers President Wayne Pecena about the organization’s pending projects, its pandemic response and its new executive director. Geary Morrill previews the Technical Professional Training Program that launches in January. And Mark Persons reflects on his career after receiving the SBE’s prestigious John H. Battison Award for Lifetime Achievement.

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the digital edition, go to the left corner and choose the download button to get a PDF version.

Buyer’s Guide

Streaming, Podcasting and Online Content Delivery

Customers of Comrex, Telos and StreamGuys explain why they chose the products they did. Also learn about new offerings from Tieline, Inovonics, StreamS, Wheatstone, RME and BroadcastPix.

Processing

Making PPM Encoding Easier

Mike Pappas writes about how an Orban AM processor came to have the Nielsen encoding built in.

 

Also in this issue:

• A Lineman’s Tips to Ground an STL Pole
• Belizaire Reflects on Race, Success
• HD Radio: A History of Innovation, a Future of Growth

 

The post Inside the Nov. 25, 2020 Issue of Radio World appeared first on Radio World.

Programmatic ad platform AdTonos says a campaign for Audi in London marked the first time interactive audio ads have been launched across commercial radio on smart speakers.

The U.K.-based company has a technology called YoursTruly that was used in a campaign in which listeners could react to the Audi ad with a voice command to book test drives for Audi cars or find a dealer.

“The innovative technology allows advertisers to reach listeners via smart speakers with engaging two-way, voice-based communications, delivered across Octave’s vast portfolio of commercial radio stations,” AdTonos wrote in a press release.

It said YoursTruly was developed to exploit “the significant and fast-growing potential of native audio ad experiences.”

To make it work, the ad features an “interaction trigger” that is inserted into an ad break; listeners can react to the ad with a voice command to engage the voice assistant and complete a desired action before being returned to the live station.

This campaign was in partnership with Octave and Omnicom Media Group’s agency, PHD. It was planned by PHD and targeted commercial stations including Absolute Radio, Kiss Radio and Magic Radio.

 

The post AdTonos Promotes Interactive Audio Ads appeared first on Radio World.

The author is SVP, Engineering — Digital Platforms at Xperi Corp. This commentary is part of Radio World’s Radio@100 series marking the industry centennial.

A hundred years later, reports of the demise of radio continue to be greatly exaggerated. Again.

In fact, it seems that the very idea of radio has been waved away as a second-hand thought only for it to show its deep value — time after time. Even today, as the media splinters and morphs into the many ways people engage with content, radio is here, valued and appreciated — and continuing to rank above all other channels in consumption.

Radio has survived and thrived thanks to continuous innovation, along with the dogged work of achieving scale and adoption of those innovations. Those who have made radio their careers have focused on delivering what consumers want by coming together to innovate across content and technology.

For example, in the early days of FM radio that meant that stations launched FM broadcasts without receivers in the market, driving the adoption of an improved sound experience that increased the value of their content.

Making Radio Competitive

In a way, the idea of HD Radio began, over 20 years ago, much like those FM radio days. Broadcasters were seeing competition for their products and services — from satellite radio, iPods and MP3s. The vision was to develop a digital solution that would allow broadcasters to be competitive, by improving quality and enriching the overall content experience. It was “CD-quality sound, no hiss or fuss” with the name of the song showing up on the digital screen, with multi-casting opportunities.

This would prove to be a more engaging way for this increasingly digitally oriented audience to experience the local and personal content that broadcasters had spent years nurturing.

It sounds easy, but being the first to do something is always a risky, uphill endeavor. And while the story of HD Radio has always been about technical invention, the most critical part of that story is how it brought receiver-makers and broadcasters together.

It’s fair to say, in fact, that the HD Radio journey started as a classic Catch-22: the receiver-makers would not invest in a new product if no one was transmitting; broadcasters would not transmit if there were no receivers in the market to pick up their signal.

Fortunately, precedent had already been set when Westinghouse created broadcast content for their early wireless receivers. The first commercial broadcast in the U.S., aired on KDKA on Nov. 2, 1920, announced the winner of the Harding-Cox presidential race. More importantly it announced commercial radio — and changed the world.

Glory Days of Receivers

The first commercial automotive HD receiver was the Kenwood KTC-HR100 HD Radio tuner; it was a dealer-installed aftermarket item. The black box went into the vehicle’s trunk and the HD Radio function was completely separate from the main radio headunit.

We spent thousands of hours developing and testing it, including having groups from Japan and the U.S. drive around, measuring reception and performance for days on end. Home products took the same journey: the Boston Acoustics Recepter Radio HD went through hundreds of hours of testing and validation.

At first, those units were expensive.  But the economic tipping point came when Visteon signed with BMW AG to put HD Radio in 2006 model-year cars — that was the key that started the engine for HD Radio.

Today there are 42 car manufacturers and 290 models available with HD Radio. The Catch-22 has been solved, with each side of the ecosystem having exactly what they need: the audience and the technology to serve up a premium experience, where and how consumers want it.

According to the recent Techsurvey 2020 by Jacobs Media, 69% of listeners surveyed said that the main reason they listen to radio is that it’s easiest to listen to in the car.

Innovation Evolves

Over the past 20 years, we’ve worked with our partners to develop thousands of different radio models for car, home, portable and phone. To date, we have tested almost 4,000 radio models through our 80+ point product certification program.

What began with 12 people working on our vision for HD Radio, continues with hundreds of experts in technology development and systems engineering. All told, thousands of people around the world are involved in the development, production and sale of HD Radio.

And those new receiver products have innovated to transform radio listening into a much richer experience compared to the first HD Radio receivers launched 16 years ago. Consumers can now access multicast HD2-HD3 audio programs and have a visual experience with album images

It has been quite a journey, one in which the immutable law of consumer value has ruled. Costs have decreased and the accessibility of HD receivers has increased. Quality has improved thanks to a worldwide production ecosystem with established relationships with over 50 manufacturing partners across the world.

The important thing, though, is content. That’s why radio is a sustainable platform. It’s something we’re very proud to be a part of, this innovative power to deliver personal options to consumers. The Jacobs’ Media Techsurvey makes it clear: Six in 10 say that personalities are the main reason they listen — and close to 90% agreed that one of radio’s primary advantages was its local content.

Personal. Local. And immersive. I see that as the future of HD Radio.

As we get set for the next 100 years, there are three things that will power the growth of HD Radio — and radio in general.

The first is humility. Learning from our experience informs the growth of the future, especially in terms of HD.

The second is momentum, because as HD grows, all connected industries gain velocity and opportunities to create more interactive and personal radio experiences.

And finally, it’s to remain fearless in our innovation journey, and to be relentless in bringing new ideas and features to the market. That’s how we deliver on the promise of a better experience for listeners — and that’s why we’ll be here 100 years from now.

The post HD Radio’s History of Innovation and Future of Growth appeared first on Radio World.

iHeartRadio released an interesting list of popular songs for 2020, based on its listener data.

It added up total audience spins and streams across its broadcast radio stations and digital network “to look at the top songs that got Americans through this truly one of a kind year.”

“What’s perhaps most interesting about this data is that it shows a complete picture of what folks across the country listened to — not just what those using digital streaming services had queued up,” a company representative wrote in an email.

She said ”Blinding Lights” by The Weeknd reached an audience over 2 billion in the United States alone.

The overall list is below.

The company also posted lists for specific genres; it has been a good year for acts like country’s Morgan Wallen, rhythmic’s Roddy Ricch, alternative’s Twenty One Pilots, rock’s Shinedown and R&B’s Chris Brown. (Find the lists here.)

iHeart’s Top 10 Overall Songs of 2020:

1. THE WEEKND, Blinding Lights
2. POST MALONE, Circles
3. HARRY STYLES, Adore You
4. DUA LIPA, Don’t Start Now
5. LEWIS CAPALDI, Someone You Loved
6. DOJA CAT, Say So
7. LEWIS CAPALDI, Before You Go
8. MAROON 5, Memories
9. BLACKBEAR, Hot Girl Bummer
10. DUA LIPA, Break My Heart

The post iHeart Lists Top 10 Overall Songs of 2020 appeared first on Radio World.

Geary Morrill

The Technical Professional Training Program just announced by the Society of Broadcast Engineers aims to position new entrants to broadcast engineering for success by expanding their knowledge base.

Geary Morrill of Alpha Media chairs the Education Committee of the SBE and is a member of the organization’s executive board. He talked with Radio World in November about the pending program.

“What we’re doing by offering TPTP,” he said, “is providing means to deliver support to a new broadcast engineer,  leveraging inherent strengths of current SBE initiatives — providing a step-by-step template that can be utilized by group owners, independent broadcasters, contract engineering firms, state associations … basically any organization concerned with finding and developing our next generation of broadcast technical professionals.”

Over the years, SBE has developed and delivered programs and support to those already employed in the profession. “Unfortunately, those not intimately involved in the technical side of our industry aren’t truly aware of what and how we do this,” he said.

“They are however acutely aware there’s less and less folks available to perform technical work critical to their enterprise, and that sources traditionally geared to prepare new techs — trade schools and electronic vocational training programs, and on-the-job learning opportunities — have either shrunk or disappeared completely.”

SBE’s leaders weighed how to fill the gap.

“This was not just a technical issue. We would need to make everything user-friendly to both technical and non-technical folks, or it could never get off the ground,” Morrill said.

Cost and Benefits

The cost for a person entering the program is $475. What do they receive for this?

First, they’ll be paired with a mentor, someone already in the technical side of the industry with a knowledge base and practical experience that will help to encourage and guide their learning process.

“In a group owner situation, this could be someone already in their employ at a market, regional or national level,” Morrill said.

“It may be someone affiliated with another organization, like a state broadcasters’ association, interested in supporting this effort for their membership. Or it could be a retired engineer looking to pay forward the support he or she received as a new entrant to our profession some time ago. The common denominator is a desire to see a new person succeed in their broadcast technology career.”

Second, the mentor will collaborate with their mentee to determine their grasp of the disciplines and technologies needed for their role using existing and enhanced tools like SBE CertPreview.

“Armed with this evaluation, the mentors can direct a mentees’ studies by curating the extensive archived SBE webinar series as well as new offerings that are always in development as technology evolves,” he said.

“Included with enrollment in the program, the mentee receives SBE Member Plus level access to the entire educational webinar library of the society for a year, including all new webinars. Mentee learning is further supplemented with a copy of the recently published ‘SBE Engineering Handbook,’ providing a written resource that can be used for both their studies and future reference.”

Third, a natural byproduct of this effort will be preparation to write the Broadcast Technologist Certification exam for either AM/FM or TV. That helps to demonstrate a mentees mastery of electronic fundamentals and relevant FCC rules.

Morrill said SBE is encouraging employers to invest in participation by their new hires.

“In return, it’s reasonable to ask for a commitment from the employee to remain with the employer making this investment, for a mutually agreeable period, or to reimburse the employer’s hard cost if they should choose to withdraw. That way, both parties have a vested interest in the employee being successful, as they have ‘skin in the game.’”

Morrill said the effort involves education, mentorship and certification that already exist in SBE offerings but brings them together in a “guided” system rather than offering things a la carte.

“This is a huge benefit to the intended users because we realize folks who aren’t already technically proficient simply don’t know what they don’t know. And non-technical folks wanting to help don’t either.”

SBE will also provide support and training for volunteers to make their role effective and rewarding.

“A successful mentor doesn’t need to be a professional educator … just be willing to take an active interest in bringing this next generation along.”

[Read the announcement about the program launch.]

The post Geary Morrill on SBE’s New TPTP Program appeared first on Radio World.

The idea of allowing U.S. radio stations to “geo-target” content via FM boosters took a step forward this week.

We also got some insight into how several FCC commissioners are thinking about the proposal, with one describing the idea as a “potentially industry-altering technology.”

On Tuesday the Federal Communications Commission issued a notice of proposed rulemaking to allow limited geo-targeting, and asked for comments.

This proposal has been pushed for years by technology company GeoBroadcast Solutions LLC, and has gained support and interest from a number of influential industry players.

The FCC wrote that the idea “presents novel technical and public interest issues that would benefit from additional consideration.”

Geo-targeted content could include advertisements as well as other content. The NPRM would change the booster rules to “enable FM broadcasters to use FM booster stations to air geo-targeted content … independent of the signals of its primary station within different portions of the primary station’s protected service contour for a limited period of time during the broadcast hour.”

GeoBroadcast Solutions welcomed this step: “The prospect of hyper-localizing over-the-air radio content has great potential for the industry in reaching underserved audiences, as well as providing news and alerts on a regional basis, and improving the advertising revenue for the stations,” said spokesman Robert Udowitz. “Industry groups, media and advertising companies, broadcasting companies, minority coalitions and individual stations have all supported and seen the prospects for this technology.”

GBS has said that the technology will work without causing any adjacent-channel interference, and that any self-interference would be manageable.

We learn in statements issued by the commissioners that Brendan Carr, a Republican, and Geoffrey Starks, a Democrat, have been working together to bring the idea to this point.

Starks has been a more public supporter of the idea, emphasizing its potential benefit to small, women and minority broadcasters.

But Carr wrote after the NPRM was released, “We both saw the public interest benefits of this new technology, and I welcomed the chance to work with him and his team over the past few weeks and months to ensure that the commission launched this rulemaking.”

Carr calls the idea “potentially industry-altering technology that will allow FM broadcasters to deliver targeted content over their existing spectrum.”

He wrote, “This technology promises to enhance service in local markets and help these stations compete in an ever-expanding media marketplace. And it means that the freedom to transmit targeted or customized content, which mobile wireless carriers have long enjoyed and broadcast television stations are now realizing with ATSC 3.0, could soon extend to broadcast radio as well.”

Commissioner Michael O’Rielly, also a Republican, took a more cautious view.

O’Rielly said he welcomes creative ideas intended to help “legacy providers to compete effectively with their unregulated counterparts.” But O’Rielly expressed reservations about the pace of the rollout, “given its substantial implications for reshaping FM radio policy and the radio advertising marketplace.” He said the FCC should not rush.

“This rulemaking’s embrace of new radio technologies seems to have occurred at almost light speed,” O’Rielly wrote. “In addition to these process-related concerns, there are also substantive reasons to proceed with caution. … Any rulemaking that considers taking steps that rely on a proprietary technology should be done under a watchful and extremely skeptical eye. It can take years, if not decades, to undue problematic regulations that contain embedded technologies.”

He said comments that will be filed in coming weeks will be important. “Geo-targeting will likely have different consequences for different stations, and it will be important for the record to flesh out the relevant benefits and drawbacks of more targeted ad sales,” he wrote.

“Some argue that increased targeting could expand ad sales by making smaller stations, and even boosters, more attractive to ad buyers. However, it is also possible, at the same time, that geotargeted ads will lower station revenues overall because these ads will be cheaper as a result of reaching fewer ears, leaving stations with a more limited product to offer and putting them in the position of having to recoup lost revenue.”

O’Rielly said that if advertisers can slice any given market into half a dozen mini markets, “it is possible they will only buy spots in certain neighborhoods and forego others, while potentially reallocating remaining funds to digital advertising or other media.”

In the best-case scenario, he said, stations would be under heightened pressure to sell even more ads, at a time when potential ad sales are already being lost to other media. “In the worst-case scenario, the door could be opened to allowing advertisers to entirely ignore certain neighborhoods or mini markets, placing an untenable strain on small stations or broadcast boosters that operate in these areas and harming consumers who live there. In the absence of more robust analysis, the assumption that these changes will promote diversity of voices, much less ownership, is incredibly premature.”

But Commissioner Starks has expressed no such reservations.

Starks pointed to the impact of the pandemic on small, minority broadcast owners, and said this proposal will help. He cited supported from civil rights organizations including MMTC, the National Association of Black Owned Broadcasters (NABOB), National Urban League and numerous others.

“The ability to use of booster stations to provide hyper-localized content potentially opens up opportunities for station owners to increase advertising revenue, which for struggling stations could increase their chance of staying on the air to serve their local communities. It could also provide a cost-effective means for other small businesses to customize advertising to a targeted audience.”

Another benefit, he said, is that it could help minorities gain more access to capital.

“GeoBroadcast Solutions has developed an advertising revenue sharing model that would help smaller stations install boosters and new technology necessary to use the system without having to come up with up front capital and operational expenses,” he wrote. “If this innovative proposal can provide a new revenue stream that keeps even a few struggling stations on air or opens up opportunities for new broadcasters to enter the market, it is well worth our serious consideration.”

The comment deadline will be set once the notice appears in the Federal Register.

Read the NPRM and the many questions the FCC wants comments about.

The post FCC Asks for Comments on FM Geo-Targeting appeared first on Radio World.