It’s controlled by HC2 Broadcasting but continues to have stations in its stable licensed to the entity it has majority control over, DTV America.
Paperwork has been filed with the FCC that will see DTV America spin a low-power TV station in the Deep South. The buyer? It is led by Maurice Bailey.
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Audacy, the audio content creation and distribution company, has sold an AM radio station.
It’s at 1550 kHz and serves Northern California. And, it happened to be the home of the company’s LGBTQ+-focused music and entertainment digital multicast format.
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More business groups are pushing lawmakers to pass a single national standard for consumer privacy.
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Known as “the dean of country music broadcasters” Ralph Emery died over the weekend. The former WSM morning show host was 88.
Inducted into the Country Music Hall of Fame in 2007, the legendary broadcaster started his career at small radio stations and eventually moved into television. Emery spent a decade hosting “Nashville Now” on the Nashville Network cable channel from 1983-1993.
Emery landed a job on the overnight shift at WSM in 1957. He took care of the graveyard shift on the 50,000-Watt country giant from 1957 to 1972. During his career he interviewed the biggest names in country music in his laid-back conversational style. His popularity gained him a weekday morning show and then moved him into syndication.
Emery’s legacy included and number of television programs. He hosted a weekly program on RFD-TV and he spent a decade hosting “Nashville Now” on the Nashville Network cable channel from 1983-1993.
He was inducted into the Country Music Disc Jockey Hall of Fame in 1989. He added Country Music Hall of Fame honors in 2007.
A tribute to Emery can be found on The Country Music Hall of Fame Website.
Known as “the dean of Los Angeles talk radio” Michael Jackson died over the weekend. Jackson, who battled Parkinson’s disease, was 87.
Jackson led the ratings for many years with his local talk show on KABC-AM from 1966 to 1998. After leaving KABC he worked for a number of stations before retiring at age 73.
After leaving South Africa with his family in 1958, Jackson moved to Los Angeles to work at KHJ-AM and then news station KNX-AM, before landing at KABC, where he would remain for 32 years.
In a 1992 interview with the Los Angeles Times Jackson spoke of his non-combative style, “I think sometimes I’ve been overly polite to guests, showing them greater deference, but I’m not going to become less polite. Rudeness is such an easy excuse for not doing your homework.”
DirecTV has notified One America News Network that it will not renew its contract this Spring. The contract with Herring Networks Inc. expires in April.
OAN has been in the sights of critics and some lawmakers for allegedly supporting “The Big Lie” that the 2020 election was stolen. It has also come under fire for allegedly spreading false information about Covid 19.
DirecTV, is owned by AT&T Inc. and TPG via a joint venture. DirecTV is the largest distributor of OAN. It is still carried on some smaller pay-tv providers and streaming platforms.
The TV industry has evolved faster in the past 18 months than it has in decades. Continual shifts in viewership, audience fragmentation and proliferation of screens have forced all sides of the ecosystem to adapt to a more dynamic TV universe. It’s one in which “TV” now spans linear and streaming platforms. Access to clearer, more accurate data has become paramount to success.
With 2022 already entering its third week, TVSquared compiled the key trends it expects to define this year.
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Ed Lobnitz, retired principal/senior electrical engineer at TLC Engineering Solutions, wrote the chapter on lightning protection for towers that has appeared in several editions of the NAB Engineering Handbook, including the most recent. The chapter is recommended reading and goes into considerable depth. But for engineers reviewing their air chains and thinking about business continuity in the face of lightning threats, we asked Lobnitz for some general advice and resource suggestions. This article originally appeared in the 2020 ebook “Plan B: Ensuring RF Readiness.”
Let’s assume we are talking about existing, installed systems that are in full operation, including transmission sites, electronic systems and racks, associated buildings and backup generators and/or UPS systems.
The design of such systems, when new, requires considerable thought and detailed design considerations to “lightning harden” facilities so that lightning and its effects are handled so as not to interrupt operations or cause extensive damage to tower sites and associated facilities.
I have previously prepared and have available a “Design Manual for Antenna Systems — Grounding, Bonding and Lightning Protection” for when constructing new facilities is anticipated; it is also useful in evaluating the adequacy of existing installations from a lightning protection standpoint.
In fact, it would be a good idea to review existing installations, using the manual, to provide a base knowledge that existing systems were “lightning hardened” when first installed. (To request this and the other resources mentioned in this article emailed to you for free, see the end of this article.)
As for existing facilities and protection against lightning effects, I would suggest reviewing all existing maintenance procedures and documentation from the time the facilities were constructed and comparing them to the document “Maintenance Guide for Antenna System Grounding, Bonding and Lightning Protection,” which I prepared a few years ago.
Maintenance inspection frequency cannot be overemphasized — especially after any environmental conditions such as corrosive atmospheres, storm frequency and severity, any alterations, or extreme seasonal changes.
The maintenance inspections should include visual as well as complete testing and keeping complete records and test data. Another document I have prepared for maintenance help is a “Site Audit Check List/Report” that can be used as a first-time guide and to build on as future inspections are made. (See end of this article.)
Lightning protection for facilities should always be either UL certified, Lightning Protection Institute (LPI) certified or both, to ensure the installation is properly and effectively protected.
Also, familiarization with Underwriters Laboratories UL 1149 Standard for Surge Protection Devices, 5th edition, and National Fire Protection Association NFPA 780 Standard for the Installation of Lightning Protection Systems, 2020 edition, is highly recommended.
Also important where generators are involved is the 2022 edition of NFPA 110 Standard for Emergency and Standby Power Systems, which includes generator maintenance checklists. The Lightning Protection Institute is similar to UL in regards to lightning protection system and installer certification but is solely dedicated to lightning issues. I used to be on their board of directors and was also on the UL 1449, 3rd edition, committee.
The author has kindly agreed to allow Radio World to share three resources with readers who ask. Available are “Design Manual for Antenna Systems — Grounding, Bonding and Lightning Protection,” “Maintenance Guide for Antenna System Grounding, Bonding and Lightning Protection” and “Site Audit Check List/Report.” There is no cost. Email a request to Editor in Chief Paul McLane at radioworld@futurenet.com.
Ed Lobnitz also welcomes questions from readers. Email ed.lobnitz@gmail.com.
Maintenance ChecklistThis is an excerpt from “Maintenance Guide for Antenna System Grounding, Bonding and Lightning Protection” by Edward Lobnitz. This checklist is part of a discussion about inspecting lightning protection systems, grounding, bonding and related equipment:
The post Harden Your Facility Against Lightning appeared first on Radio World.
From Hurricane Michael to violations of the FCC’s TV issues and programs rules, Gray Television has seen much in the last several years at its WJHG-7 and WECP-LP 18 in Panama City Beach, Fla.
Now, Gray is adding to its properties in the market with the addition of another low-power TV property in the former Spring Break hub popular with Atlanta and Birmingham-area retirees and beachgoers.
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For smart businesses, in a world where the selection of audio channels just keeps increasing, having a strong “audio logo” for branding purposes is more important than ever.
Whether it’s the distinctive three chimes long used by NBC (the musical notes G-E-C), McDonald’s short whistled melody or the choral “Liberty, Liberty, Liberty … Liberty” tag employed by the Liberty Mutual insurance company, the most effective audio logos stay in consumers’ minds.
Listeners just have to hear these short audio bursts to remember which brands the logos are referring to.
For the past five years, the audio intelligence firm Veritonic has ranked the most effective audio logos (as determined by AI-assisted measurement tools).
In 2021, Farmers Insurance had the highest ranked audio logo in the U.S., while McDonald’s was tops in the United Kingdom.
Make it stick
But the “2021 Audio Logo Index” — available for free download at www.audiologoindex.com — doesn’t just offer rankings by business sector: It also provides tangible advice on creating “sticky” audio logos — memorable, emotionally resonant, correctly associated with a brand.
Scott Klass“The value of saying your name has never been more obvious,” states the report. Equally as important is crafting audio logos that reflect the diversity of the target audience, so that consumers feel acknowledged and respected by the brands they’re listening to.
(One nice feature in this report’s downloadable PDF: It includes links to the audio logos being cited, so that readers can hear what Veritonic is writing about.)
Also worth noting: Sound and words together can be extremely effective in creating sticky audio logos.
“In particular, companies that combine melody and brand name repetitions score consistently higher on our audio logo rankings,” said Scott Klass, Veritonic’s SVP of marketing.
“This is why the Liberty Mutual audio logo does so well: They sing the brand name four times. Liberty is the poster child for audio logos that not only stay in your head, but help people know exactly which brand they’re hearing.”
Why they work
Dave Bethell is co-owner of TM Studios in Dallas, a 50-year-old company known for its work in radio branding jingles.
Dave Bethell of TM Studios“We sing our first audio logo in the form of the alphabet song,” Bethell told Radio World. “There’s a reason why we learn music when we’re children. Combining words with music imprints in a different area of the brain than is used for spoken word memory. Our ability to remember music melodies and the words or messages associated with them is scientifically proven to be more effective than words alone, which is why memorable audio logos stick with us.”
When it comes to audio logos for radio, the most memorable ones reflect the stations that they are promoting.
“Audio logos that evoke the brand in a visceral way can be especially effective,” said Fred Jacobs, founder of Jacobs Media, which creates audio logos for its clients.
“San Francisco’s KOIT(FM) was famous for its audio logo, which used a cable car sound effect. This sounded evoked the San Francisco vibe very successfully, and it made you think of KOIT whenever you heard a cable car go by.”
Meanwhile, WRIF(FM) DJ Arthur Penhallow came up with the Detroit station’s signature slogan “Baby!” that became an audio logo in its own right. “Baby!” was so tied to WRIF that “it eventually made its way to bumper stickers and merch,” said Jacobs. “Whenever people thought of WRIF, they bellowed out a ‘Baby!’ imitating Art’s voice and exuberance.”
Making logos
Jacobs is a big believer in audio logos for radio stations. But it takes more than a choir singing the station’s call sign to make an audio logo memorable.
Detroit DJ Arthur Penhallow came up with the slogan “Baby!” at WRIF.In fact, so many stations use this form of audio branding that it may be counterproductive to create audio logos in this manner.
So what does it take to make an effective audio logo for radio?
“The key to winning in radio — and for a brand — is capturing the consumer’s attention; better yet, getting inside her head,” he replied.
“To achieve this, the sound has to be memorable and evocative. It helps to have a regional or local hook too, and to offer something that is relevant to the target audience.”
The success of KOIT’s and WRIF’s audio logos were rooted in these principles. Today, a similar approach can be used by bringing together a short instrumental sting that aligns with the station’s music format, locally meaningful sound effects like KOIT’s cable car, and the station’s call sign and punchy slogan — ideally something witty that has caught on with listeners like WRIF’s “Baby!” rather than a vague marketing tag like, “Always with a better song!”
To determine which audio logos actually capture consumers’ attention, Scott Klass recommends leveraging consumer response data targeted within the station’s listening area to see which ones work best.
“Veritonic is a data analytics company, so naturally I suggest that people look at the data,” he said. “If you need ideas as to what specific elements work best in audio logos, I would refer to our 2021 Audio Logo Index.”
Results on a budget
Memorable audio logos don’t have to be expensive, said Bethell, as long as the content is unique, evocative and closely identifiable with the radio station being promoted.
He does recommend keeping audio logos short, because attention spans are shorter than they used to be.
Top 10 Audio Logos in the U.S. (left) and U.K., according to Vertonic“Back in the day, the radio industry used three-minute jingles where we’d sing all about the place where the radio station was from,” said Bethell. “Today, audio logos have to be very short because we want to get the listeners back to the music.”
As for radio executives who don’t think that audio logos matter?
“Whether you’re in a PPM or a diary market, consumers have to remember you — and then remember to listen or write you down,” Jacobs said.
“Sonic signatures can be that special identifier. Yes, there are other brand practices that are more comfortable and familiar to some executives because they’re more traditional, such as logo design, station voice and slogans. But in the age of smart speakers, when clear sound branding is more important than ever, standout audio logos are a must.”
Send your show news and updates to radioworld@futurenet.com
The post Audio Logos Are Powerful, in Radio and Beyond appeared first on Radio World.
Broadcasters are among the first sources of information citizens turn to during emergencies. A new survey from advocates of NextGen TV illustrates broadcasters’ vital role and what consumers are looking for in how they get their information and what specifically they want.
In a survey conducted by the NextGen Video Information Systems Alliance (NVISA), and sponsored by Sinclair Broadcast Group’s subsidiary, ONE Media 3.0, consumers were asked about what types of information they would look for in a mobile app that provides the type of granular information provided by NextGen TV.
More Details
On the top of the list, almost two-thirds said they wanted “the ability to receive geo-targeted alerts,” while more than half wanted “the ability to select only the alerts they want to receive” and “the ability to opt into a constantly updated stream of emergency information.”
Reliability was next on the list, with almost half of those surveyed wanting “a system that keeps working when their Internet goes down,” and more than a third wanting “a system that keeps working when their cellular phone service goes down.”
Consumers were also surveyed on what features in a new advanced emergency information app would motivate them to use it. With the ability to provide street-level geo-targeted information, NextGen TV offers the types of features consumers want, the report said, with almost two-thirds of those surveyed saying the costs of such targeted services were not seen as a deterrent.
When asked how much more they would be willing to pay for their next mobile phone purchase to deliver critical information in an emergency, almost two thirds of American consumers said they would pay an extra $5 and almost half said they would pay an extra $10.
Mobile First
Whether consumers get their information from a traditional broadcaster, streaming broadcast or mobile app, the survey proved what has been known for a long time: mobile devices are the first source consumers turn to during emergencies.
“This study gives broadcasters a wake-up call on the need to improve their mobile services,” NVISA said in its study, noting that the youngest survey respondents were the least enthusiastic about turning to local broadcasters as the “first stop” to get information. “These younger viewers are very mobile-centric. ATSC 3.0 will enable broadcasters to add the interactive features to their mobile apps that younger viewers expect,” NIVSA said.
When it comes to getting NextGen TV onto smartphones, manufacturers have resisted the call to integrate chipsets into their devices. The only such device announced so far is the ONE Media Mark One phone that Sinclair developed in partnership with Saankhya Labs in India that includes support for NextGen TV. When it was announced in the fall of 2020 Sinclair said at the time that it was “in talks with two large MVNOs (Mobile Virtual Network Operators)” but no progress has been reported since then.
To overcome this hurdle then, broadcasters will need to find alternatives such as third-party cloud-based apps that can be used on mobile devices. However, the notion of broadcasters monetizing emergency information through an app could cause some blowback from regulators in particular.
But there could also be an opportunity to provide value-added information beyond basic emergency alerts, according to John Lawson, executive director of AWARN, a consortium of broadcasters, manufacturers and associations tasked with developing and promoting NextGen alerting technology.
“There could be acceptance of a business model that led to the provision of emergency information after the disaster strikes,” he said. “In other words, people might need information about where they can find generators or plywood or tarps for shelters—that could be a model that would be acceptable and make sense.”
The bottom line is that during emergencies, consumers look for the most trustworthy information available and the survey showed that broadcasters are among the most trusted sources and that they need to promote that capability, Lawson added, citing research from Dennis Mileti, a world-renowned expert on disaster communication.
“The research of Dennis Mileti tells us that the first time a consumer sees an alert it is important that they know where it comes from,” Lawson said. “If they do not recognize the branding of its source, they will keep milling around looking for a completely credible source… alerts that go out with branding that is clearly recognizable on the local level will have the most impact.”
The study is available here.
A version of this story first appeared in our sister publication TV Technology.
The post NextGen TV Survey Details What Consumers Want in Emergency Information appeared first on Radio World.
Is Netflix so powerful that it is impervious to anything negative offered by a respected financial analyst? That appeared to be the case on Friday, as shares in the dominant on-demand visual content creator and distributor rose by nearly 3% before cooling off as trading for the week neared its conclusion.
The growth came despite a notable note of wariness from MoffettNathanson Senior Analyst Michael Nathanson.
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On Tuesday (1/11), the Cogeco-owned cable TV operator known as Atlantic Broadband shed its name, becoming Breezeline. The move was tied largely to the acquisition in late 2021 of WOW! systems in Ohio. But, Breezline President Frank van der Post explained, “We’ve long offered much more than broadband, so our company identity must evolve with us.”
In contrast, five MVPD providers have combined forces to operate under a single name — one that puts “Broadband” front and center in its new identity.
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