Radio World

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

Recently it was announced that some of the biggest radio networks in the United States had agreed to terms with the Federal Communications Commission over failures related to the Electronic Public Inspection File system. The situation is an important reminder of several matters.

What is the issue? In February, Alpha Media, Beasley Media, Cumulus Media, Entercom, iHeartMedia and Salem Media Group informed the FCC that they had detected omissions in reporting related to the EPIF’s political file requirements. These regulations for commercial broadcasters are most interesting to the public for transparency purposes, as they provide a glimpse into ad spending by political candidates.

Closer to November, it’s a safe bet political files will be watched by journalists and the public. Earlier this winter? Maybe not as much, which may explain the FCC’s light touch as far as penalties go — no fines, and simply securing a commitment to do better.

[Read: Community Broadcaster: Turned Up]

Pockets in the commercial and noncommercial radio world have blanched at this decision for good reason. Although the FCC was rather generous to give leeway due to the pandemic, these issues were reported more than a month before shutdowns and presumably caught much earlier. However, admonishments by the FCC rather than fines over political file issues are not without precedent. Last October, the FCC reprimanded several stations rather than issue fines. In December, two Georgia television stations also received FCC rebuke, but no fines, for political file violations.

Although the commission has been benevolent as far as financial penalties in recent months — the dramatic fine reduction for two Boston pirate radio operators being among the marquee examples — every station should assume such relaxed discipline over EPIF violations will only last so long.

What do noncommercial broadcasters need to know about the EPIF? In general, full-power stations are required to keep a variety of records for public review, including contour maps, ownership reports, Equal Employment Opportunity records and Programs/Issues Reports (essentially demonstrations of the educational nature of your broadcasts). Many records must be collected quarterly, although altered operations have changed timetables in a few instances. Then, you must upload those documents to the FCC’s EPIF database and provide a link from your website to your file there.

Low-power broadcasters are not required by the FCC to keep a public inspection file, but, like full-power stations, must keep a political file and maintain those records going back two years. Inside of a station’s political file is your quarterly history related to underwriting, airtime requests, appearances by candidates and documentation of air times and dates for same.

As a former program director, I can tell you the political file was one of the more irksome beasts during the election season. There is no shortage of candidates who wanted interviews, underwriters clamoring to have their say, and forums to be held. However, it was nevertheless important for the station. It was even more important for the public, as a device for democracy.

Fines or lack thereof may draw eyes and ears, but let us always keep in mind the importance of these sometimes overlooked records to our communities and country.

The post Community Broadcaster: Devices for Democracy appeared first on Radio World.

The authors of this commentary are SVP, Broadcast Radio, and SVP, Engineering-Digital Platforms of Xperi, respectively.

When the COVID-19 pandemic was at its most critical early phase, consumers went to radio for local and accurate information.

During the recent protests? Radio was the choice for listeners in search of consistently useful updates.

After all, the internet and social media aren’t as effective at cutting through the noise and sharing relevant information; television is too broad, slow and methodical in its programming.

Though formats may have changed over time, the unique way radio delivers content makes radio a trusted friend in times of need.

According to Nielsen, eight out of 10 radio listeners were either listening to radio more or the same amount during the early part of the COVID-19 crisis — with 28% saying they were listening to radio more than usual and 60% of listeners reporting that they greatly respect and trust their local radio stations to provide late-breaking updates for their community.

And, some local radio stations saw huge upticks: KFI and KNX in Los Angeles were significantly up from earlier in the year, according to the Los Angeles Daily News in late May.

Radio has also proven adept at getting and keeping the attention of consumers. And, while radio is primarily an audio media, thanks to advances in digital broadcasting, broadcasters are now able to enhance their audio messages with text and visual information to create a complete information experience that reinforces each message for even greater engagement, with important ramifications for PSAs.

This convergence of digital technology with the audio format of radio has increased brand recall by up to 1,500% when compared to audio-only messaging, and, according to Xperi research, improves message recall. In one study, there’s a 12% lift among millennials:

All of which means greater opportunities to get public service messages out during the pandemic — and making them stick.

HD Radio PSAs: Essential Community Tools in a Crisis

At Xperi, we have a unique perspective on how radio is used during this crisis, and how HD Radio has been a game-changer. Broadcasters are frequently updating their listeners — from school and business closings to hot-spot surges and reminders on how to be safe and protect the most vulnerable.

With HD Radio, which is in over 65 million vehicles on the road in the United States, broadcasters are serving their communities by enhancing audio PSA messages about the virus with text and visuals to more easily get their attention and hold it, such as illustrations of the six-foot social distancing rule.

To understand the degree to which broadcasters used HD Radio metadata to convey information related to the virus — from hand-washing to social distancing — we conducted a snapshot analysis of Xperi data across 39 markets and 76 stations in Canada, the U.S. and Mexico between Feb. 15 and May 12, the height of the pandemic information rush:

When segmented across categories, this information appeared 1,810 times in news programs, 226 in news headlines, 445 in info URLs and 676 times in PSAs.

Among the reasons for this increase in use? Speed and ease of integration.

For example, Beasley Media Group quickly integrated messaging into an existing community program, and ran it across all 60 of their stations in very high rotation:

Beasley Community of Caring campaign Social distancing metadata on Beasley’s WMMR in Philadelphia

In Mexico, Grupo Formula created their own designs, including visuals for mask-wearing, stay-at-home, hand-washing and social distancing, for all their FM HD stations in major cities, including Mexico City, Guadalajara and Monterrey:

Grupo Formula created their own designs, including visuals for mask-wearing, stay-at-home, hand-washing and social distancing, for their FM HD stations in major cities. The “stay at home” image is visible at right.

Other Mexico groups implementing PSA campaigns through HD Radio are Televisa Radio, Multimedios, Pergom and Grupo Oro. And Rogers Media in Canada is effectively using digital data fields in their HD Radio transmissions to convey news headlines and local community information.

During the most recent crisis, Beasley utilized enhanced PSA messaging on their QUU RDS systems, including a statement they shared on social media channels about their commitment to listeners and their families to promote positive change in the communities they serve and across our nation.

Digital Radio Key to Upgrading Emergency Alert Ecosystem

HD Radio Emergency Alerts are also invaluable community tools for broadcasters for emergency notifications.

The pandemic, and recent events around the protests, have reinforced the urgency of leveraging digital radio as an upgrade of the public alerting ecosystem — and our PSA data indicates that broadcasters are ready to implement it to better serve their communities.

A December 2018 report by the FCC’s Communications Security, Reliability and Interoperability Council (CSRIC) recommended upgrading several aspects, including, geographic targeting, multimedia, resiliency and redundancy, accessibility of alert information and integration of alerts across devices.

Digital radio technology — through HD Radio — can enable these improvements now. At Xperi, we believe it should be utilized as an integral part of the collaborative effort to upgrade the nation’s public alerting capabilities.

Proven Value Over 100 Years

Radio is simply the most efficient and flexible way to provide news and entertainment across geographic and topical segments, a claim the numbers support and remains the most consumed media channel, according to Nielsen Audio Today 2019 (total persons 12+).

So, it’s no surprise that it’s thrived for 100 years ( and why at Xperi, we are devoting a year-long campaign to celebrate the milestone).

During our recent unprecedented crises, it’s been radio — and digital radio — that has helped to deliver the information listeners have needed in the most comprehensive and convenient way. And when life returns to normal and priorities shift from social distancing to socializing, digital radio, and specifically, HD Radio, will help lead the way, providing a complete experience around the news and entertainment consumers want — when they want it — in a way that fits their lifestyle. It doesn’t take a crisis to see the value of that.

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post Digital Radio Has Expanded Community Messaging appeared first on Radio World.

Sage Alerting Systems has released an update to its Model 3644 Digital ENDEC EAS units. The update is required to be installed before Oct. 28.

A company release explains, “A signing certificate used by FEMA to validate CAP alerts will expire on Oct 28, 2020, at 14:05:29 UTC. Sage has released a free firmware update that you must install to permit your ENDEC to continue to receive EAS CAP alerts from FEMA after that date.”

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

In addition the update has tweaks to the SSL root certificates required for downloading alert audio files from state or county alert originators.

Explanatory release notes can be found here. Questions can be sent to support@sagealertingsystems.com.

 

The post Sage Updates ENDEC Firmware appeared first on Radio World.

There’s good news on the horizon for podcast revenue growth, and presumably for radio organizations that are active in that space.

Over the last several years, podcast ad revenues accelerated at a rate “nothing short of stunning,” said Pierre Bouvard, chief insights officer at Cumulus Media and Westwood One. He often blogs in support of radio’s place in the audio arena.

He was commenting in his latest post about a report on U.S. podcast advertising revenues from the Interactive Advertising Bureau and PricewaterhouseCoopers. In doing so, he also noted the ongoing strength of AM/FM radio compared to other audio media, citing separate data from Edison Research.

Growth Trends

With expected growth of 14.7% through 2020, the stage has been set for podcast revenues to hit $1.1 billion in 2021, according to the IAB/PwC report.

Commenting, Bouvard wrote, “Even with the impact of COVID-19, 2020 podcast revenues are forecast to come in at 94% of last year’s 2020 prediction. … This speaks to the strength of audio as a powerful platform for both brands and direct response marketers.”

[Read: TechSurvey 2020 Looks at Podcast Growth]

While it remains to be seen what long-term impact the pandemic has on podcast revenues, IAB/PwC still predicts a 15% jump in 2020. This comes after podcast ad revenues soared 48% between 2018 and 2019, a “stunning” growth rate, Bouvard said.

He said podcast advertising has proven to be more resistant than other media against COVID-19 for various reasons, including the medium’s relatively flexible format, which enables quick shifting of ad messaging; the popularity of news content; and the strength of certain ad categories like direct-to-consumer retailers and financial services, which so far are maintaining market strength despite the coronavirus.

The report listed the top-earning formats. The leading genre for U.S. podcast advertisers is news, capturing 22% of revenues. Comedy captured 17% followed by society and culture at 13%, business at 11% and true crime at 9%. More than 70% of that ad spend comes from those five.

The report also found that annual buys were increasing as a percentage of the total, while “scattered” advertising declined illustrating that buyers are looking at the long term.

A key takeaway for Bouvard is that “ad-supported streaming audio has peaked over the last four years with little audience growth. Podcasting has all the audience growth and advertiser interest.”

Bouvard cites Edison Research “Share of Ear” data showing that podcasting audience shares have tripled over four years while Pandora’s are down, Spotify is up slightly and SiriusXM is up — but that AM/FM remains the dominant ad-supported audio platform.

And he said AM/FM radio’s share of ad-supported audio is consistently strong.

Read Bouvard’s analysis here.

 

The post Podcasting to Break Billion-Dollar Barrier in 2021 appeared first on Radio World.

We like sharing announcements from Radio World’s Who’s Buying What column partly because it gives us a chance to peek into various new radio facilities.

Here’s one from Swiss radio station Canal 3 and Lawo.

The console manufacturer says the station chose a Ruby on-air console and Power Core DSP mixing engine for their recently completed air studio. Lawo provided the photos shown at bottom of this story.

The studio is used for pre-production and as an on-air backup. Consulting, construction and installation of the hardware and studio furnishings were provided by system integrator SLG Broadcast AG.

[See more recent Who’s Buying What stories.]

The flush-mounted console has a split-frame setup with a 12-fader main mixing surface for DJs and a four-fader module for in-studio newscasters; this lets presenters work independently and at the same time. MADI connects the new studio with two existing rooms, currently equipped with Lawo sapphire consoles. And a mobile studio setup in three flight cases includes a 12-fader ruby with Power Core.

The studios are in Biel, southwest of Bern. Canal 3 broadcasts on two frequencies in Bern and Solothurn; it’s a bilingual private station that went on the air in 1984, supplying content for Swiss German- and French-speaking listeners. It broadcasts with DAB+ on SwissMediaCast and C3F on Digris.

Photos are below.

We welcome news for Who’s Buying What from both users and suppliers, including RF and other non-studio applications. Email radioworld@futurenet.com.

 

Above, inside the new studio

 

News position

 

Studio exterior

 

The post Canal 3 Installs Lawo Ruby appeared first on Radio World.

The 2020 College Broadcasters Inc. National Student Electronic Media Convention (NSEMC) will be held online Oct. 28–30. This decision was made by the CBI Board of Directors with the safety of CBI members and guests in mind.

CBI is planning presentations, access to the latest technology and expert vendors and opportunities to network with peers and special guests. There also will be modified versions of CBI’s Swag Swap Social and National Student Production Awards Ceremony.

[Read: College Media Convention Will Be Virtual-Only]

The $100 registration fee for this year will be per media outlet member; so members may include as many affiliated attendees from their organization as they would like.

CBI also will be producing online sessions twice a month between now and the convention, featuring workshops with tips on training, programming and recruiting new members at the onset of the fall semester.

Information for member and non-member attendees, vendors and guests is online. For information on programming, email Events@AskCBI.org. For information about vendor and sponsorship opportunities, email Development@AskCBI.org.

 

The post CBI’s 2020 Student Convention Goes Virtual appeared first on Radio World.

AEQ Forum Split console in use with the Forum Screen Display software on the screen to the left at Miguel Hernández University’s radio station.

Miguel Hernández University Radio is now broadcasting from all four of its campuses in FM and several on-line platforms with the addition of a new studio on the Elche, Spain, campus. AEQ performed the installation and upgrades.

The new digital broadcasting studio includes a room with seats for an audience. The main digital control is equipped with an AEQ Forum Split digital mixer with 16 faders. The Forum mixing console configuration includes five microphone/line inputs, eight analog line outputs, eight AES and SPDIF digital inputs/outputs, four USB inputs/outputs, 64 MADI inputs/outputs and two digital phone hybrids.

[Read: A Look Inside Valencia’s À Punt Radio]

The Forum Screen Display software shows operating parameters and information such as dynamics, parametric equalizer and VU meters.

AEQ installed the mixer together with the auxiliary equipment (microphones, audio monitors, turntables, etc.) to complete the main control room.

AEQ Forum Split console is installed with the Forum Screen Display software on the screen to the left at Miguel Hernández University’s radio station.

In the talent room seven AEQ HB-02 microphone and headphone guest stations with level controls were installed. An AEQ Studio Box desktop signaling system was located in the studio and on-air signs were placed over the entrances and in the studio’s interior.

AEQ digital equipment was also installed at the Orihuela and Altea, Spain, campuses. Both studios share the same configuration: each control room has an AEQ Capitol mixer with dual phone hybrid and an AoIP Dante module enabling the connection of the AEQ NetBox 4MH on-air studio interface. Auxiliary equipment was also upgraded with AEQ HB-02 guest stations, AEQ Studio Boxes and on-air signs.

RW welcomes news for Who’s Buying What, email us at radioworld@futurenet.com.

 

The post Who’s Buying What: UMH Radio Upgrades Its Studios With AEQ appeared first on Radio World.

Daniela Zamora

Daniela Zamora is station vice president and general manager of Zamora family-owned WDTW(AM) in Detroit. It is a Spanish-language music formatted station.

In this Q&A she discusses how the station is approaching the coronavirus, especially in providing timely and useful information to its Spanish-speaking listeners along with keeping the station afloat financially. She was interviewed by Suzanne Gougherty, director of MMTC Media and Telecom Brokers at the Multicultural Media, Telecom and Internet Council. MMTC commentaries appear regularly in Radio World, which welcomes other points of view on industry issues.

Suzanne Gougherty: What has your station been doing to keep Hispanic listeners informed during the continued pandemic?
Daniela Zamora: Daily segments Monday through Friday, updating our community with the latest news releases and data from WHO, CDC, Gov. Christine Whitmer’s office, along with city and local officials.

Gougherty: What feedback have you received from listeners about your pandemic coverage?
Zamora: Overall there has been a very positive response to the pandemic coverage we have been airing. We get a lot of calls asking about links or phone number for additional information on the particular piece of information or story mentioned on-air.

[Read: La Z Seeks to Make Its Mark in Detroit]

Gougherty: Has your on-air staff been working in the studio or have they been broadcasting from home? If from home has it been a smooth transition? 
Zamora: With the exception of our national syndicated programming in the morning which requires a board operator in studio, all of the staff is working remotely. It most definitely was an adjustment with many hiccups along the way, typical connection issues, but thankfully we were able to troubleshoot and quickly pivot to a new working environment.

Gougherty: Did you have the gear available to set up home studios for your talent? Are they feeling comfortable broadcasting from home?
Zamora: Yes, all staff was provided with the computer and studio equipment for working remotely. Thankfully most of our staff was already familiar with the remote setup, so for the most part all were pretty comfortable throughout the transition.

Gougherty: Does your air talent feel more or less connected to their audience during this unprecedented time?
Zamora: Although we are limited in the ability to take live on-air phone calls, we make an attempt to engage more through our social media platforms. We also started a food pantry initiative, setting up food drive distribution centers in Detroit, Pontiac and Taylor. We are proud to have provided help for just over 500 families in the DMA.

Gougherty: How is your sales team holding out? Are they still able to close media buys?
Zamora: We have received some new buys, but mainly just recruitment and political. Like most others, we are doing the best we can to survive and working with our clients in an effort to maintain current advertising campaigns.

Gougherty: Is your IT person keeping your website and other social media platforms current?
Zamora: Yes, we have kept them very busy and they are doing a great job.

Gougherty: What’s the new normal going to look like at your radio station in the months to come?
Zamora: Like many other businesses, we have come to realize some of our work can be done remotely. We are looking into a phased approached. Bringing back talent in-house is the priority and then phase in sales staff on alternate days if need be — keeping the safety of all staff at the forefront.

Gougherty: Is your sales staff focused on political advertising dollars?
Zamora: Yes they are. We have had quite a few political buys placed in the past month.

 

The post Keeping Afloat in the Age the Coronavirus appeared first on Radio World.

Beginning in early April and over 2-1/2 months, a group of volunteers produced “COVID Virginia,” a local format devoted to the impact of the pandemic in the communities of southwest Virginia. It aired full-time on George Flinn Jr.’s station WBZS(FM) in Shawsville, which serves the Roanoke area, and online at www.covidvirginia.com.

Bill Trifiro, a correspondent for NBC News Radio and the 24/7 News Network, helped lead the effort.

I can’t wait to meet most of the volunteers who worked on COVID Virginia.

I have spent hundreds of hours with them, but as I type this I can’t tell you what most of them look like. We formed COVID Virginia via emails and conference calls just as Governor Ralph Northam issued his first COVID-19 related executive order. It was an ambitious endeavor.

Together in Isolation

We decided to fill most day-parts with live and local hosts sharing their experiences through the pandemic and taking calls from residents who wanted to share theirs … all from our kitchens, bedrooms and basements while under the stay-at-home order.

Like many radio markets in America today, Roanoke has a couple of news/talk stations but only two locally produced talk shows, neither of which solicits phone calls. (That’s not an indictment. WFIR has one of the best newsrooms in the country, and to support it without going under, syndicated programming is the only way to survive.)

Historically Roanoke has been a railroad and retirement community. Though we hadn’t had a confirmed case of COVID-19 at the time, we knew that it was going to hit the elderly community especially hard, and we wanted to give residents a place where they could voice their concerns and feel together in isolation.

[Related: “Radio Is the Local Lifeblood of Brands During COVID-19”]

At first, we designed a decentralized model where each volunteer host would feed their show directly to a server that in turn would deliver audio online and directly to the terrestrial tower. The incredibly flexible Backbone Radio technology we were employing would make that possible, after the company graciously donated their platform to us for free during the pandemic.

The problem was time.

Commercial-free

We wanted to get programming going right away. To get all of the volunteer hosts the equipment they’d need and get them trained on the software would take days.

Flinn Broadcasting had just donated WBZS to our endeavor and we were eager to get on the air. To shorten the timeline Backbone Radio provided us a one-button connect, studio-grade audio app that people could load on their phones or computers. This would connect to a board op, who would feed the server/tower; that person was me.

We had no pretense that this was going to be a traditional broadcast. Dogs were going to bark, kids were going to come bursting into our makeshift studios; but we wanted to provide the highest-quality information and offer all of the functionality of a talker in a top 10 market.

iHeartMedia donated NBC News Radio newscasts and its 24/7 News source wire service. Local television stations WDBJ and WSLS donated early-morning and evening newscasts. And since no one was getting paid we’d do it all commercial-free.

After some shuffling of schedules, the volunteers got to work in two-hour shifts.

Up With the Sun

We’d get up early and run WDBJ 7’s newscast from 5 to 7 a.m. Then Ripley Johnson would host “COVID Quarantine Questions” from 7 to 9 a.m. For two-and-a-half months Ripley took a medical and inspirational approach to the issues of the day. Again, no one was getting paid; but Ripley missed only one broadcast — after falling down the stairs to her basement.

She was back on the next day; many would have been laid up for a week.

Our 9 to 11 a.m. time slot initially went unclaimed, so I dubbed it “potpourri” on the programming calendar. When Karl Roeper said he could take it on Tuesdays and Thursdays he quickly dubbed it “Karl’s Roeperi” and it stuck.

From 11 to noon we ran a live press conference, media briefing or a recent broadcast from the governor.

Our noon slot took a look at how COVID-19 was affecting area businesses and provided resources to listeners. Until this point, everyone on the air had at least some radio experience dating back to the 1980s or ’90s; but “Business at Lunch” was manned by two rookies to radio: regional business veterans John Philips and Mary Miller.

Mary liked to say that she wasn’t actually a rookie because she had read announcements in school. John had been a road warrior, and he had a passion for talk radio that I had thought doesn’t exist anymore. He led “Business at Lunch,” booking two, three and sometimes four guests per show. His planning exceeded that of most of the best producers I’ve met.

Hard-Won Experience

The 1 to 3 p.m. slot was held by one of the best voices in radio. Dale Bayless had left radio for teaching. He broadcast from his fortress of solitude, his kitchen, covering a gambit of COVID-19 topics, yet his greatest gift was the ability to put listeners in the shoes of students and young people trying to navigate the new normal.

One woman called in and told me that Dale could read the phonebook and she’d be glued to the radio.

Our afternoon show ran from 3 to 5 p.m., and the host was the glue of the group. I knew a fraction of our volunteers, but Rob Ruthenberg knew them all.

Rob, a broadcast veteran, was the first person I’d called when concocting this whole crazy idea; and before I knew it he had picked up the phone and filled every timeslot.

Like many in the entertainment world, he had had three jobs but then lost them all on the same day. The state and nation were shedding jobs by the thousands. Rob took this recent experience and walked listeners through the ins and outs of unemployment, the paycheck protection program and stories of those who lost their jobs or were on the frontlines and the fears and anxieties they were going through.

We’d run WSLS television news in the evening from 5 to 7 p.m. most nights. After 7 we’d air some virtual press conferences from around the New River Valley. Amy Westheimer would host “Happy Hour With Amy.” Geoff White hosted “Music Junction Friday nights.” Tyrique Nolen, a frontline worker, would host or participate in a variety of shows. Chad Snyder helped co-host the morning show and booked guests. I know I am missing many people who helped along the way.

When I envisioned my role I thought I’d host a long-form news program, but as we were blessed with a large number of volunteers, I settled into news duty on the station, board-op’ing and filling for volunteers who called out due to job interviews and all the things that came with COVID-19. It was an honor.

June Closing

I say it was an honor because after weeks on the air, we reached the end of the governor’s initial executive order. In the days leading up to June 10, we struggled with the idea of ceasing operation. After more than two months the shows had become habit for many of us and gave many something to look forward to; and Flinn Broadcasting had offered to let us continue past June 10.

However, COVID fatigue had set in. We had two state of emergency declarations inside of the COVID-19 emergency declaration; it became harder to discuss social distancing and masks when flooding was affecting our region and when racial inequity and protests dominated the headlines and streets.

Statewide, COVID-19 cases were on the decline, we had reached Phase 2 of our reopening plan, and dates to reopen schools had been established. The feedback from our volunteers was largely in favor of keeping to our charter; so at 11:59 p.m. Wednesday, June 10, WBZS turned back to a music format.

I am not sure what impact, if any, we had on our community. What I am sure of is that with a limited skill set, I did the best I could to help during the pandemic. I met some incredible people, albeit virtually. I am honored to call them friends, and I am proud of the work they did.

The post “COVID Virginia” Was a Volunteer Miracle appeared first on Radio World.

This is the final edition of the international edition of Radio World. Due to changing business conditions, Radio World will present future international coverage as part of our global online offerings. Please follow us there at radioworld.com. Subscribers to the digital edition of Radio World International will receive a free digital subscription to the global edition of Radio World. If you are not sure if that includes you, and you want to receive Radio World’s global edition and enewsletter, sign up for subscriptions to both (separate signups required) at Radio World Online Customer Service Center. For other questions email futureplc@computerfulfillment.com.

DIGITAL RADIO

NENT Group Drives DAB’s Future in Sweden

The commercial operator has successfully pioneered the country’s DAB+ broadcast.

BUYER’S GUIDE

What’s New in Visual Radio

Read about offerings from Comrex, Multicam Systems, ENCO, BroadcastPix and WinMedia Group.

ALSO IN THIS ISSUE

RTBF Inaugurates New Studios in Mons

Radio Méga Creatively Connects With Listeners

On Its 70th Anniversary, EBU Maintains Initial Vision

 

The post Inside the June Issue of Radio World International appeared first on Radio World.

It seems that some of America’s largest and most prominent radio companies didn’t do a very good job at managing their political files until recently.

Six of them — owning almost 1,900 radio stations combined — have agreed to settlements with the Federal Communications Commission. They are iHeartMedia, Cumulus Media, Entercom, Salem Media Group, Beasley Media and Alpha Media.

The outcome feels like something of a “group slap on the wrist,” one that nevertheless seems to carry an FCC warning — or call it a reminder — to the industry.

The six companies agreed to adopt best practices and put compliance systems in place; no financial penalty is involved. The FCC noted sympathetically that radio companies are in the midst of a challenging pandemic and business environment; but it pointed out that it had opted not to pursue “civil penalties” where it could have.

The settlements

At issue are the rules that require U.S. radio stations to keep track of certain information and make it available for public inspection. That includes requests for purchase of broadcast time from candidates for office and from “issue advertisers.” Stations are supposed to upload the information to their online political files “as soon as possible.”

The FCC said it’s crucial that political files are complete and up to date, in part because the information affects, among other things, the statutory rights of opposing candidates to request equal opportunities.

The texts of the six settlements are largely the same, with the FCC noting that each company had voluntarily informed the commission in February that many of their stations had not uploaded the records. Informal discussions at that time led each company to promise to do better and to conduct a compliance report over an immediate test period of several weeks.

In each case, the FCC said that the companies had gotten their act together, showing “significant” or “dramatic” improvement in complying with their political file obligations.

That led the FCC to end the investigation. The companies admit violating the political file obligations, they’ll implement compliance plans and they’ll submit periodic compliance reports.

The commission noted that the pandemic “has placed the radio broadcast industry as a whole under significant financial stress from a dramatic reduction in advertising revenues,” and that the companies’ voluntary disclosure and cooperation, combined with these “exceptional circumstances,” led it to settle.

But it made clear it was giving the companies a break. Sample language: “It is in express consideration of these unique conditions that the Bureau, in the exercise of its prosecutorial discretion, forbears from including a civil penalty on the basis of [a company’s] noncompliance during their license terms as an element of the Bureau’s agreement to enter this Consent Decree.”

The investigation also is one that probably was  a lot easier to conduct than it would have been five years ago, before the new online political file process existed. Reviewing the files is presumably far easier for FCC staff now.

The post Big Radio Companies Settle With FCC on Online Political Files appeared first on Radio World.

 

On Demand screen of the SiriusXM 360L, system as seen in a Volkswagen model

Volkswagen is the latest major car brand to start offering the 360L infotainment platform from SiriusXM.

We’ve been reporting on the rollout of 360L by various carmakers because of its “hybrid” radio features like on-demand content and personalization, continuing a trend in car dashboards to meld broadcast and internet/streaming capabilities to create more powerful audio and content offerings.

General Motors, Audi and BMW have made similar announcements in recent months.

Volkswagen will begin introducing SiriusXM with 360L in most model year 2021 vehicles. Buyers get a three-month trial subscription to SiriusXM’s top tier.

[Read Radio World’s recent special report on hybrid radio trends.]

“For model year 2021, the majority of Volkswagen models receive the all-new third generation of Volkswagen’s modular infotainment platform — MIB3,” according to a press release.

Now Playing screen of SiriusXM 360L as it will appear in equipped VWs

“Every model that is equipped with MIB3 will offer SiriusXM with 360L, including the model year 2021 Arteon, Atlas Cross Sport, Golf GTI, Jetta, Jetta GLI, and Tiguan. The Atlas, introduced as a MY21 vehicle this spring, will incorporate MIB3 and SiriusXM with 360L as a mid-year change for MY21.5.”

The announcement was made by Hein Schafer, senior vice president, product marketing and strategy for Volkswagen of America and  Chris Paganini, VP, automotive partnerships, for SiriusXM.

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Philippine flag

The World Broadcasting Unions is voicing support for a large broadcaster in the Philippines after the country’s House of Representatives voted to shut down the broadcaster’s TV and radio services, which include 18 FM and five AM stations.

“The House vote on Friday, July 10, puts at risk the employment of more than 11,000 workers and has drawn accusations of an attack against press freedom,” WBU said in a statement. WBU is a coordinating body of broadcasting unions that represent broadcast networks around the world.

“The closure of ABS/CBN is a matter of concern, not just in the Philippines but internationally.”

It said the vote followed a cease-and-desist order in May by the country’s media regulator shutting down ABS-CBN’s outlets, which also include 42 television stations and 10 digital broadcast channels.

WBU said ABS-CBN is the oldest broadcasting network in the Philippines, operating since 1946, “and a vital source of information for tens of millions of Filipinos.” It noted the importance of broadcast media during the pandemic and in awareness of tropical storms.

It asked lawmakers and the Duterte Administration to reconsider renew ABS-CBN’s franchise.

The WBU noted that ABS-CBN has been fighting to retain its broadcast rights after regulators initially turned down its renewal in February. It was operating under a temporary license. Separately the country’s Supreme Court deferred a hearing in the case. “It is unclear what effect the House vote will have on this legal action,” WBU wrote.

WBU’s members are the Asia-Pacific Broadcasting Union, the Arab States Broadcasting Union, the African Union of Broadcasting, the Caribbean Broadcasting Union, the European Broadcasting Union, the International Association of Broadcasting and the North American Broadcasters Association.

 

The post WBU Asks Philippine Government to Renew ABS/CBN License appeared first on Radio World.

Federico d’Avis

Federico d’Avis is retiring from his position as international sales director of Dielectric; he’ll continue as a part-time consultant to the antenna manufacturer, while John Macdonald takes over his former role.

“Federico was responsible for Dielectric’s growth in the CALA region and Canada over 12 years with the company,” the firm said in an announcement. “He substantially raised Dielectric’s visibility and market share in these regions, and was responsible for the company’s largest regional projects.

[Related: Read other recent People News]

“He also built partnerships in countries that helped Dielectric get closer to its customers. This notably includes Brazil, where he established local manufacturing agreements to eliminate high import expenses, and minimize RF and antenna costs for Brazil’s broadcasters.”

John Macdonald

Among his projects were an eight-channel FM radio antenna and dual-manifold combiner for CRP Medios y Entretenimiento in Peru; RF and antenna systems for TV Azteca’s national ATSC DTV network in Mexico; and TV channel relocation projects for Canada’s DTV Allotment Plan.

Before joining Dielectric 11 years ago, he worked in microwave antenna sales with Gabriel Electronics and Radio Waves.

John Macdonald has worked with international transmission manufacturers such as Broadcast Electronics, Thomcast and Nautel. He will report to Jay Martin, VP of sales.

Send announcements for our People News column to radioworld@futurenet.com.

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GPB’s Tom Barclay and “Morning Edition” host Leah Fleming.

The author is radio operations manager for Georgia Public Broadcasting.

ATLANTA — Georgia Public Broadcasting covers local politics across 18 radio stations and nine television stations in the state. Over the past several months, we’ve covered more local, political and live breaking news events than ever, even by election year standards.

This was on top of another major change: In early March, GPB reporters in Macon, Savannah and Atlanta were sent home with laptops, mics and other equipment to ride out the pandemic.

Fortunately, we had the studio infrastructure to do all the above.

In 2018, we moved our offices, rebuilt our studios and repopulated studios with new WheatNet-IP audio networking and LX-24 console surfaces. We built four edit studios and an air studio, production studio and talk studio while transitioning over from our Wheatstone Bridge TDM system to the new WheatNet-IP audio network using a Wheatstone MADI Blade, which let us move multiple audio channels between the two easily.

The talk studio was the last one we completed in the fall of 2019, which gave me a few months to finalize settings and workflows before the pandemic hit. I had spent some time setting up salvos on the studio LX-24 consoles so that operators could interrupt the ENCO automation and mix feeds from any three of the adjoining studios in the facility.

That came in handy during our many live-breaking news events; operators simply press a button on the console that fires off a salvo to interrupt the automation and go live instantly to any of the other studios. I set up a similar salvo routine to stop station IDs from firing during such events, another function that has come in handy.

Finally, to repurpose broadcast television audio for radio, I set up a Wheatstone HD-SDI Blade into the WheatNet-IP network that de-embeds audio from a video stream for direct input to the console and then on-air.

I’ve since added Glass E remote client software for the LX-24 boards so that instead of having someone come in to turn off or on the feed and insert whatever breaks are needed, it can all be done remotely from home. The remote client software mirrors the console so that settings can be changed remotely.

There were practical reasons for upgrading to WheatNet-IP audio networking at the time, but all those paled in comparison to the actual events of the last few months.

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 Wheatstone consoles, contact Jay Tyler in North Carolina at 1-252-638-7000 or visit www.wheatstone.com.

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Tony Currie

Radio Six International has not been a full-time shortwave broadcaster for some time. But after two recent live broadcasts on 6070 kHz prompted by the pandemic, it says it will continue monthly broadcasts at least for now.

Radio World visited electronically with Tony Currie.

Live music session

RW: Is this a new offering? What has been the response to it?

Tony Currie: We thought that during the COVID epidemic it might be nice to reach out to our former shortwave listeners; and after the first live show in June, which had many emails while we were on the air and letters afterwards, we thought we’d give a monthly show a try, at least until the pandemic is over. If that’s ever the case.

Radio World: For those who don’t know, what is Radio Six International?

Currie: An international station based in Scotland, with regular listeners in 201 countries.

It began as a schoolkids’ hobby way back in 1963 and never quite went away. It expanded to provide a wired service to neighbors and a care home next door … then started making a few syndicated programs, first for a station in Dubai, then KPFK in Los Angeles.

Radio Six International publishes a monthly newsletter, here with Thea Newcomb on the cover. (You can read it here.)

Then it turned into a place where professionals could play and try out new ideas. Then in 1985 it was the first commercial cable radio network in Europe … made syndicated programs for all sorts of stations including the BBC and Ukrainian state radio … and in 2000 launched a 24-hour service on cable, where it has remained ever since.

We are noncommercial and not-for-profit; I fund the operation. The station is run by a small team of professionals for the fun of it and the joy of radio, rather than as a money making exercise.

We play unsigned and indie music with live sessions and a fantastic team of very experienced specialist music professionals including John Cavanagh, Kenny Tosh, Ewan Spence, Todd Gordon, David Belcher, Thea Newcomb, Susan Fisher and Denis and Rose Blackham, as well as myself.

RW: On what platforms is it heard, and where?

Currie: Online at www.radiosix.com 24 hours a day (mp3, Ogg and AAC+ streams). Via World FM in New Zealand daily simulcasts (1 hour a day weekdays and between four and six hours on weekends); simulcasts on PCJ FM in Taiwan for four hours at weekends, plus syndicated to 58 AM/FM/digital stations in the UK, Australia, USA, and Singapore. [Find more about tuning in.]

RW: Where are the studios and where are the transmission facilities?

Disgruntled listeners crowd the door to the studio in Glasgow.

Currie: Main studio and playout center are in Glasgow, Scotland, and a brand-new facility on the Isle of Lismore in Scotland. The shortwave transmitter is at Rohrbach, Germany.

We also use studios in Edinburgh and London and have broadcast programs from Washington; Los Angeles; Reykjavik in Iceland; Sydney, Australia; and many live location broadcasts including one from a former pirate radio ship at sea, which was broadcast live on shortwave.

RW: What role does shortwave play in your overall strategy?

Currie: It’s a bonus — our main outlet is the internet, followed by syndication, but it’s nice to broadcast live to people who still use analog radio sets.

We launched on shortwave in December 2003 with monthly programs, and for a period from August 2004 until July 2005 we were broadcasting on shortwave daily, followed by weekly transmissions until the end of 2008.

Since then there have been a few sporadic shortwave broadcasts.

RW: What impact has COVID-19 had on your own operations?

Currie: None at all

RW: You mentioned that you’ve had interest in QSL cards, what should readers know about that?

Currie: We are always delighted to receive reception reports, and send an e-card free of charge or a printed QSL card on receipt of a dollar or euro. Email letters@radiosix.com for an e-card or write to Radio Six International, 21 Sherbrooke Avenue, Glasgow G41 4HF, Scotland for a printed card and a free copy of our program schedule.

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S-Class MBUX display. (MBUX stands for Mercedes-Benz User Experience.)

Mercedes has been in the headlines this summer for upgrades to its MBUX infotainment system, available in the S-Class vehicles. (As a CNET automotive website puts it, the S-Class is Mercedes’ flagship so it gets the first of any “latest and greatest innovations” before they reach the rest of its lineup.)

Watching such developments with interest is Jeff Jury, who leads the Automotive Group at Xperi.

He posted on social media that the MBUX “offers a good example of how car companies are innovating around their infotainment offerings, and looking to provide a personalized look and feel in the vehicle.”

Radio World checked in with Jury for an update on dashboard trends and how they play with Xperi’s HD Radio and DTS Connected Radio offerings.

Radio World: What do you see in the Mercedes photos that you think radio industry folks need to pay attention to?

Jeff Jury: There are two very high-level points that are relevant to the radio industry.

Jeff Jury of Xperi

First, Daimler [the parent of Mercedes] is not just handing over the dash to Apple or Google. They are innovating for their customers. This is a great outcome for the radio industry because it means not all entertainment needs to be behind a car play or android for auto wall.

Second, the main screen has radio as a separate icon (and apps as a separate icon). This shows that radio is compelling, and importantly, a standalone infotainment source for Daimler buyers. Again, good for the radio industry because radio is a main option, not one of many apps in the dash.

RW: What other recent car model or infotainment system introductions are notable to you?

Jury: A number of the e-vehicle manufacturers are innovators in the dash. I know that companies like Byton, Karma, etc. all had a very user-friendly, and radio-friendly, dash experience. A number of these may not come to market soon due to economic issues. But it does show the trend towards in cabin environments which look more like phone screens than traditional car dashes.

For cars available today, I believe systems such as Audi MMI (below) and BMW iDrive and ConnectedDrive also represent the look and feel of the future.

Audi MMI screen

RW: What features are coming that will further change how consumers interact with audio or radio in the car?

Jury: I believe the move towards personalization will accelerate in future car generations. In addition to setting up the dash with icons based on your preference, the car systems will also have recommendation systems for content. So the dash look and feel can be personalized, and the content delivery can be personalized.

And, as long as radio has compelling content, this is a good news story. Those great stations people love will be recommended, and great content on stations can be discovered.

Audio MMI touch response system

RW: Xperi and DTS are active in the evolving hybrid radio space. How close are we in the United States to consumers having ready access to these hybrid kind of systems?

Jury: I believe we are very close. We continue to work with most car companies on developing hybrid systems for deployment around the world, including the USA.

I am happy to report that many car companies see the value in upgrading radio. In fact, many work with us on deploying HD Radio, and they are working on us with various version of Connected Radio. They see value to the consumer in both the digital broadcast capability, and the “hybrid” nature of delivering broadcast content back by IP metadata.

[Related: “Hybrid Radio Picks Up Momentum”]

RW: One radio engineer told me he thinks hybrid radio is just a transition or gateway to 4G/5G delivery. Thoughts on that?

Jury: First, let me confirm that linear content, such as radio and TV, is still extremely popular. And even with new systems that enable many new services and content platforms, people still want TV and radio.

Regarding technologies, we believe there is still quite a bit of life in traditional broadcast technologies. There is no more efficient data pipe to deliver one-to-many content into vehicles than radio. Yes, 4G/5G will grow and more cars will have built in modems, but that does not chance the efficiency of broadcast delivery.

In a world where the automobile will be getting inputs and sending data to multiple sources, you still have needs for additional, efficient means of delivering content into the vehicle.

RW: What should radio and media companies be doing that they’re not already, to be better prepared for changes in audio systems in the car?

Jury: We started out talking about personalization. The key to that is accurate metadata.

We spend a lot of effort within Xperi making sure we have accurate station metadata for our systems. This is essential so that as consumers’ increasing use voice to call up stations and use personalization capabilities to find what they like, that a radio station can be found.

Over the years with HD Radio, we have worked with stations on making sure station information, artist images, song titles, etc. are accurate during broadcasts. In the future, this becomes even more important in the connected world, with personalization.

RW: Anything else we should know from your part of the technology world?

Jury: Yes, one topic that doesn’t get a lot of attention when talking hybrid radio is system security.

Hybrid means “connected’ radio in various forms.” This means the connection has to be secure. For both HD Radio and our DTS Connected Radio system, we have had third-party network specialists do audits to validate the security of the system.

It is important that whatever system is interfacing with the car, that it has state-of-the-art overall system security. While this may not have been a big issue years ago, as car become extensions of eco-systems, it is an important requirement. And I am happy to say that we focus on this for all radio-related services we deliver.

Comment on this or any story. Email radioworld@futurenet.com.

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GENEVA — Switzerland is embarking on the next phase of its digital radio switchover strategy. In May René Wehrlin, media specialist at Switzerland’s Federal Office of Communications (Ofcom) announced the country’s next steps toward the country’s total transition to DAB+.

Ofcom officially confirmed in 2019 that the nation would say “adios” to all FM radio programs by the end of 2024 at the latest. At the time, the “Digital Migration” (DigiMig) working group, set up by the Swiss private and public radio sectors and Ofcom in 2013, stated that 68% of radio listening was digital, 37% of which was via DAB+ and 15% exclusively via FM.

The Right Moment

René Wehrlin

According to Wehrlin, with 10 regional/language-based multiplexes and 15 local multiplexes, a total of 124 stations are now broadcasting via DAB+ in the country. This includes public broadcaster SRG SSR, private broadcasters as well as local and regional broadcasters.

This means DAB+ is now the most used radio reception platform in Switzerland, and Wehrin says the Swiss radio industry is “convinced it’s the right time to prepare for the switch off of FM services.”

[Related: “Broadcast Digital Radio Endures With DAB+”]

Wehrin points to cohesion of the nation’s public and private broadcasters as a major factor in allowing Switzerland to keep pace with its digital switchover plans.

“They are collaborating on the switchover and costs, while competing on content,” he said. “Private radios, public broadcasters and Ofcom have come together in the digital migration through DigiMig to secure a healthy and strong future for the digital future of radio in Switzerland.”

What’s more, Switzerland is diving head first into the digital radio pool. Unlike Norway, which finalized its digital switchover in 2017 but allowed some local stations to remain on FM for five years longer, Switzerland aims to have all stations transitioned to digital by the end of 2024, when FM radio licenses expire.

“It’s possible to switch off FM earlier, but either way we are sure that from 2025 onward — and the radio industry is in absolute agreement on this — there will in all probability no longer be any FM radio in Switzerland,” he said.

Particular Landscape

While Switzerland followed the Norway transition closely, each country in Europe has its own radio landscape and must adjust their individual approach.

“In contrast to Norway, we have four language groups in three parts of the country that must be served equally,” he said. “And we don’t have many large private radio groups. Most private radio stations are not national, but at most have a regional focus.”

That said, he admits the experience of his distant Nordic neighbor provided Switzerland with important insights ahead of its digital switchover.

“For example, we learned that migration would only be successful if all actors — private and public — work toward a common goal,” he said. “This includes all stations switching off their FM services.” He adds that it was also important to learn that DAB+ coverage must be at least equivalent to FM. “For us this also means perfect coverage in highway tunnels. We’ve invested a lot of money in tunnel equipment.”

But of course transitions never come without a few challenges. One area to which Ofcom is paying particular attention remains DAB+ in the car. He says the regulator continues to work closely with the automotive industry to advise existing drivers to install DAB+ in their cars.

Challenges

Today some 96% of new cars sold in Switzerland come equipped with DAB+, but there are still more than 3 million cars on the roads that are not yet compatible with DAB+. This, emphasizes Wehrin, is why it’s important to raise awareness on DAB+ with current drivers.

“With the vast majority of new cars sold in Switzerland now being factory-fitted with DAB+, we have now shifted our attention to the aftermarket sector. Educating the automotive industry and existing drivers on the importance of DAB+ for aftermarket cars is crucial,” he said.

“With this in mind, public broadcaster SRG and our advertising agency have been organizing and running number of automotive workshops, to inform the automotive industry on the opportunities related to DAB+ in aftermarket cars, and offer retail training.”

The campaign, which sports the slogan “More Programs, More Sound, More Radio,” is divided into two phases. The first phase is based on raising awareness and highlighting the benefits of DAB+, as well as preparing the public for the digital switchover. The second phase of the campaign will communicate the official date for the switch off of FM services, and serve as a call to action for the B2B sector.

“Dabsy” is the official mascot for Ofcom’s digital radio campaign.

Wehrin explains that “Dabsy,” the campaign’s official mascot will be the mouthpiece for both stages of the campaign. He adds that marketing efforts based on the digital switchover will also begin one year prior to the switchover.

He stresses that Switzerland’s DSO is the result of an industry decision, not of the authorities. “We have only established the legal basis and assured financial support if the industry wants to take the step.” Also, he says, in order to strengthen media diversity and motivate new players, in recent years Ofcom has subsidized up to 80% of DAB+ transmission costs. “I think this measure has contributed significantly to the success of DAB+ here.”

While the ultimate FM shutoff date is slated for the end of 2024, Wehrin says there are ongoing industry discussions about an even earlier switch off date.

“But this decision has not yet been taken,” he specifies. “Private radio stations will carefully weigh up this decision. They worry they would lose listeners and thus advertising revenue if there isn’t enough DAB+ equipment in circulation at the time of the switch off. And we all need to take this seriously.”

The post Switzerland Inches Closer to FM Switch-Off appeared first on Radio World.

Lawo’s Radio software V6.6 adds a new licensing package for the Lawo Power Core Edge digital processor/mixing engine/router. A release explains: “provides an entry-level configuration designed specifically for deployment as a high-capacity audio gateway, where mixing surface control is not required. It’s perfect for NOC and TOC installations where plenty of audio ingest is needed, or for large-scale conversion of legacy baseband signals to AES67 networking.”

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

Additional upgrades include improved Ravenna/AES67 stream locking; integration of de-essing and automix functions within main tool set; and Power Core support new AES-id I/O card.

Lawo Senior Product Manager, Radio, Johan Boqvist said, “This upgrade gives users new tools to tailor their Lawo radio equipment to meet their unique on-air and production workflows. And they will benefit not only radio clients, but TV production and audio infrastructure users as well.”

Lawo says that Radio software V6.6 is compatible with al Lawo radio products.

Info: www.lawo.com

 

The post Lawo Releases Radio V6.6 appeared first on Radio World.

Raphael Obonyo

Vernacular radio stations broadcast in local languages and have become increasingly critical in Africa for passing essential information to people about the fight against COVID-19.

Such stations have become a key tool during the crisis, especially in the absence of community meetings.

Local radio channels are considered an effective way of reaching target audiences. Stations reach their communities better since they understand the information being shared and can present it in the simplest from.

Vernacular stations are entertainment outlets but also seek to promote different cultural values and ideologies through the content they disseminate. The programs they air have a positive impact in their communities and on nations at large.

Cultural Advocacy

Ramogi is a popular vernacular station among the Luo-speaking audience. Luo is the fourth-largest ethnic group in Kenya. As the pioneer dholuo radio station on the FM spectrum, the station prides itself on its advocacy for cultural protection and interaction, helping pass this from one generation to the next.

This programming has nurtured talent. Artists from far and wide in the lake region have an opportunity to showcase their works through airplay of music, which exposes them for business.

The station also has given voice to the voiceless. Call-in programs like “Ohigla Mnayien” and “Ramogi Baraza,” where cross-cutting topical issues take center stage, offer a platform for public discourse in any matters that affect the population. It also holds leadership to account, championing for good governance. It has broadened the democratic space and the liberties enjoyed by the masses.

Initially this space was locked because of language barriers, with mainstream media pegged to English and Kiswahili, thus locking out millions of people.

The vernacular station has provided an alternative platform to the masses premised on three key pillars of media: Information dissemination, education and entertainment. In the time of pandemic, the station has been a viable platform for discussions and a source of information and updates on ways of preventing the spread of COVID-19.

The station has a highly popular talk show and phone-in program known as “Kaka Wanene,” meaning “the way we see it.” As one of its listeners remarked, the show touches a special nerve. Ramogi has continued to use it to sensitize listeners and disseminate important information on ways of stopping the spread of the coronavirus, and it is one of the vernacular stations on which the Ministry of Health in Kenya has chosen to run informercials about COVID-19.

“First language”

Ukhozi FM, a Zulu-language station in KwaZulu Natal, is the single largest station in South Africa. With over 7.6 million listeners, it is the top radio station in the country.

Zulu South Africans represent the largest ethnic group there. The station caters to one of the country’s major geographical and cultural areas, and has played a pivotal role in the fight against the pandemic, providing health updates alongside its entertainment and educational programs.

The station derives much of its power from the ability to reach a large population of South Africans, many of whom still get their news and information from the country’s most readily available technology platform: the radio.

Meanwhile, in Lagos and Abuja in Nigeria, Wazobia FM, a popular vernacular radio station, has been hosting insightful programs on the effect of the pandemic on various aspects of the society.

Similarly, Dandal Kura Radio International broadcasts in Hausa and Kanuri language in the Lake Chad basin region. The station has been running shows to sensitize listeners to effective measures to take to prevent the spread of COVID-19.

Charles Odhiambo, radio program manager with the Royal Media Services in Kenya, said vernacular radio stations play a crucial role and can help people make informed decisions about important issues. “The first language of any population is key” he says, “As the late Nelson Mandela once said, if you talk to a man in a language he understands, that goes to his head; if you talk to him in his own language that goes to his heart.”

Indeed, vernacular radio stations across Africa have become increasingly popular because they have emotional resonance that lack in other stations: They simply talk to their target listeners in their own language and reflect their own culture back to them.

Also by this author: “In Africa, Stations Spread Lifesaving Information.”

Raphael Obonyo is a public policy analyst and writer who has served as a consultant with the United Nations and the World Bank. An alumnus of Duke University, he has authored and co-authored numerous books, including “Conversations About the Youth in Kenya.” Obonyo is a TEDx fellow and has won various awards.

The post How Africa’s Vernacular Radio Stations Are Helping Right Now appeared first on Radio World.