Radio World

One major technological innovation in consumer electronics of the past decade is the smart speaker. Increasingly, there are ever fewer homes that you can walk into where devices will not activate when you utter the name Alexa.

The smart speaker performs many jobs in the modern home from turning on lights, acting as a cooking timer, and connecting with search engines. These devices are handy. In many homes, these speakers also serve as a table-top radio. Many users don’t realize that asking an Amazon Echo or Google Nest smart speaker for their favorite radio station actually connects them to the station’s live stream.

Delivering an audio stream to at-home listeners via smart speakers presents new opportunities and challenges for broadcasters. But with the right approach to tackling these challenges, a broadcaster can increase listener engagement and generate more revenue for the station … and isn’t that what station ownership wants?

[Read more articles by David Bialik.]

First, development of a good smart speaker action (for Google) or skill (for Amazon) is imperative. A station should have its own smart speaker skill or action, not relying on the device’s default response. This allows the station to have full control over the listener experience, maintaining their brand, without the reliance on potential competitors (i.e., iHeart and TuneIn) to act as gatekeepers.

Perhaps the station wants to have its on-air talent be the voice for the skill, rather than Alexa or Google’s default voice. The station should think critically about the invocation phrase the audience says to listen to the content. This must be a simple phrase for your audience to remember and, yes, it must be unique!

The difficulty is the uniqueness. Is the station’s name or call letters easy to say clearly without being misinterpreted by the smart speaker as a competitive or out-of-market station? Are the verbal commands going to be easy for the listener to remember?

Picking a unique activation phrase is not an easy task, but it is as crucial as making sure that your FM transmitter is on frequency!

For some broadcasters who use the default skill on the device, the delay between asking to listen to a station and actually receiving audio can be fairly long, sometimes as much as 30 seconds. This delayed response is detrimental to building your audience due to listener impatience.

“The importance of simplicity and having quick stream playback in the action is crucial,” said Eduardo Martinez, director of technology for StreamGuys, whose company creates custom interactions for stations.

This diagram explains the flow of a smart speaker command, in this case using StreamGuys’ services.

During development, skills are tested in a sandbox environment to continually add features or match the interactions available for your needs. Once the developer is happy with the response, the skill is sent for approval (sometimes called certification) by the platform before it is available on the smart speaker. You can always make updates, but those updates also need to be approved.

Skill development is not easy and using an experienced developer is the smart route to getting integrated with a smart speaker.

Second, the listener should be instructed how to install and use the stations’ skill. No longer will you have to turn the dial or press a preset button for your favorite station. Because the station’s skill can have custom invocation phrases and interactions, it’s important the listener be aware of how to use this specific service.

If both live and on-demand content is available, listeners should know how to verbally navigate to both types of content. Custom stills are a great opportunity to prompt listeners to contribute to station programming, such as make song requests, respond to listener polls, or ask a question of an interviewee. A non-profit station could appeal to listeners to submit a donation.

All this advanced interaction increases listener engagement, but requires some listener education to be effective.

Third, the station should sell advertising on the stream to sponsors looking to reach at-home listeners. The convenience of using the voice to interact with a station’s program has pulled in the audience. Now is the time to present advertising packages to sponsors who want to reach these listeners.

Potential sponsors include companies that provide home appliances, such as kitchen and laundry, or home services, such as food delivery, house cleaning, or yard maintenance. Packages could be assembled that only reach smart speakers; most stream ad insertion technologies can target dynamic ads just to these listeners.

Assuring your sponsors that their messaging reaches at-home listeners allows you to charge higher rates for ad placement to their targeted audience. Consumption metrics for both live and on-demand usage by smart speakers are also important data the ad sales team will want to share with sponsors.

The percentage of radio listening on smart speakers will continue to grow as more of these devices find their way into homes. An effective initiative to engage with these listeners should include a custom skill or action, suitable instruction for the audience about how the verbal interaction works, and targeted sponsorship messaging to provide value to advertisers. Together, these components can help increase audience, listener engagement, and revenue as the listening platforms evolve.

Please remember that digital assistants are entering the automotive environment now, too, so the need for good voice commands continues to grow.

The author is a consultant who has held technical broadcast and streaming positions for companies like Entercom, CBS Radio, Bloomberg and Bonneville. He is co-chair of the AES Technical Committee for Broadcast and Online Delivery and chair of the Metadata Usage Working Group of the National Radio Systems Committee. Contact him at dkbialik@erols.com or 845-634-6595.

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The 1BCG transmitter used for the original Transatlantic Test Project in 1921

To celebrate the first transatlantic radio broadcast by members of its club 100 years ago, the Radio Club of America (RCA) will undertake a re-creation of the 1921 Transatlantic Test Project transmission on Dec. 12.

Using shortwave, low power and other state-of-the-art technology from the time, the signals the club broadcast in 1921 from Connecticut were heard in Scotland, the Netherlands, England, Germany, Puerto Rico, British Columbia, California and Washington state.

[See More of radio’s history in Roots of Radio.]

Back in 1921, the club said in an announcement about the event, transatlantic wireless was an arduous process done with 250 kilowatt transmitters and antenna superstructures. Ham radio operator Major E. Howard Armstrong, though, worked to secure a 10 foot × 14 foot wooden hut in a farmer’s field in Greenwich, Conn., with a transmitter with an input power of 900 watts. The signal was broadcast using a 100-foot-long and 70-foot-high T-cage antenna with a radial counterpoise at a wavelength of 230 meters.

The event was a watershed, the organization said. On Dec. 12, 2021, at 0252 UTC (9:52 p.m. EST) radio aficionados with a shortwave receiver or have access to an internet radio receiver can tune to 1825 kHz. The transmission will identify as W2RCA and repeat the 1921 Morse Code CW transmission at a speed of 12 wpm.

In addition to the Radio Club of America’s re-creation, The Vintage Radio and Communications Museum of Connecticut will use a replica of the 1BCG transmitter to transmit a similar one-way Morse Code message on 1820 kHz. The message will repeat every 15 minutes starting Dec. 11 at 2300 UTC (6 p.m. EST) through 0400 UTC (11 p.m.) on Dec. 12.

The American Radio Relay League and the Radio Society of Great Britain have assembled a list of other stations and groups organizing events and activities to celebrate 100 years of amateur radio transatlantic communication. Visit http://www.arrl.org/transatlantic and https://rsgb.org/transatlantic-tests respectively.

The post Radio Club of America to Recreate 100-Year-Old Transatlantic Test appeared first on Radio World.

Bernie O’Brien in an undated photo.

The author is owner of broadcast equipment company SCMS. He writes here about the recent passing of longtime sales engineer Bernie O’Brien.

Bernie, who passed away on Nov. 22 after a six-month extended illness unrelated to Covid, was a private person but also one who never met a stranger.

He was always more than gracious to assist anyone, in business or in his personal life. He was well known to broadcasters throughout the United States and to many manufacturers with whom he worked over the years.

Bernie joined SCMS about 34 years ago as a sales engineer, having worked previously for David Green and Associates, which was acquired by Radio Resources. In addition to selling for SCMS Inc., Bernie worked with several broadcast groups on a contract consulting basis such as Flinn Broadcast in Memphis.

He was the first field salesperson that SCMS hired and he was a great engineer who loved the industry — a problem-solver. He loved giving each of us answers to our customers’ questions and problems, providing unique technical solutions from his many years of experience. As he would often say, “No problem, chief!”

Bernie was easy to recognize, with his faded blue jeans and handle mustache, and at conventions he could often be found outside having a smoke with his longtime friend Dale Tucker of Radio World or meeting with his close engineering buddy Dave Hacker.

Bernie, we will see you on the other side in Transmitter Heaven.

 

The post In Appreciation of the Late Bernie O’Brien appeared first on Radio World.

A talk show stunt that aired EAS tones on a Las Vegas radio station may cost Beasley Media Group $20,000.

The rules of the Federal Communications are strict: No transmission of false or deceptive emergency alert system tones or EAS simulations are allowed.

But in September 2020, the commission said, Beasley station KDWN(AM) apparently aired them during “The Doug Basham Radio Show,” a paid programming block, in the absence of an emergency, authorized test or qualified PSA.

The tones were also carried on the HD2 signal of KKLZ(FM) and on an FM translator.

[See Our Business and Law Page]

According to the FCC, Beasley acknowledged the incident, said the station hadn’t previewed the clip and that “immediately after” transmission, KDWN’s board operator “confronted Basham and informed him that the broadcast was impermissible.” The board op also notified KDWN’s program director.

The commission now has issued a notice of apparent liability. “The prohibition on such transmissions has been in place for many years, and the commission has repeatedly made its requirements clear,” it wrote.

The base forfeiture in such cases is $8,000, but the FCC more than doubled the proposed amount, citing “the number of transmissions at issue, the amount of time over which the transmissions took place, the stations’ sizeable audience reach, and the serious public safety implications of the apparent violations” as well as other factors.

Beasley has 30 days to pay or to respond explaining why it thinks the penalty shouldn’t stand.

The post EAS Tone Misuse Draws Penalty for Beasley appeared first on Radio World.

AEQ said it has incorporated talkback in its line of NetBox routers.

NetBox 32AD MX is an audio matrix with 64 analog, digital and IP inputs and outputs. NetBox DSP has between 64 and 160 inputs and outputs, all of them IP.

“These units respond to the concept of ‘mixed routing,’ in which audio over IP is used, over the AES67 or Dante protocol to simplify wiring and facilitate transport to a router that has, among other things, IP inputs and outputs, and is equipped with features for high-level audio routing and processing,” AEQ wrote.

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

Those features include logical line grouping, salvos, macros, agenda, silence detection, time scheduling, level meters, signal generator, audio mixing and processing, IP transport of GPIOs and multiplex group management.

These are managed through a multi-post and multi-user application, based on customized views to control one or more local or remote audio matrices for various uses in radio, television and sound systems.

“For its use in radio, giving way to several correspondents, and in television, operating remote intercom, the Talkback or MPX function has been developed,” AEQ said.

“A ‘Talkback’ group is a combination of input and output lines that allows to automatically execute an N-1 routing between these lines,” it said.

“But to facilitate the work, an additional keypad has been created to the XY screen of the matrix. The coordinator listens to correspondents at will using the PFL buttons. He integrates each correspondent to the program, and at the same time joins him to the talkback group, by means of the Mute OFF buttons (Active in yellow).”

The coordinator speaks to each or all correspondents, using the Talk buttons, during which time the reception of the N-1 from the other correspondents is eliminated or attenuated by 20 dB each.

When a Talkback is created, the inputs, outputs and crossover points involved are cleared or cleared. The gains of all Talkback related crossover points are set to 0 dB.

Send your new equipment news to radioworld@futurenet.com.

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The regional Great Lakes Media Show is planning to welcome back attendees in person at its annual event in March.

The two-day show — sponsored by the Michigan Association of Broadcasters (MAB) on March 2 and 3 at the Lansing Center in Lansing, Mich. — gathers Michigan broadcast and media industry leaders for an event that includes a series of technical and educational sessions, a career fair and a roster of speakers.

Events for smaller, specific groups are being held on March 2, including an engineering seminar, a session for public media news directors and several exhibitor events. On March 3, the exhibit hall will open followed by a economics management panel; a session on ransomware for engineers and managers, a media career fair; and a series of sales, management and marketing sessions.

As a regional event, the Great Lakes Show will give attendees time to delve into issues such as recruitment, enhancing employee engagement through inclusive leadership, sales strategy tips and how best to cover breaking news when you have limited staff on hand.

[Check Out More Events on Radio World’s Calendar]

“Our goal is to not only provide our members — more than 320 TV and radio stations — with continuing education opportunities and recognition through our awards program, but also the chance to engage with one another and share ideas,” said Sam Klemet, president elect of the MAB.

“We host sessions for our engineers, managers, on-air staff, programmers and sales staff and these sessions help these individuals stay ahead of what’s coming in broadcasting and to learn some of the technical skills needed to keep their stations strong.”

Klemet said the MAB also devotes time at the conference to recognize outstanding achievements by students starting their careers in broadcasting, as well as to honor annual scholarship recipients. Each year, the MAB Foundation awards more than $25,000 to students to support their broadcast education.

The event wraps up on Monday night with a Broadcast Excellence Awards reception and ceremony. In addition to broadcasters and media groups, registration for the event is open students, parents and educators.

MAB says it will follow CDC guidelines for COVID-19 prevention and health safety at the time of the show. Details will be posted on its website closer to the event.

Submit news about your event to radioworld@futurenet.com.

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Radio World is taking an in-depth look at “The Infinite Dial UK 2021” report this week.

Podcasting was the final topic raised during Edison Research’s “The Infinite Dial UK 2021” webinar.]

Hosted by Edison Research President Larry Rosen, the Dec. 2, 2021, webinar shared the findings of the Infinite Dial UK report, which was based on 1,000 telephone interviews with U.K. residents 16 and older during the fourth quarter of 2021.

“Podcasting has been the hottest topic in the world of audio now for several years,” said Rosen. “I think all of you will find this part really interesting.”

Podcasting Awareness in Australia, Canada, U.S. and U.K. (Courtesy Edison Research)

Seventy-one percent of U.K. listeners 16+ are familiar with podcasts, he said. Breaking this down by age group, it was 73 percent for people aged 16–34, 72 percent for 35–54, and 67 percent for 55+.

This compares to 92 percent (16+) awareness with podcasts in Australia, and 78 percent in Canada and the U.S. (18+ and 16+ respectively).

[Read more of our coverage of the “Infinite Dial” report]

“Fifty-nine percent of everyone in the U.K. say they’ve ever listened to a podcast,” said Rosen. This breaks down to “63 percent of 16- to 34-year-olds, 61 percent of 35- to 54-year-olds and 54 percent of those aged 55 and older.”

Interestingly, “even though awareness of podcasting is lower in the U.K. compared to the U.S., the percentage of people who say they’ve ever listened to a podcast is a couple points higher,” he said. “Fifty-nine percent in the U.K. (16+) is a couple points higher than our 2021 estimate here in the USA (16+) of 57 percent.” Podcast listenership in Australia was 60 percent (16+), and 57 percent in Canada (18+).

Meanwhile, “41 percent of everyone in the U.K. saying, ‘Yes, I’ve listened to a podcast in the last month,’ is pretty equal across the age groups,” Rosen said. The value ranged from 38 percent among those 55+ to 44 percent for 35–54.

“And how does that compare to the United States? Well, that’s actually bang on exactly the same: 41 percent is our USA estimate (16+) for 2021.” Australia comes in at 36 percent (16+) and Canada at 38 percent (18+).

“My understanding is that monetization of podcasts or the podcasting business has not developed to quite the same level in the U.K. as seen been seen in the United States,” said Rosen. “Maybe this graph can be part of the impetus for more money coming into the space. As people can see, our estimate for monthly usage of podcasting in the U.K. is exactly the same as what we get in the United States. You also see that the estimates in the U.K. is higher than our estimates for Canada or, Australia tied with USA, for the highest of these four countries. So, any theories that people have that podcasts lag in the U.K. is just not supported by our Infinite Dial report.”

The British podcast audience is 51 percent female and 49 percent male, he said, while the U.K. population is split 50/50 along these lines. As well, “the people who are in that 41 percent listen to podcasts have exactly the same age profile as the total population.”

Composition of Monthly Podcast Listening by Age in U.S. and U.K. (Courtesy Edison Research)

Larry Rosen then outlined weekly podcast listening in the UK. “25 percent of everyone in the U.K. age 16 and older said, they’ve listened to a podcast in the last week” he said. “In this case, the numbers a little bit behind our USA estimate for this year (16+) which was 29 percent, but higher than our 2020 estimate.” Australia’s rate was 26 percent (16+), while Canada was 23 percent (18+).

Rosen closed the Infinite Dial UK 2021 webinar by asking how many podcast episodes respondents listened to the week before being surveyed. This came out to a weekly average of five per person, with about a third of people saying four or five episodes and another third saying six to ten episodes. Only 1 percent of respondents said they downloaded 11 or more episodes during in the prior week.

“We get a very similar estimate in the U.K. as what we see in the United States,” said Rosen (no numbers were provided). He continued by emphasizing that, “on average people who listened to any (podcasts) are listening to five podcasts episodes in the last week. And that shows that this is a robust medium that deserves the attention.”

Rosen closed the webinar by reiterating his earlier point: “I hope that we’ll see the same kind of investment in the U.K. podcasting market that we’ve seen in the United States, and that maybe the Infinite Dial UK can help bring that across.”

Part 1: “First-Ever ‘Infinite Dial UK’ Survey Provides Insights for U.K. Radio”
Part 2: “‘Infinite Dial UK’ Details U.K. Radio Listening, Ownership”
Part 3: “‘Infinite Dial UK’ Digs into U.K. Online Audio”
Part 4: “‘Infinite Dial UK’ Looks at In-Car Media”
Part 5: “U.K. Likes Podcasts Finds ‘Infinite Dial UK’”

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To help the Federal Communications Commission deal with the influx of applications received during the November 2021 filing window for new noncommercial education FM stations, the commission took the step of weeding out those applications with flaws and dismissing a section of those with technical defects.

The application window was a popular one — the bureau received 1,282 applications for new NCE FM stations. As the bureau began to review the applications, Media Bureau staff identified mutually exclusive (MX) groups and singletons (those applications that are not mutually exclusive with other applications filed in the window).

[See Our Business and Law Page]

The bureau also announced, in a Public Notice on Dec. 8, it was taking the step of dismissing singletons that were defective. According to the bureau, 75 of singleton applications submitted have technical issues.

Applications were dismissed for various reasons including a second-adjacent channel violation, antenna power output that exceeds the FCC’s 15 dB limit and insufficient broadcast coverage of a city.

But even though those 75 applications have been dismissed, each of the applicants has an opportunity to file a curative amendment and petition for reconsideration. Those petitions must be filed within 30 days of the dismissals. For an application to be reinstated, the amendment must correct the defects, propose only minor changes, comply with the commission rules and not create new application conflicts.

Amendments should be filed electronically through the FCC’s Licensing and Management System using Schedule 340.

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Nielsen’s Gracenote has unveiled Audience Predict, a new content analytics tool that forecasts the potential future performance of entertainment programming.

Audience Predict draws on Gracenote content metadata, Nielsen audience measurement data and advanced machine learning technology to provide content distributors and owners with predictive insights to help maximize their return on programming investments, the company said.

Audience Predict joins Inclusion Analytics in Gracenote’s new Content Analytics suite of offerings designed to help companies better understand what to produce, whom to cast and where to place programming to maximize audience reach and return on investment, Gracenote said.

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

“The media ecosystem primarily associates Gracenote with advanced search and content discovery enabling TV providers to connect viewers to programming, but our industry-leading entertainment metadata and IDs have equally strong applications powering new analytics which inform smarter business decisions,” said Simon Adams, Gracenote chief product officer.

“By helping the content community see into the future around program performance today, we’re helping them solve one of the most vexing issues they face — distribution complexity. This expands our larger Content Analytics offerings which help the entire media industry make more informed decisions,” Adams said.

Audience Predict analyzes relationships between streaming service or network distribution outlets and the anticipated potential program performance utilizing years of proprietary Nielsen viewership data, the company said.

The solution forecasts potential audience size, composition, reach, and viewing minutes under different distribution scenarios by considering program genre and drop patterns for streaming content or airdate, airtime and lead-in for linear content. Using machine learning, the model will iteratively improve and can be trained to output new program performance metrics based on customer needs.

In addition, Gracenote said Audience Predict can help content creators and owners identify the most potentially advantageous streaming platforms or networks for their content and develop compelling program packages for target buyers. The solution enables data-driven decision-making on program acquisitions, renewals or cancellations for streaming and linear content distributors, forecasting which shows have the potential to draw the largest overall audience or best target segments.

Submit business announcements to radioworld@futurenet.com.

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(Flag-map courtesy Wikicommons)

Under a motion approved Dec. 7 by the Council of States, the upper house of the Swiss bicameral legislature, FM stations would be allowed to operate in the country until at least 90 percent of all radio listening in the country happens digitally via DAB+ or webcasting. The proposal must still be approved by the National Council before it is considered by the Swiss executive branch.

Currently, all FM licenses in the European nation are scheduled to expire at the end of 2024 by which time stations are expected to have completed the transition to DAB+. Between now and then, FM stations can voluntarily shutter their analog operations.

In August, Swiss media regulator BAKOM set Dec. 31, 2024, as the FM shutoff date for the country. The regulator had targeted an earlier date for the complete switchover to DAB+, but stations in the French-speaking portion of the country were not as far along with the transition as their counterparts in the German- and Italian-speaking cantons.

[Previously: “Swiss FM Shutdown Reverts to Original 2024 Date”]

According to a report in the German-language Klein Report, the motion was proposed by Ruedi Noser, an FDP.The Liberals party councilor from Zürich. Noser has long been skeptical of the push to move broadcasters from FM to DAB.

The report notes that even if the 90-percent threshold is approved by the National Council (the Swiss lower house) and the Federal Council, it may not mean much of a reprieve for FM radio in Switzerland. The latest consumer survey by researcher Gfk Switzerland found that about 88 percent of Swiss radio listening happens via digital platforms.

In making the proposal, Noser also asked the Federal Council, the executive branch of the Swiss government, to investigate whether or not DAB+ was an “outdated” standard, comparing to internet radio and mobile streaming services.

“I don’t know whether you have already noticed that practically everything that comes to market today is attached to the Internet. The DAB standard is not an internet standard,” said Noser. “The DAB standard is a separate technical standard for radio — nothing else. Maybe at some point we will have to discuss switching off DAB.”

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

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Roz Clark

In the Dec. 8 issue of Radio World we salute one of the industry’s top engineers, Roz Clark. (Read our full story about him and his accomplishments.)

It’s hard for me to believe, but Radio World has now been recognizing outstanding radio engineers for 18 years. Some awards tend to be given to recipients at the end of their career and understandably so. But when our publisher John Casey and I created the Radio World Excellence in Engineering Award, we wanted not only to honor technologists but to focus on those who are doing good work right now in the industry.

I hope we’ve lived up to that. 

Making my annual phone call to notify a recipient is one of the best parts of my job. I’m also proud of our circle of recipients. They include some of engineering’s leading names, chosen at the peak of their careers, as well as some who were “on the way up.” And I appreciate the camaraderie that I’ve seen grow between our past honorees. 

This time of year can be a little bittersweet, because I remember making those calls to friends who have since passed away, namely John Lyons and Barry Thomas. 

But if John were here, I know exactly what he would do now. He would bust on me for being “follicly challenged,” just like himself; he would compliment me on our choice this year; and then he would call or email Roz Clark and tell him: “Congratulations to Number 18 from Number 3! Welcome to the family!”

If you have someone in mind who deserves to be considered in the future, I welcome your suggestion. Email me at radioworld@futurenet.com.

Happy holiday season!

The post In Search of Excellence appeared first on Radio World.

Radio World is taking an in-depth look at “The Infinite Dial UK 2021” report this week.

On December 2, 2021, Edison Research unveiled “The Infinite Dial UK 2021,” detailing U.K. consumer views on radio and media. In this fourth part of a five-part Radio World series, Edison Research President Larry Rosen discusses the survey’s findings on in-car media and online audio brand awareness.

The report is based on 1,000 telephone interviews with U.K. residents 16 and older, during the fourth quarter of 2021.

In-car media

Larry Rosen started this section by looking at “Audio Sources Currently Ever Used in the Car.” In the U.K., “overwhelmingly the leader, as you would expect, is AM/FM/DAB radio. 72 percent of people who say they’ve been in the car in the last month, say that they’ve used the radio,” he said.

[Read more of our coverage of the “Infinite Dial” report]

In-car CD players came a distant second at 37 percent, owned digital music at 29 percent, online audio at 26 percent and podcasts at 15 percent

Rosen then compared in-car media usage in the U.K. vs. the U.S., employing slightly different categories: AM/FM Radio (U.K. 72 percent vs. U.S. 75 percent), CD player (U.K. 37 percent vs. U.S. 35 percent), online audio (U.K. 26 percent vs. U.S. 33 percent) and podcasts (U.K. 15 percent vs. U.S. 30 percent).

The fact that the U.K. has half the in-car podcast listenership of the U.S. (based on percentages) caught Rosen’s attention. “I would have to guess as to why that is,” he said.

A Comparison of U.K. vs. U.S. Usage of In-Car Media (Courtesy Edison Research)

Maybe it’s easier to do it [listen to podcasts] given the state of technology in the cars in the United States,” he said. “It could be just further development of podcasts” in the United Kingdom.

Moving forward, Rosen said that 18 percent of U.K. consumers 18+ (no reason was given for this changed age metric) reported using in-dash entertainment systems in their cars. This broke down to 20 percent for the 18–34 age group, 18 percent for 35–54, and 18 percent for 55+.

In contrast, in-dash entertainment system usage by US 18+ consumers was 20 percent in the U.S., compared to the U.K.’s 18 percent. “Maybe that couple of points difference would explain a little bit of that podcast differential,” he said.

Online listening in-car using a mobile phone was also documented during the webinar. The 16+ U.K. usage percentage was 38 percent (compared to the US 16+ rate of 49 percent). The breakdown by U.K. age group was 41 percent for 16–45, 40 percent for 35–54, and 34 percent for 55+.

The U.S.’s 49 percent vs. the U.K.’s 38 percent may be explained by the U.S. being “a bit more of a car culture,” said Rosen. “People [in the U.S.] are more likely to have longer commutes and spend more time in their cars.”

Online brand awareness

When it comes to recognizing online audio brand names, “the best-known brand in among these that we asked about is Spotify, with 71 percent of everyone in the U.K. saying that they are aware of that name,” said Rosen. “Spotify is followed somewhat closely by Amazon Music (65 percent), BBC Sounds (63 percent) and YouTube Music (62 percent).”

(Spotify, along with Bauer Media UK, was a sponsor of the survey.)

The 16+ respondents to the Infinite Dial UK 2021 survey also cited being aware of Apple Music (55 percent), Audible (37 percent), SoundCloud (34 percent), Deezer (26 percent), Radioplayer (21 percent), TuneIn Radio (19 percent) and Tidal (6 percent).

U.K. 16+ Awareness of Online Audio Brands (Courtesy Edison Research)

Next, “we asked everyone if they’ve used these brands in the last month,” said Rosen. “Spotify is the market leader at 30 percent, with everyone in the U.K. saying they’ve used Spotify, followed by BBC Sounds at 21 percent, YouTube Music at 14 percent, and on down the list.”

This list includes Amazon Music at 10 percent, SoundCloud and Apple Music at 7 percent each, TuneIn Radio at 4 percent and Radioplayer at 1 percent.

As for weekly usage? “Spotify is the clear market leader here: 28 percent of everyone in the U.K. saying they have used Spotify in the week before we called them,” said Rosen. “In second place is BBC Sounds at 16 percent, YouTube Music at 11 percent and single digit percentages for these other brands down the list” (Amazon Music and Apple Music each at 6 percent, SoundCloud at 5 percent, TuneIn Radio at 3 percent, and Radioplayer at 1 percent).

In Part Five of Radio World’s summary of “The Infinite Dial UK 2021,” we’ll look at podcast consumption in the U.K.

Part 1: “First-Ever ‘Infinite Dial UK’ Survey Provides Insights for U.K. Radio”
Part 2: “‘Infinite Dial UK’ Details U.K. Radio Listening, Ownership”
Part 3: “‘Infinite Dial UK’ Digs into U.K. Online Audio”
Part 4: “‘Infinite Dial UK’ Looks at In-Car Media”
Part 5: “U.K. Likes Podcasts Finds ‘Infinite Dial UK’”

The post ‘Infinite Dial UK’ Looks at In-Car Media appeared first on Radio World.

The FCC Media Bureau said today, Dec. 8, it will proceed with adopting new foreign-sponsorship identification rules despite pushback from the National Association of Broadcasters. Several other groups joined the NAB in claiming the new requirements would be especially burdensome for small broadcasters.

The FCC adopted amended foreign-sponsorship identification rules in April to specifically target situations where a station broadcasts material sponsored by a foreign governmental entity. The new rules require disclosure of leased programming sponsored by foreign governmental entities.

The FCC said its modified regulations further the critical goal of transparency and it applies them to foreign governments, political parties and their agents.

[See Our Business and Law Page]

The NAB, the Multicultural Media, Telecom and Internet Council (MMTC) and the National Association of Black Owned Broadcasters (NABOB) this summer asked the commission to stay the order while their petition for review was pending before the U.S. Court of Appeals for the District of Columbia Circuit.

The groups’ lawsuit claims the FCC adopted “unnecessary and overly burdensome rules that violate the Communications Act, the Administrative Procedure Act and the First Amendment.”

Today’s FCC Order Denying Stay Petition officially ends the quest by NAB, MMTC and NABOB to delay implementation of the updated sponsorship identification regulations: “We find that the Petitioners have failed to make the required four-part showing to support such extraordinary equitable relief. Accordingly, we deny the request to stay the effectiveness of these rules,” the FCC wrote in the most recent order.

“Petitioners have failed to establish that broadcast licensees will suffer irreparable harm” in implementing the FCC Report and Order on foreign-sponsorship identification, according to today’s FCC filing. “We also find that the costs of compliance to broadcast licensees are not severe enough to be cognizable as irreparable harm.”

The commission, which believes the petitioners’ pending lawsuit is unlikely to succeed on merits, will now move forward with modified regulations “which seek to eliminate any potential ambiguity to the viewer or listener regarding the source of programming provided from foreign governmental entities.”

Although foreign governments and their representatives are legally prohibited from holding a broadcast license directly, foreign governments have contracted with broadcast station licensees to air programming of the foreign government’s choosing or to lease the entire capacity of a radio or television station without adequately disclosing the true source of the programming, according to the FCC.

The on-air disclosure would be required at the time of a broadcast if a foreign governmental entity paid a radio or television station, directly or indirectly, to air material. The old rules did not specify when and how foreign government sponsorship should be publicly disclosed.

The NAB, MMTC and NABOB maintain they support the FCC’s goal of public disclosure of foreign government-sponsored programming, but argue the new regulations impose rules on broadcasters “which collectively have many thousands of contracts for the lease of time to air programming — onerous requirements to make specified inquiries of, and conduct independent research on, all the entities with whom broadcasters currently or will in the future have lease agreements.

“The broadcaster must determine (and then announce) whether the sponsor of the programming is a foreign governmental entity or its agent, even if the leased programming (such as an infomercial or local religious broadcast) poses no colorable risk of foreign sponsorship,” NAB said.

The organizations said at the time it filed its lawsuit in September the rules would do little to address the problem of foreign interference in elections.

The organizations argued in an updated brief filed Tuesday night with the court that the FCC lacks the authority to impose the investigatory requirements mandated by the order. In addition, the organizations argued with the FCC’s justification for its rules is lacking as the commission cited only a few examples of foreign governmental entities sponsoring undisclosed broadcast programming as the reasoning for requiring every broadcast station to conduct inquiries for every existing or new leased programming agreement.

“The order also fails to address the problems with undisclosed foreign governmental programming on cable systems and the Internet, which is where the issue primarily exists, the brief argued,” according to the NAB.

In a statement to the press today, the groups said: “NAB, MMTC and NABOB strongly urge the Court to overturn the FCC’s flawed decision requiring overly burdensome investigations by every broadcaster into every sponsored program. While we share the Commission’s goal of ensuring the public understands when listening or viewing programming supplied by foreign governmental entities, the FCC’s order fails to adequately, sensibly or fairly achieve this objective. We appreciate the Court’s consideration of this issue and believe it will agree that the Commission overstepped its bounds.”

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

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“The reality is: It’s hard out there for broadcasters.”

So said FCC Commissioner Nathan Simington, speaking to a meeting of the Ohio Association of Broadcasters.

For the second time in a month, the Republican commissioner made public remarks that were notably sympathetic to radio and TV companies and their struggles when competing with big tech.

“Consider, you know, the smaller broadcasters. The folks who have one, two, or half a dozen stations. Consider how difficult it is for them to achieve efficiencies of scale — consider what their margins look like because they’re smaller operators. Now, is there a single online video platform that is a mom-and-pop operation? Of course not! Every single one is either backed by a massive tech platform, deep-pocketed venture capitalists, or a major network. If not, it’s out of business in a year. …

“Those platforms are competing with mom and pop broadcasters — or, shoot, even established station groups — with operating efficiencies, margins and capital markets backing of which broadcasters dare not dream,” Simington continued.

“Can we seriously think, at this moment, with the arrows pointing in the directions that they are, that we should be making it harder for these small, regulated entities to operate? You are all already burdened by a raft of regulations designed for a bygone era while your insurgent online competitors have functionally none of the same constraints. Should we now turn the screw?”

[See more of our coverage of the FCC.]

Simington noted that the FCC will soon again consider media regulation in a quadrennial proceeding. Echoing frequent arguments made by the NAB about how the commission defines broadcasters’ marketplace, Simingon said that the commission needs to recognize that online media platforms are growing rapidly “and threaten dominance over traditional media platforms,” and that “broadcast advertising revenue has flatlined, having been siphoned off from higher margin online platforms.”

The commissioner said he is “not necessarily” arguing for more regulation of big tech — “Not everything is a regulatory problem. Maybe this one is. I don’t know” — but he said regulators need to be “clear-eyed about where the power has shifted. It is away from broadcasters. Away from networks. Even away from traditional MVPDs. And toward online platforms. And if we are going to talk about serving as a check against uncontrolled concentration of media power that is presumably antithetical to consumer welfare — well. The conversation need not end at online platforms, but it must at least start with them.”

His full text is posted.

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

The post Simington: Don’t Turn the Screw on Broadcasters appeared first on Radio World.

Read about all the products nominated for our awards program, including the Radio World winners announced in the fall of 2021.

This is the award program that normally is held at the spring NAB Show, which was postponed to this fall and later cancelled.

The guide is a great way to catch up on the new products of 2022 across radio and related industries.

 

The post Best in Market 2021 Program Guide appeared first on Radio World.

Colleagues are remembering Texas-based radio engineer Gary Wachter, who died in November. He was 65.

According to his friend and fellow engineer Melissa Hussel, Wachter had carcinoma cancer and died at home. He is survived by his son, Matt, of South Carolina.

Wachter was chief engineer of Service Broadcasting in the Dallas/Fort Worth area and a familiar face at SBE Chapter 67 meetings.

Hussel said Wachter, whose mother was a German citizen, was born in Waco but spent part of his childhood in Germany. He remembered hanging around the projector booth of the movie theater on a military base, fascinated by the carbon arc projectors; late in life he would find enough parts to make his own at home.

Back in the United States Wachter entered the radio business in high school and was on the air in Corpus Christi using the name Wires Wachter; he worked at KEYS(AM) and KRYS(AM) as well as the local PBS station.

Discovering he enjoyed technical work more, he took an engineering job at KTSA(AM) in San Antonio around 1976, working there until 1984 as chief engineer, a stint that included a full studio buildout and installation of a Kahn AM stereo system. Subsequently he worked as chief at KFYI(AM) and KKFR(FM) in Phoenix, where he built out studios in a former TV station.

Around 2000 he came to Dallas and started as chief at Service Broadcasting, which owns KKDA(AM/FM) and KRNB(FM) nearby. Wachter led a facility move from Grand Prairie to Arlington, Texas, that involved another studio buildout, and handled an FM antenna upgrade for KRNB.

“He was very driven,” she said. “A fellow engineer once said that his transmitter suite was ‘so clean, you could eat off the floor,’ and he wasn’t wrong. Gary had a high work ethic, and always went above and beyond.”

Colleague and longtime friend Mike Chittenden said Wachter also wrote a software program for a Gentner VRC transmitter remote control and a screener program for Telos phone systems.

Messages to his family can be posted at the website of Rolling Oaks Funeral Home.

The post Gary Wachter Dies, Engineer in Southwest U.S. appeared first on Radio World.

All those forms — long and short, pre- and post-auction — must be filed on time when applying for a new construction permit with the Federal Communications Commission.

That’s the situation a licensee finds itself in after applying for a new FM broadcast construction permit in Hugo, Colo.

ScarboroughRadio LLC took part in the July auction (known as Auction 109) and was deemed to be a winning bidder of the Hugo permit. Winning bidders were required to file a post-auction long-form application — specifically FCC Form 2100, Schedule 301. And bidders were reminded through a Public Notice that if a winning bidder fails to submit the required application before the deadline — and also fails to establish a good reason for the delay — their application will be dismissed and they will be subject to a forfeiture payment.

In Scarborough’s case, it submitted its long-form application more than two weeks past the deadline, according to the FCC. It also did not request any sort of waiver to explain the late filing.

As a result, the Media Bureau sent a notice of apparent liability for forfeiture to Scarborough after finding that the licensee violated the FCC rules by failing to file the post-auction Form 2100 application on time.

[See more of our coverage of FCC actions.]

Ordinarily, as the Media Bureau has said, a winning bidder that fails to file the required long-form application on time is deemed to be in default. That typically means that the application is dismissed and the licensee is subject to payments laid out in the commission’s rules.

But sometimes special circumstances might lead the bureau to determine that a late-filed application can still be accepted. In this case, the bureau noted that Scarborough complied with all previous Auction 109 requirements. The bureau also noted that the licensee made a late payment on the balance of its auction bid just before filing its long-form application. And it said that the FM licensing process was not significantly delayed by Scarborough’s late filing.

“We find it in the public interest to avoid a delay in implementing new service to Hugo, Colo., by having to re-auction the FM construction permit, and therefore on our own motion grant a waiver as discussed below,” the bureau said in the order it released.

However, even though the commission agreed to accept the late-filed long-form application, the bureau still found that Scarborough failed to comply with the rules and said it would grant the construction application on the premise that Scarborough will submit a $3,000 forfeiture.

The licensee has 30 days to either pay or file a written statement seeking reduction or cancellation.

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

The post Late Form Leads to $3,000 Forfeiture for Auction Winner appeared first on Radio World.

The author is project director for WorldDAB.

With the recent COP26 conference in Glasgow highlighting the global need to tackle climate change, a new study from Germany has showed how digital radio can help broadcasters reduce energy usage. Describing DAB+ as “green radio,” the report says on broadcasting a single service, between 70 and 90 percent of energy can be saved by switching from FM to DAB+.

The Bavarian Regulatory Authority for Commercial Broadcasting (BLM) and the Bavarian Public Broadcaster, Bayerischer Rundfunk (BR), in partnership with network operators and receiver manufacturers, compared the energy consumption of broadcasting and receiving radio programs via FM and DAB+.

In Bavaria, all services by private radio providers and BR are available via DAB+. With around 13 million inhabitants, 16 percent of Germany’s population lives in the state.

The studies showed that, with a comparable supply, the energy consumption when broadcasting a program via DAB+ is significantly lower than FM. BR would save around 75 percent per station, while Antenne Bayern would save 85 percent in energy if its audio service were broadcast exclusively via DAB+. Other providers in Germany see similar potential reductions.

Given the extensive infrastructure that radio broadcasting operates, the research found that the cumulative resulting effect is considerable.

The report also identified that significant energy savings would also be possible by replacing Germany’s 122 million FM radios. Although most new receivers are often equipped with additional functions such as displays or wi-fi, their power consumption has dropped by around 40 percent in recent years.

The findings of the report, “Green Radio: A Comparison of Energy Consumption on FM and DAB+” were featured at the recent WorldDAB Summit, which saw the publication of an English-language translation of the report.

[See our coverage WorldDAB Summit 2021]

Concentration of DAB Stations Across Germany as of January 2021 (Courtesy WorldDAB)

Speaking at the Summit to 500 delegates from around the world, Veit Olischläger, head of technology, media management and public relations at BLM, said: “As we know, climate change is a challenge for all of us. We asked what broadcasters can do — so we made an examination of the potential savings of energy consumption for transmission, FM versus DAB+, and reception.”

“Broadcasting via DAB+ saves up to 90 percent of energy,” added Olischläger. “And regardless of DAB+, the greatest energy saving effects would be achieved just by replacing older FM sets.”

In Bavaria, 42 percent of the population aged 14 and over already have at least one DAB+ receiver in their household.

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

The post Digital Radio Tackles Green Challenge appeared first on Radio World.

Sennheiser HD 400 PRO Studio Headphones

Sennheiser has introduced its new HD 400 PRO studio reference headphones, intended for use in mixing, editing and mastering applications.

Built around a lightweight, open-back design fitted with soft velour ear pads, they are the first open studio headphones in Sennheiser’s PRO line, and offer a wide frequency response of 6 to 38,000 Hz.

The Sennheiser-developed 120-ohm transducers include a diaphragm made from a proprietary polymer blend; working with the headphones’ driver magnets, according to Sennheiser, the diaphragm is expected to provide deeper bass. Distortion is below 0.05% (measured at 1 kHz, 90 dB SPL), and the headphones are said to accurately reproduces audio beyond the audible frequency range.

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

The headphone transducers sit at a slight angle, aiming to emulate the triangular listening position used when listening to monitor loudspeakers in a studio. This, along with the open-back design of the headphones is intended to provide a neutral soundstage.

The headphones are built around an ultra-light frame; the earcups feature soft velour earpads and the open, circumaural design offers ventilation for ears during long mixing sessions. The headphones come with a 3-meter coiled cable and a 1.8-meter straight cable, both fitted with a 3.5 mm (1/8″) jack plug for portable sources. A 6.3 mm (1/4″) adapter is included, ensuring that the HD 400 PRO connects to a typical mixing desk or audio interface.

The HD 400 PRO is available now and retails at US $249 (MSRP).

Send your new equipment news to radioworld@futurenet.com.

The post Sennheiser HD 400 PRO Studio Headphones Debut appeared first on Radio World.

A comparison of Tip-Ring-Sleeve and Tip-Ring-Ring-Sleeve plugs.

Consultant Frank Hertel of Newman-Kees RF Measurement needed to create a special audio interface recently.

He said he was not aware of a protocol for wiring Tip-Ring-Ring-Sleeve connectors, which are prevalent on laptop computers with only one audio jack.

The first image shows the difference between the typical Tip-Ring-Sleeve, with which most readers are familiar, and Tip-Ring-Ring-Sleeve connectors.

What surprised Frank was that the positive voltage for powering the electret mic is on the Sleeve of the Tip-Ring-Sleeve-Sleeve connector, and the Shield/Common/Ground connection for the electret mic and left and right outputs for the headphones are on one of the Ring connections, the one closest to the Sleeve (which, remember, is the positive voltage for powering the electret mic).

Therefore, if you want to connect any audio source other than the electret mic, you will need to add a DC blocking capacitor between the Sleeve and the hot phase wire of your external audio source (since that source does not require a DC voltage).

The hot signal wire from that source connects to the Sleeve of the Tip-Ring-Ring-Sleeve connector, through the blocking capacitor.

Frank said with a laugh that the protocol seems so foreign to the common one we used for years, in which the Sleeve is the connection for the Shield/Common/Ground. He suspects someone had a hangover when they decided to come up with this one.

He adds this note: When connecting an external audio source via the DC blocking capacitor, you may need to attach a resistor between the Sleeve (input) and the Ring (Shield/Common/Ground). If some current doesn’t flow between these connections, the computer’s input may not be activated. If you find that a resistor is required, a 2.2 K-ohm should do the job.

Computers vary. The best approach may be to add a 10 MFD DC blocking capacitor in series with the high lead of the external audio device, as well as the 2.2 K-ohm resistor connected across the Sleeve and the Ring terminals.

What is your experience? Email your thoughts to johnpbisset@gmail.com.

Stop the sound of silence

Contract and projects engineer Dan Slentz enjoys sharing clever, inexpensive ways of doing things.

He told us about a freeware silence sensor from Pira.cz. The software monitors the presence of an audio signal on a stereo program line or PC soundcard. When no signal is present for a specified time, pre-defined solutions activate.

This is useful for monitoring an STL feed or hard-drive playout system where continuous audio is required. If the audio drops below your chosen threshold, the Pira.cz Silence Detector will switch to a backup and notify you with an email alert.

Next, with COVID easing, you may see guests returning to your studios. If so, you know the importance of a “cough switch” on each microphone.

Dan found a compact, reasonably priced aluminum box that permits the user to toggle the mic on and off, so the box has dual usage — for the “Voice of God” in a stage manager’s TV studio setting, or a momentary mute cough switch for individual mics in an interview studio. Built for the pro audio industry, it is from AudioMan Products. At audiomanproducts.com, scroll down to “Push to Talk Ver. 2.”

Dan says the muting of the mic is quiet — no pops or clicks when the mute button is depressed. Plus, construction is solid, and it’s built with Neutrik XLR connectors.

The AudioMan Push to Talk Ver. 2 will work with dynamic or phantom-powered condenser microphones wired with balanced three-pin connectors. I’ve saved the best part for last: Push to Talk Ver. 2 is just $59, and quantity discounts are available.

An ideal addition to any talk/interview studio.

What’s the frequency, Workbench?

Finally, Tektronix is offering a free download of its colorful Worldwide Spectrum Allocations poster. We thank Brad Ohdner of Tektronix for sharing this resource with Workbench readers.

You can download this Tektronix Frequency Allocations Chart.

John Bisset, CPBE, has more than 50 years of broadcast experience and is in his 31st year at the Radio World Workbench. He handles western U.S. radio sales for the Telos Alliance and is a past recipient of the SBE’s Educator of the Year Award.

Workbench submissions are encouraged and qualify for SBE recertification credit. Email johnpbisset@gmail.com.

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