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Radio World

IBC Cancels In-Person Event

Radio World
3 years 5 months ago

IBC has announced its decision to cancel the in-person event for 2021.

In a statement, the show’s organizers said the move follows growing concerns about the Covid-19 situation in the Netherlands, which has deteriorated over the past week, along with feedback from the IBC exhibitor and visitor community.

“The IBC Partnership Board made the decision today in order to prevent exhibitors and visitors from travelling to the Netherlands,” added the statement.

The event will still take place digitally via IBC digital.

IBC 2021 was due to take place Dec. 3–6 in Amsterdam. However, earlier this month the Dutch government announced it was instigating a three-week partial lockdown, which is due to be revisited on Dec. 3.

However, the Dutch government reported 153,957 new cases of coronavirus were registered during the week from Nov. 17–23, a new record and a rise of 39 percent over last week.

A version of this article originally appeared on our sister website TVBEurope.

The post IBC Cancels In-Person Event appeared first on Radio World.

Jenny Priestley

San Diego AMs Help Raise $1.4 Million for Troops

Radio World
3 years 5 months ago

With the goal of reuniting injured service members with their families for the holidays, San Diego radio stations helped a local fundraising organization raise more than $1.4 million.

iHeartMedia San Diego station 760 KGB(AM) helped raise $1,455,471 (and counting) alongside sister station NewsRadio 600 KOGO(AM).

The annual Give-a-Thon supports the Warrior Foundation Freedom Station, which first joined forces with KGO in 2004. Back then KGO asked its listeners to donate shaving razors for holiday gift bags being distributed to soldiers recovering at Naval Medical Center San Diego. Since then, it has grown into an annual fundraiser supported by local radio and TV stations. In addition to flying service members home for the holidays, the organization helps sailors and soldiers as they face the challenges of recovery, rehabilitation and transition from military service to civilian life.

[Visit Radio World’s People News Page]

The amount the stations were able to help raise this year is a testament to the power of San Diego radio and its listeners, as well as the reach of Armstrong & Getty, the station’s morning show personalities, said Melissa Forrest, president and market manager for iHeart San Diego.

The support the foundation provides is a gift that troops will remember, said Sandy Lehmkuhler, CEO and founder of the Warrior Foundation Freedom Station. Lehmkuhler founded the organization after volunteering at the naval hospital where she saw how injured troops often lacked many basic items.

“By shining a spotlight on our warriors, and their brave struggles with the visible and invisible wounds of war, [these San Diego stations] rallied the support of thousands of people to fly our heroes home for the holidays,” she said. “It’s a gift our troops will remember forever.”

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

The post San Diego AMs Help Raise $1.4 Million for Troops appeared first on Radio World.

Susan Ashworth

Best of Show/Best of 2021 Awards Deadline Extended

Radio World
3 years 5 months ago

A note for the equipment manufacturing community: The deadline to submit nominations for the next Best of Show/Best of 2021 Awards has been extended to Nov. 30.

This year, Future is running two awards programs to accommodate IBC show exhibitors and those that aren’t able to exhibit this time around.

(This program is timed to coincide with the fall IBC show each year. Note that winners were announced recently for the awards that are normally held during the spring NAB Show, which was postponed and then eventually canceled. Those nominations and winners are featured in the award Program Guide.)

The Best of Show Awards 2021 is open to IBC 2021 show exhibitors and celebrates the innovation and craft of the industry’s R&D teams by recognizing standout products and solutions on display at IBC in Amsterdam next month.

New for this year is the Best of 2021 Awards, a program for non-exhibiting companies that recognizes outstanding broadcast products and solutions brought to market between September 2020 (the 2020 IBC Showcase) and December 2021.

Both programs are supported by Future’s media and entertainment technology brands Radio World, TVBEurope and TV Tech  and each brand will provide coverage of the winning entries.

 

The post Best of Show/Best of 2021 Awards Deadline Extended appeared first on Radio World.

RW Staff

Telos Highlights V4.0 of Omnia.11 Software

Radio World
3 years 5 months ago

Telos Alliance is highlighting Version 4.0 of its Omnia.11 software.

The company describes the new version as being cleaner and brighter, saying it “permeates open sound without a loudness penalty.”

Among its features is a new Silvio Clipper that provides “significant” sonic improvements for G-Force users and new presets for various multiple station formats to make the most of the new design.

Founder Frank Foti and Cornelius Gould will discuss these developments in an upcoming webinar on Dec. 1. The presentation will include interviews with users about the release’s capabilities.

The Omnia.11 is available in FM+HD with separate processing paths for FM or HD/DRM and FM without HD/DRM. The FM-only model is upgradeable to FM/HD at a later date.

The post Telos Highlights V4.0 of Omnia.11 Software appeared first on Radio World.

RW Staff

KIRO Unveils Upgraded Emergency Studio

Radio World
3 years 5 months ago
KIRO(AM)’s Jake and Stacy broadcast their mid-day sports show live from the emergency studio. (Photo courtesy FMEA Region 10 via Twitter)

In the event of a natural disaster or national emergency, Seattle’s KIRO(AM) is prepared to keep the public informed. The Bonneville International station is the latest station to upgrade its emergency broadcasting capabilities as part of the Federal Emergency Management Agency’s National Public Warning System (NPWS).

Based at the station’s Vashon Island, Wash., transmitter site in Puget Sound, the free-standing emergency studio is designed and hardened to withstand natural disasters and acts of terrorism. The upgraded facility was formally dedicated on Nov. 19. As part of the unveiling, KIRO mid-day hosts Jake Heaps and Stacy Rost originated their show live from the new emergency studio.

“It’s an honor for Bonneville Seattle to serve the community and we are proud to partner with FEMA. We share and salute the agency’s commitment to protecting the public,” said Bonneville International President Darrell Brown in a statement released by FEMA. “Radio is a lifeline, and the new studio and continued investment will ensure KIRO-AM 710’s resiliency during times of crisis when communication is vital.”

[Related: “FEMA Celebrates PEP Upgrade at Historic WBZ”]

Maintained under FEMA’s Integrated Public Alert and Warning System (IPAWS), KIRO is a Primary Entry Point (PEP) station — one of 77 across the country. PEP stations are specially designated NPWS broadcast stations that serve as the primary intake source of initial broadcasts for a national alert. Together, the 77 PEP stations provide coverage to 90 percent of the United States.

FEMA equips PEP stations, which are operated by local station personnel, with backup communications equipment and power generators, allowing them to continue broadcasting information to the public during and after an emergency, including conveying official alerts to communities regionally and nationwide.

KIRO is the 14th PEP station to complete the all-hazards upgrade, which included outfitting a hardened shipping container with a full radio studio, a 60-day supply of food and water, and sleeping and bathroom facilities, along with sustainable power-generation capabilities.

The island location of the site is not a problem for emergency readiness, according to Bonneville Seattle General Manager Cathy Cangiano. “The Coast Guard has standing orders to meet members of the KIRO staff at the Seattle waterfront and rush them to the Vashon transmitter site,” Cangiano told MyNorthwest.

Send news of engineering and executive personnel changes to radioworld@futurenet.com.

The post KIRO Unveils Upgraded Emergency Studio appeared first on Radio World.

T. Carter Ross

Hubbard Is on Board With RadioDNS

Radio World
3 years 5 months ago

Hubbard Radio is now a member of RadioDNS, the organization that promotes development of open standards for hybrid radio.

“We’re very much looking forward to supporting Hubbard as they develop their hybrid radio presence,” said RadioDNS Project Director Nick Piggott in the announcement. “They’re already doing some fantastic work with their hybrid radio systems, and contributing to development of new functionality.”

Piggott made the announcement with Jeremy Sinon, VP of digital strategy for Hubbard Radio, who was quoted saying, “As vehicle dashboards continue to evolve we recognize the importance of making sure our stations look as good as they sound. Working with RadioDNS is one of the ways we get there.”

Hubbard Radio is playing a role in the RadioDNS Technical Group.

Other broadcasters that are members of RadioDNS include iHeartMedia, Cumulus, Audacy, Beasley, NPR, Bauer Media, the BBC, ARD and others. RadioDNS also encourages manufacturers and service providers to participate.

[Related: “RadioDNS Welcomes Nielsen’s Gracenote”]

The post Hubbard Is on Board With RadioDNS appeared first on Radio World.

RW Staff

KICY Installs New Nautel Transmitters

Radio World
3 years 5 months ago

From our “Who’s Buying What” page: KICY(AM) in Nome, Alaska, has a pair of new Nautel transmitters in service.

The station, licensed to Artic Broadcasting Association Inc., took delivery of a Nautel NX50 and NX10 AM in the spring.

General Manager Patty Burchell told Nautel the NX10 will serve as a backup. “Because of our remote location in western Alaska, when repairs are needed it often takes weeks to get parts. This backup transmitter assures we can stay on the air if repairs are needed.”

Demonstrating the wisdom of that, the station immediately put the NX10 to use in May when the NX50 arrived with a transformer that had been damaged in transit. The NX10 was put on the air until the replacement part arrived.

Nome is a small community of 3,500 more than 500 air miles from Anchorage; road access is not practical. The community is less than 200 miles from the Russia as a cold crow would fly.

Burchell told Nautel that the station “immediately noticed a greater clarity in the signal. We have heard reports from some listeners on the fringe areas of coverage, and they are receiving us loud and clear.”

Send announcements for Who’s Buying What coverage to radioworld@futurenet.com.

The post KICY Installs New Nautel Transmitters appeared first on Radio World.

RW Staff

$3,000 Forfeiture Awaits Winning Bid in CP Auction

Radio World
3 years 5 months ago

The winning bidder for a broadcast construction permit auction had her application approved, but she may incur a fine for failing to file important post-auction documents.

The Federal Communications Commission says Nanette Valdez-Schwartz took part in the July 2021 auction of AM and FM broadcast construction permits known as Auction 109 and was the winning bidder of an FM construction permit at Medicine Bow, Wyo.

Winning bidders were required to file certain forms by Sept. 13 — in Valdez-Schwartz’s case, post-auction FCC Form 2100, Schedule 301, otherwise known as a long-form application.

[See more of our coverage of FCC actions.]

The Media Bureau had warned that any winning bidder who failed to submit the required forms before the deadline and failed to establish a good cause for late submission would be in default. Those applicants would not only be subject to monetary forfeitures, but in most cases would see their application dismissed outright.

There are cases, however, when the Media Bureau decides to accept a late-filed application. It can consider these when the delinquency does not disrupt the auction process or undermine the FCC’s goal of getting service out to the public rapidly.

In Valdez-Schwartz’s case, she did not file the form by Sept. 13, but she did get submit it two weeks later. She also made a rule-compliant late payment on the balance of her auction bid. In approving the application, the bureau said it also gave weight to her record of compliance with previous auction-related requirements.

One thing Valdez-Schwartz did not do was to file a waiver request along with her late application.

But despite that, the bureau said it believes it is in the public interest to move ahead and implement a new service in Medicine Bow.

As a result, the FCC granted Valdez-Schwartz a waiver, assuming she makes the $3,000 forfeiture payment listed in the notice of apparent liability. She has 30 days to file a written statement asking for reduction or cancellation.

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

The post $3,000 Forfeiture Awaits Winning Bid in CP Auction appeared first on Radio World.

Susan Ashworth

WorldCast Connect Puts Kybio on Kubernetes

Radio World
3 years 5 months ago

Kybio from WorldCast Connect is now based on Kubernetes. The company says the change will assure high reliability for its cloud deployments.

Last year, a new “software as a service” licensing option was made available to users of Kybio network monitoring. WorldCast Connect now says it has created a major update to that SaaS plaatform.

“After a rigorous benchmark of technologies to best meet Connect’s need for more scale and performance, its SaaS version of Kybio is now powered by Kubernetes, the standard container orchestrator for cloud,” the company stated in the announcement.

Kubernetes is an open-source platform for managing containerized workloads and services.

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

WorldCast quoted Product Manager Julien Libeau saying, “Using Kubernetes technology radically changes the way our team and engineers work on the SaaS offer. It also adds significant added-value for our customers in media and broadcast, especially by speeding up the time of deployment. They can literally have Kybio up and running in less than 10 minutes.”

He said the cloud-hosting solution lets Kybio scale more easily because the architecture provides the correct amount of compute power needed for each customer, depending on usage and license size.

It said its in-house local software agent, EdgeBots, played a role in the deployment of this cloud infrastructure. “They bring the ability to combine on-premise remote monitoring with a full cloud environment,” the company said. “The Kybio cloud offer is intended to be used in a decentralized network. By connecting EdgeBots with their remote network, users are quickly and securely connected to Kybio SaaS, offering high scalability for large network infrastructures.”

The company is offering users have the opportunity to test Kybio SaaS with a free trial license for one month.

Send news for Who’s Buying What to radioworld@futurenet.com.

The post WorldCast Connect Puts Kybio on Kubernetes appeared first on Radio World.

T. Carter Ross

KRK Systems KNS 8402 Headphones Put Through the Paces

Radio World
3 years 5 months ago
KRK Systems KNS 8402 Headphones

KRK Systems has updated its KNS line of studio headphones with the KNS 6402 and KNS 8402, both with enhanced sound quality, isolation and durability. Both models are closed-back circumaural (over and around the ear) designs with the KNS 8402 ($149 MSRP) updated for pro studio use and the KNS 6402 ($99 MSRP) more suited for home studio production and stereo music enjoyment.

All KNS headphones come only in matte black and are made using an impact-resistant plastic material that makes them super lightweight. The cables, head and premium leatherette ear cushions are easily field-replaceable, including the in-line volume control that uses a “long life” fader, connecting between the headphones and the supplied cable using 3.5-mm stereo plugs. You can easily remove the in-line volume control altogether.

I tried out the KNS 8402 headphones and immediately liked the self-aligning, sprung stainless steel yoke system in the headband that easily adapted to my head and retained that adjustment when I took them off.

The memory foam ear cups rotate up to 90 degrees and I found it more comfortable to not allow the center of the headband to touch the top of my head. There is a gap in the center of the headband, making them feel nearly weightless. They still hugged my head comfortably to block out sounds with up to 30 dBA of isolation.

[Check Out More Product Evaluations in Our Products Section]

The KNS series phones use 40 mm dynamic drivers with neodymium magnets; the rated impedance of 36 Ohms. They are rated at 0.1 percent total harmonic distortion while handling 500 mW per driver. Sensitivity on the KNS 8402 is 97 dB SPL @ 1 mW with maximum SPL of 124 dB. Frequency response is specified as 5 Hz to 23 kHz.

For all my sonic testing, I used my musicians’ cue system that uses a Simon Systems CB-4 Cue Box powered by a 100-watts per channel Hafler stereo power amp. I also tried my secondary cue system that uses a small Aphex Systems HeadPod 4 4-channel amplifier with good results. In addition to the KNS 8402s, I kept three other sets of phones plugged into the CB-4 with volumes matched, and I played different kinds of music, as well as individual tracks (drums, bass, guitars, etc.) out of Pro Tools. The KNS 8402s were definitely the lightest.

Overall the KNS 8402s are neutral-sounding: not overly bright or bottom-heavy compared to my more expensive audiophile models. They are smooth in the mid-range and not as abrasive as some other dynamic sets.

I am looking for a tight seal, which becomes extra important when five or six backing vocalists are singing around a hot mic. A studio might buy a dozen of these headphones for just that purpose. Once the KNS 8402s were properly fitted on a singer’s head, the ear cushions did a good job of sealing against leakage.

I was initially a little suspect of an in-line volume control on studio headphones. It could be “another point of failure,” but that little fader stays wherever it is set and the teardrop shape doesn’t catch on clothing.

If all headphones are fed from the same line, the in-line volume control becomes a necessity. Some backing singers like it louder than others in the same group. When the mini-fader is full up, it is the same volume as with the control removed — there is no difference in sound quality with or without the in-line module in play.

I liked the KNS 8402’s wide frequency response, dynamic range, stereo imaging and consistent voicing. These would be a smart buy for a new studio looking to stock their headphone collection with well-made, sturdy and good-sounding units.

This article originally appeared in our sister publication Mix. Users and suppliers are both invited to send news about recent installations and product applications to radioworld@futurenet.com.

The post KRK Systems KNS 8402 Headphones Put Through the Paces appeared first on Radio World.

Barry Rudolph

Cirrus Podcast Suite Supports Radio Applications

Radio World
3 years 5 months ago
The Cirrus Podcasting Suite Dashboard

Content streaming provider Cirrus Streaming recently released a suite of tools for podcast hosting, editing and distribution from a single dashboard. The company says this allows radio broadcasters to create podcasts automatically from a live audio stream.

The Podcasting Suite includes a podcast editor that lets users upload, store, organize and edit files via a multitrack waveform editor. With this, podcasters can trim, splice and insert segments into an audio file from a web browser without the need of separate audio editing software.

[See Our Who’s Buying What Page]

The system also includes an ad server, allowing podcasters to build commercials into their podcast stream. Users can then distribute podcasts to any number of outlets and syndicate them along the way. The suite also offers several playout options, allowing for customization, branding and digital advertising.

“With the rise in podcasting during the pandemic, it’s more important than ever for content creators to take full control of their material, so we’ve taken this into consideration to provide everything they need in one place,” said Cirrus Streaming CEO Nick Csakany in the announcement.

The podcasting suite is available by monthly subscription for broadcasters and podcasters with no contract requirements, the company said.

Send your new product and services news to radioworld@futurenet.com.

The post Cirrus Podcast Suite Supports Radio Applications appeared first on Radio World.

T. Carter Ross

Turis Uses Phillystran on NYC AM Array

Radio World
3 years 5 months ago
Phillystran tower guy lines support the new top section of AM antennas in New Jersey, New York.

From our “Who’s Buying What” page — Project management firm Turris Services Inc. has used Phillystran HPTG tower guys as part of the installation of a new top section of tower for WWRL(AM) at its transmitter site outside of New York City.

The tower was damaged by tornado winds late last year. The rest of the system’s Phillystran guy lines have also been replaced.

“First installed in 1960, four AM towers located in a swamp area in Secaucus, N.J., are used to transmit commercial radio stations based in New York,” Phillystran stated in a project announcement.

“The largest 300-foot tower was first guyed with Phillystran tower guys 40 years ago in 1970. At the time, Phillystran’s PSOM guy lines were supplied. These have now been replaced with Phillystran’s latest High Performance Tower Guys (HPTG) and corona sockets.”

A sample of the 40-year-old Phillystran guy lines.

The company said the old lines had retained their strength. “Subsequent testing of the 40-year-old PSOM guy lines has shown no loss in the residual breaking strength of the guy lines rated at 27,000 lbs. and 15,400 lbs.”

Turris Services retrofitted new top tower sections and installed the HPTG guy ropes. Phillystran makes synthetic fiber ropes for marine, utility, broadcast and military applications; it is part of steel wire rope manufacturer WireCo WorldGroup.

Send announcements for Who’s Buying What coverage to radioworld@futurenet.com.

The post Turis Uses Phillystran on NYC AM Array appeared first on Radio World.

RW Staff

New Guidance for Audio Processing Streaming

Radio World
3 years 5 months ago
(Getty Images/alashi)

Many people do not understand audio processing. People do not listen to your station because you have incredible audio processing, they come for the desired content. That said, audio processing adds to the listening experience, making your audience comfortable and giving them the ability to best enjoy the content.

Naturally, audio processing for broadcast radio should be different from the processing of streaming audio.

For broadcast radio you want to be the loudest on the dial so that when a potential listener hits scan, the station stands out. It almost works as a “stop sign,” demanding the listener pause and pay attention.

This will momentarily capture the audience, but they will stay on the channel for the content. Here audio processing helps create a comfortable audio atmosphere that partners with the content to keep your audience.

For streaming radio, which reaches listeners on their computer, smartphone, or smart speaker, you do not need to be the loudest. As I have said many times, “Clarity beats loudness all the time.” With streaming, the audio should be clean so that the intended instrumentation can be heard. A flute should sound like a flute.

Processes for Downward and Upward Loudness Normalization (from AES Technical Document AESTD1008.1.21-9)

I am not saying compression or expansion should not be used, but they should be used for the intended playback. Process your stream for your stream; process your over-the-air broadcast for the radio.

Use music you are familiar with and that has a good range to calibrate the processing. I tend to use music by Linda Ronstadt because she has a good selection that ranges across many genres. In addition, a woman’s voice tends to have more range than a male voice.

And please remember that audio processing must partner with the content to increase how long your listener stays, and we all want larger total listener hours (TLH).

Loudness guidelines

As far as loudness goes, I highly recommend the new Audio Engineering Society Technical Document AESTD1008.1.21-9: Recommendations for Loudness of Internet Audio Streaming and On-Demand Distribution. This document, released in September 2021, supplies you with all the knowledge needed for loudness and much more.

The key point of the technical document is to keep your loudness consistent across the music, the DJ, the commercials and the station promos. You do not want to invite the listener to adjust their volume. If they are adjusting the volume, it is just as easy for them to change to another stream or turn off the player.

[Read more Radio World articles by the David Bialik.]

This document took the AES’s Technical Committee for Broadcast and Online Delivery (which I co-chair) more than two years to write, but it is available as a free download (which matches most broadcast budgets).

For radio streamers, the most important part of the recommendations is Table 2 on page 6 (reproduced below). This provides recommended loudness levels in Loudness Units with respect to digital Full Scale (LUFS) by format.

AES Technical Document AESTD1008.1.21-9 Table 2 Format Distribution Integrated Loudness News/Talk −18 LUFS Pop Music −16 LUFS Mixed Format −17 LUFS Sports −17 LUFS Drama −18 LUFS

The document recommends audio be normalized, which should not affect dynamic range. Normalization adjusts the loudness of content to match a desired Distribution Loudness by applying uniform attenuation or gain.

I suggest broadcasters use a loudness meter compliant with the ITU-R BS.1770 standard, such as the Orban Loudness Meter. This is a free download, and I believe broadcasters will find it to be an essential tool that provides not only BS.1770 measurements, but also CBS Labs measurements, a VU meter and a PPM meter. I find the addition of the other meters makes your transition to this new meter easier to understand.

David Bialik 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.

The post New Guidance for Audio Processing Streaming appeared first on Radio World.

David Bialik

Best of 2021, Best of Show Nominations Due Nov. 23

Radio World
3 years 5 months ago

Following the news that IBC 2021 is taking place, Future is moving forward with both our Best of Show and Best of 2021 Awards remain open for entry.

The two awards are supported by Future’s media and entertainment technology brands TVBEurope, Radio World, and TV Tech, and receive additional editorial coverage across our publications.

The Best of Show Awards are for exhibitors who are attending IBC in the Netherlands in December, while Best of 2021 is for non-exhibiting companies; both awards recognize outstanding broadcast products and solutions introduced between September 2020 (the 2020 IBC Showcase) and December 2021.

These award programs provide an opportunity to promote brands, products and services, with nominees and winners receiving:

  • Dedicated editorial coverage in the Best of Show digital publication, distributed post-show
  • Digital and social coverage
  • Winning entries receive guaranteed coverage in post-IBC editions of each participating magazine
  • Digital award-winner logo for all winning entries
  • Official nominee logo for all entrants to use in marketing (sent by email)

Due to government-imposed lockdown restrictions in the Netherlands, our judges will not be able to carry out booth visits during IBC 2021. Instead, our panel of independent industry specialists will handle the judging virtually.

The nomination deadline is Nov. 23; full details of how to submit an entry are available on the dedicated Awards’ website.

The post Best of 2021, Best of Show Nominations Due Nov. 23 appeared first on Radio World.

Jenny Priestley

Delilah revels in rediscovering her roots

Radio World
3 years 5 months ago

Most radio professionals have fond memories of their first radio jobs. Many a seasoned professional started his or her career as a teenage part-timer at a small-town AM or FM station, developed a love for the business there and turned it into a lifetime career track.

But how many professionals later had the opportunity to become the owner of their first station?

One person doing exactly that is Delilah Rene, the well-known syndicated radio personality. Delilah got her start in the mid-1970s in the small coastal town of Reedsport, Ore., where she won a high school speech contest at age 13. The judges, Jerome and Steve Kenagy, owned local station KDUN and were impressed enough to offer her employment.

Delilah Rene on the air at KDUN in the 1970s (left) and in the new studio space today.

After three years of radio experience at KDUN, she moved on a number of stations in Eugene and Seattle before landing at KLSY in Seattle. It was there that she created the nighttime “Delilah” show, taking listener phone calls and playing requests.

It quickly gained local popularity and then went into syndication in 1994 with four stations. Today the “Delilah” show is distributed to 170 stations and the Armed Forces Network through the Premiere Radio Network. Delilah Rene was named to the NAB Radio Hall of Fame and NAB Broadcasting Hall of Fame in 2016 and 2017.

Now, at age 61 and after experiencing career successes that few broadcasters achieve, Delilah chose to return to her roots when she had the opportunity to purchase KDUN.

The AM station, licensed for 50 kW days and 630 watts nights on 1030 kHz, was silent at the time. The physical plant consisted physically of just an overgrown tower site and a working Nautel transmitter.

[Visit Radio World’s People News Page]

She built new studios in the former Jewett Elementary School building — the exact space that was her homeroom as a child — and put KDUN back on the air on Labor Day morning in 2021.

It’s now operating as a traditional community-oriented station, with a live morning show, daily fishing and crabbing reports, a “Tradio” program and liberal promotion of local events. KDUN is using a PlayOUT One system for both live-assist and automated programs. She is planning to cover local sports in the near future.

“Like Brigadoon”

“I wanted to give back to the community where I grew up,” she said. “It sounds corny and foolish, and everybody in the world tried to talk me out of it. But I owe such a huge debt to the Kenagy’s and to Reedsport, and especially to KDUN, that I felt compelled to give back.

“I really want it to be a full-service small town local radio station, and that’s what we’re trying to build. Of course, I want it to pay for itself, I don’t want it to be a charity. But that certainly wasn’t my motivation.”

Reedsport, population 4,100, has no local newspaper. In addition to KDUN, it is served by an FM station and a non-commercial repeater from Eugene.

Asked if an AM station can be competitive today, she responded, “We’re up against some big challenges obviously. Technology has kind of left AM in the dust. But Reedsport is like Brigadoon, it’s like going back in time in a lot of ways. While I don’t believe it would work in a major market, I do think it will work very well here.”

Delilah believes local content will be the key to KDUN’s success.

Radio veteran Bob Larson is KDUN’s engineer and hosts the morning “Tradio” program.

“People are hungry for content, and Reedsport needs a voice. That’s what we’re endeavoring to do — to be that voice they’re missing. For school sports, for local news, for fishing information,” she said.

“The town is perched on the banks of the three rivers, and everybody who lives there loves fishing, loves crabbing, loves clamming. And KDUN used to provide all that information. We’re going to do it again.”

Perhaps a 50,000-watt AM signal is a bit much for small-town radio?

“When I was there, we were ‘5,000 watts of crystal-clear AM power — KDUN, the voice of the Oregon Dunes.’ I still dream that ID every few weeks. Now we’re 50,000 watts, how crazy is that?

“So, I’m hoping to step it down. We really don’t need 50 kW, and I don’t need the electricity bill. Right now, we reach almost border-to-border from Washington to California. But really, the station exists for and about Reedsport, so we’ll adjust that if we can in the future.”

Content is the keyDelilah believes changes in technology are a challenge for the radio business, but that the secret to survival is great program content.

“Technology is changing so quickly. Who’d have thought that TikTok and Instagram would take over where Facebook once was a year or two ago?

“But it doesn’t really matter what the platform is, or how you’re delivering the content. So long as people are hungry for great content, I don’t need to worry about being employed. My job is not to be the best radio personality. My job is to share my heart, my gifts and my talents with as many people as I can, whether that’s on my podcast, Facebook, or whatever forum.

“We want to do that on AM, but we’re also going to do it on kdunradio.com, and hopefully people will find us there.”

Following in Delilah’s footsteps is Molly Anne, who moved to Reedsport from New Mexico. She does weekends and helps with everything else at the station.

While she is obviously pouring her heart and soul into KDUN, she has no plans to quit her day job. She still produces her syndicated show at her home studio near Port Orchard in Washington state.

“I have an amazing support staff. My regular show has the best producers in the world. I take the calls, I do the breaks, and they figure out all the different incarnations of that. We produce several different incarnations of the show every night, 7 nights a week.”

But her new endeavor is occupying much of her attention.

“I am pretty much managing every aspect. I hope to get it up and running and the programs integrated enough that I can step back and let the people there run the show. But I’m sure I’ll be checking in on a daily basis.”

Local business is excited to have her. “In the short weeks since KDUN AM 1030 made its return, the positive impact on our community has been remarkable,” wrote Jennifer Rockwell of the Reedsport/Winchester Bay Chamber of Commerce in The News-Review newspaper. “The care, involvement and dedication that has already been shown to the area speaks volumes about the intentions of KDUN.”

Read more of John Schneider’s feature and history articles.

The post Delilah revels in rediscovering her roots appeared first on Radio World.

John Schneider

Survey: Spoken Word Audio Provides Meaningful Conversations

Radio World
3 years 5 months ago

In the fast-paced, overscheduled world we all live in, the idea of just sitting down and listening to a podcast or other spoken word content seems to be a thing of the past. Most respondents to the latest NPR/Edison Spoken Word Audio Report cite the ability to multitask as one of the main motivations for listening to spoken word audio, but there are many other motivators, particularly for the key demographics of young and multicultural listeners.

When posed with the statement “Spoken word audio is a productive use of your time,” an average of 58 percent of respondents said yes. Sixty-three percent of those 18–34 and 64 percent of listeners 35–54 also agreed. Among multicultural listeners, 63 percent were on board with this statement.

“The Spoken Word Audio Report” finds that listeners view listening to spoken word audio as an important part of their lives.

Multitasking

The reasons why those surveyed listen to spoken word audio are many. A distribution of the base of responses puts multitasking on top with 71 percent of respondents. Other reasons given include: encouragement/positivity with 57 percent; fresher than live radio, 51 percent; help with life’s problems, 46 percent; need a break from negativity, 56 percent; and religion/spirituality at 40 percent.

[Read more of our coverage of “The Spoken Word Audio Report”]

When that same data is indexed for the 18–34 and multicultural groups, all but one of those responses indexed above average. The 18–34 demographic ranked multitasking at 97 percent above average; encouragement/positivity at 111 percent; fresher than live radio got 120 percent; help with life’s problems at 124 percent; need a break from negativity got 111 percent; and religion/spirituality got 120 percent.

Respondents provided myriad reasons for why they listen to spoken word audio.

The indexed breakdown for multicultural listeners showed multitasking at 100 percent; encouragement/positivity with 112 percent; fresher than live radio with 124 percent; help with life’s problems at 120 percent; need a break from negativity with 113 percent; and religion/spirituality at 115 percent.

Forty-six percent of all respondents said they used spoken word audio to further their education; however multicultural and younger listeners were much more likely to cite the education value of spoken word audio. For the 18–34 demographic education indexed 117 percent above average, and for multicultural listeners it was 122 percent above average.

While the results of this survey strongly suggest that spoken word audio listening is done alone and often while multitasking, there is also evidence of a contrary trend, listening with other people. The average percent who listen with others is 51. Sixty-four percent of 18- to 34-year-olds share the sound, and 61 percent of multicultural listeners do the same.

Finally, here’s a defining statement, “Spoken word audio is becoming a more important part of your life.” The average of those who agreed is 45 percent. Those in the lead are aged 35 to 54 with 58 percent, while multicultural listeners are a close second with 55 percent.

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

The post Survey: Spoken Word Audio Provides Meaningful Conversations appeared first on Radio World.

Tom Vernon

NAB Leadership Foundation Adds Three New Board Members

Radio World
3 years 5 months ago

The National Association of Broadcasters (NAB) Leadership Foundation elected Tony Coles of Black Information Network and iHeartMedia, Paul J. Curran Jr. of Cox Media Group (CMG) and Melody Smalls of Allen Media Group, Inc. to serve on its Board of Directors.

“We are excited to welcome three outstanding individuals to the NAB Leadership Board and are grateful for our Board’s guidance as we work to develop leaders, advance diversity and highlight the community service initiatives of our industry,” said Darrell Brown, chair of the NAB Leadership Foundation and president of Bonneville International/KSL Broadcast Group.

[Visit Radio World’s People News Page]

“We want to thank the new members for their willingness to serve and look forward to their insights as we continue to expand our programs and prepare the next generation of industry leaders,” added Michelle Duke, president of the NAB Leadership Foundation.

Tony Coles, president of Black Information Network (BIN) and iHeartMedia’s division president of Metro Markets, has more than 35 years of experience in the radio industry. He joined iHeartMedia in 2004 and has held various on-air, programming and management positions across the country. Most recently, Coles served as the executive vice president of programming for the company’s West region. In his current role, he oversees profitability for 21 iHeartMedia markets.

Send your people news to radioworld@futurenet.com.

The post NAB Leadership Foundation Adds Three New Board Members appeared first on Radio World.

George Winslow

Adthos Vaxx Campaign Uses Synthetic Voices

Radio World
3 years 5 months ago

Adthos Creative Studio has released a free radio campaign that encourages Covid-19 vaccine uptake. The campaign uses synthetic voices created with AI technology.

Assets are available for free download and use. Promos cover 6,500 cities in 40 countries and in 70 languages and dialects. The company said that for the United States it includes 1,000 cities and communities.

https://www.radioworld.com/wp-content/uploads/2021/11/Adthos-New-Orleans-30-sec.mp3An example of the 30-second Covid-19 vaccination PSA produced by Adthos using AI-generated voices.An example of the 30-second Covid-19 vaccination PSA produced by Adthos using AI-generated voices. -->
The company said it wanted to do good while highlighting its ability to create targeted messaging quickly and easily for multiple locations. “We also see this as a positive use for AI technology that benefits humanity”

Adthos states this is “the largest audio ad campaign in history.” It bases that statement on involving the work of 13,000 creatives and “supported on its release by stations with a total of more than 250 million weekly listeners.”

[See Our Business and Law Page]

Stations using the campaign must disclose the use of synthetic voices to their audiences; the company posted examples of the required disclosure.

Adthos Creative Studio is a product that is intended to be used to create audio advertising using text-to-speech and synthetic voice technology.

“Using Creative Studio, broadcasters and advertisers are not only able to create, produce and playout their ads in record time, they also have access to a suite of pre-produced adverts covering various kinds of businesses or services which can be quickly and easily customized to their needs,” the company states.

Comment on this or any article. Write to radioworld@futurenet.com.

The post Adthos Vaxx Campaign Uses Synthetic Voices appeared first on Radio World.

RW Staff

C-Band Relocation Payments Begin

Radio World
3 years 5 months ago
Comtech dish on roof of WUWM Radio in Milwaukee. Courtesy DAWNco

The entity responsible for paying out claims to incumbent earth station operators affected by the C-band shakeup in the United States says it has started cutting checks.

The C-band Relocation Payment Clearinghouse (RPC) is paying claims filed directly by operators for costs related to reconfigure facilities in order to free up spectrum in the C-band.

The RPC says it is evaluating additional claims for reimbursement or lump-sum payments. It will continue to send payments as it approves applications and is urging potential claimants to come forward with their claims.

Approximately 1,500 earth station operators, some holding multiple licenses, already chose the lump-sum option, according to data from the FCC earlier this year, including many broadcasters. But licensees that did not accept that option are expected to work with their satellite providers or to directly recoup justifiable filter, dish and labor expenses from the RCP.

[“C-Band Migration Underway for Dish Users”]

Incumbent earth station operators, space station operators and other eligible fixed-service licensees transitioning out of the band are generally eligible for certain relocation cost reimbursements or other payments.

Some entities potentially eligible still have not filed claims, according to a press release from RPC, or have not registered with the RPC. “Once those entities have set up their profiles and filed claims, the RPC will evaluate their applications and make payments to those whose claims have been approved,” it stated in the release.

“We are making great progress in collecting claimant profiles, approving claims, and making payments to qualified entities that are relocating on the C-band,” said Frank Banda, RPC program manager. “We encourage all entities that might be eligible for reimbursement or lump-sum payments to register and file their claims as soon as possible. The sooner they file their claims, the sooner they can receive reimbursement or lump-sum payments.”

[See Our Business and Law Page]

Incumbent earth stations can seek reimbursement for the modification and reconfiguration of earth station dishes or possible relocation, if necessary to prevent interference from new 5G users, according to those familiar with the process.

Approximately 20,000 registered earth stations in the contiguous United States, according to the FCC, are classified as incumbent earth stations for purposes of the C-band transition.

To submit claims for reimbursement or lump-sum payments, claimants can log into their RPC Coupa profile and follow the instructions. The RPC website provides guidance.

The band repack process has several phases with hard deadlines involved, according to the FCC. Phase 1 involves earth stations in the lower 100 MHz of the band (3.7–3.8 GHz) in 46 Partial Economic Areas to be repacked by Dec. 5. Those are largely in urban areas and include most, if not all, major radio markets, according to the FCC. All remaining earth stations will need to be transitioned in Phase 2 of the repack by December 2023.

C-band refers to frequencies in the 3.7 GHz to 4.2 GHz range. The spectrum has been used extensively by radio and television broadcasters for satellite C-Band downlinks, but those services are being repacked to the upper portion (4.0–4.2 GHz) of the band. The FCC mandated the spectrum shift as part of its effort to move toward the national expansion of 5G. It is making available 280 MHz of C-band spectrum (3.7–3.8 GHz), including a 20 MHz guard band, for flexible use throughout the contiguous United States.

Submit business announcements to radioworld@futurenet.com.

The post C-Band Relocation Payments Begin appeared first on Radio World.

Randy J. Stine

In Australia, DAB+ and RadioApp Extend Radio’s Reach

Radio World
3 years 5 months ago

DAB+ is on the air in Australia’s five major metro markets plus several other cities. Commercial Radio Australia Chief Executive Officer Joan Warner has said, “DAB+ audiences have grown as a result of broadcasters enhancing their digital radio formats and car manufacturers continuing to add DAB+ radios to their vehicle ranges.” An estimated 2.8 million DAB+ receivers have been sold to date.
This is an excerpt from our interview with her in the ebook “Trends in Digital Radio 2021.”

RW: Many broadcasters ask whether they should invest in an over-the-air digital format when there’s so many other distribution channels.

Warner: They need to be a bit more strategic. We know that no mobile network can carry all of radio listening traffic live and local. If everybody tried to do all of their radio listening over a mobile network, the network would crash. We’d break the internet.

[Visit Radio World’s News Makers Page]

And I’m talking about live radio. Podcasting has yet to be proven to be the river of gold we think it will be. I mean, podcast listening is increasing in Australia and in the U.S., but it’s still a relatively small part of audio listening. And we need to work out how we monetize it.

But even telcos will say, “Yes, we don’t want all radio listening on our mobile network, because there’d be no room for anything else.” So, broadcasters have to step back and take a strategic look and say, “All right, where do we want to be?”

And our answer is, we want to be everywhere. We want to be, as broadcasters, accessible on every single platform we can be. That will be AM and FM in the medium term.

It could be the case in the future that people go, well, “Fifty percent of listening is on streaming, 40 percent is via DAB, so maybe it’s time to think about an AM and FM turnoff.” But that’s not on the radar at the moment. Not until we’ve got digital out into the regions.

So don’t pick a winner. You can’t afford to.

One of our broadcasters who had the same doubts about digital 10 years ago said, “We’re looking at this as defensive spending as well. If we don’t do it, someone else will jump in and grab that spectrum and offer a product that we could be offering.”

Now it’s, “Okay, how can we be more offensive with our DAB+? What are the benefits?” Incremental audience, extra revenue. We’ve got new stations — and we’re able to put all of these stations, including AM and FM, onto our industry RadioApp. Now we’ve got 400 available on one app, where normally we have only 11 commercial stations in a city in Australia.

RW: It sounds like your app is an important part of this conversation.

Warner: It’s important. I mean, listening on the internet still is at fairly low levels everywhere. Our research shows us, on average, about 15 percent of all listeners will listen to radio online, either via an app or on their PC, whatever they’re using.

But they are not only solely listening online, they’re listening sometimes to broadcast in the car or at home. There’s a common misperception, people will look at that 15 percent and go, “Oh, okay, 15 percent of all listening is done online.” No. It’s that 15 percent of listeners will listen at some stage online, but that’s not exclusive listening. Sometimes they’re also listening on their car radio or on a DAB radio at home.

The app has provided us an introduction into organizations like Google and Amazon to get all of Australian radio working properly on their speakers, first time, every time.

[Check Out More of Radio World’s Ebooks Here]

Prior to us having RadioApp, the accuracy on smart speakers when asking for an Australian radio station on Amazon was 23 percent. The accuracy on Google was 40 percent. As [speakers] became more popular, people got them out of the box and said, “Oh, please play Hit Radio Sydney for me,” and what they were coming up with was New York or Los Angeles, or nothing.

That’s a missed opportunity for radio to be back where it may not have been for a while, back in the bedroom or the living area.

So we saw it as a strategic play. It was easy to say to Google and Amazon, “You only need to deal with one organization here.” Now because of RadioApp, on those speakers we’ve got 400 stations including every AM and FM and DAB station in Australia, commercial plus the ABC plus SBS and all of their DAB stations. Four hundred radio stations. And there are 3,865 ways to ask for them — by saying the frequency, by saying the name of the station, by saying the name of the station and the town.

Find our Q&A with Joan Warner in the ebook “Trends in Digital Radio 2021.”

The post In Australia, DAB+ and RadioApp Extend Radio’s Reach appeared first on Radio World.

RW Staff

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