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CES Show Is Shortened by a Day

Radio World
3 years 4 months ago

The Consumer Technology Association is going ahead with its CES 2022 convention this week, but has decided to shorten the schedule.

The in-person event in Las Vegas now will run Jan. 5­–7.

“The step was taken as an additional safety measure to the current health protocols that have been put in place for CES,” the CTA announced Friday.

Although news accounts have carried word that some notable companies recently have withdrawn from the event given the omicron surge, CTA said more than 2,200 exhibitors were confirmed as of Dec. 31.

“In the last two weeks, 143 additional companies have signed up to exhibit in person. Construction of exhibitors’ show floor space is well underway and soon attendees will be able to see and experience the latest tech innovations.”

President/CEO Gary Shapiro said in the announcement, “We are shortening the show to three days and have put in place comprehensive health measures for the safety of all attendees and participants.”

All attendees must be fully vaccinated and have proof. The show website has updated health protocols.

The post CES Show Is Shortened by a Day appeared first on Radio World.

Paul McLane

The Politics and Protocols of Streaming

Radio World
3 years 4 months ago

The author is a development engineer for Wheatstone Corp.

This article is based on a paper prepared for the 75th NAB Broadcast Engineering and IT Conference. Conference videos and proceedings are available at https://nabpilot.org/beitc-proceedings/.

(Getty Images/natrot)

The broadcast industry is in a transitional phase, heading toward a world in which a large portion, perhaps even a majority, of listeners will receive the station’s program via an internet stream rather than terrestrial radio broadcast.

Many accomplished engineers and station managers, while experts in traditional radio technology, find themselves feeling like neophytes once again when it comes to internet streaming. This paper aspires to present an instructional overview of what’s involved in this generation of an internet audio stream, as well as a better understanding of where standards and practices are still developing.

Signal flows

Streamed content starts out on the same path as broadcast content, typically originating from the automation system if it’s music or from the studio microphone if it’s voice, or both.

One, however, goes to the broadcast chain and the other goes to the streaming encoder, and that one difference introduces new considerations in both processing and metadata for streaming. To understand these considerations, it helps to get a closer look at the signal flow of each.

Broadcast signal flow

For broadcasting purposes, content is fed into an automation system, which sends its audio output to an FM (or AM) processor, where it is processed and multiplexed, and then passed on to a transmitter that disseminates the program to the public.

As a side channel, the automation system has also been stocked with metadata (artist, title, album, duration, label, ISRC, etc.) for every piece of audio in its playlist; this metadata is also transmitted to the FM processor, where it is turned into an RDS signal that rides as a sideband on the MPX output.

There are, of course, variations in this flow path. For example, the metadata from the automation machine may be routed instead to an “aggregator” that cleans and ensures the accuracy and consistency of the metadata before it is forwarded to the FM processor. Or it might not even go to the processor, but to a separate RDS encoder, the output of which is then mixed with the MPX from the processor.

The exact details may change, but the steps along the path remain essentially the same.

Typical broadcast signal flow.

Stream signal flow

For streaming purposes, content enters the automation system as before, but in this case the output is routed to a stream encoder (also called an “origin server,” for reasons that will be clear later), and from there to a CDN, or Content Distribution Network.

The stream encoder has three jobs:

  1. Process and condition the audio signals, optimizing it for the compression algorithms;
  2. Encode, packetize and transmit the program over the public internet to the destination server (the CDN);
  3. Handle the reformatting and forwarding of metadata from the automation system on to the CDN.
Typical stream signal flow.

CDN streaming and add-ons

Before looking at the inner workings of the stream encoder, let’s examine the Content Distribution Network. The CDN plays the role of the transmitter in the streaming paradigm, but its unique position in the program flow path actually gives it a bigger and more important job.

The main function of the CDN is to serve your stream to thousands or tens of thousands of listeners. But the twin facts that A) your program and all associated metadata passes through the CDN’s servers; and B) they know who is listening, from what location, and for how long — gives them an opportunity to provide a whole suite of add-on services.

A big one is ad replacement, which is usually geographically based but could also be tailored to whatever can be deduced about the individual listener’s tastes and habits.

Geo-blocking, logging, skimming, catch-up recording and playback, access to additional metadata (e.g. album art, fan club URLs), listener statistics and click-throughs, customized players, royalty tracking, redundant stream failover, transcoding from one format to another — these are some of the services that CDNs typically provide.

Thus, the CDN basically controls the distribution of the stream to the listening public. It is the responsibility of the stream encoder — the origin server to the CDN’s ingest and distribution servers — to make sure that the CDN gets the right data at the right time and in the right format.

Especially with regard to metadata, the CDN determines what the format will be. The stream encoder is therefore also a mediator/translator between the automation system and the CDN, as it must be able to transform the format of whatever it ingests into the format that the CDN requires. With that in mind, let’s take a closer look at the stream encoder.

Job 1: Data compression

The stream encoder performs various functions. The central function, which all others are designed in relation to, is to apply data compression to the audio stream, thereby reducing the bandwidth required both to transmit the stream up to the CDN, and for the listener to receive it.

By far, the most widely used compression codec for high-quality audio storage and transmission is AAC, but its predecessor MP3 is still used for legacy streams (to support legacy players). All compression algorithms operate by reducing the information contained in the audio signal to as few bits as possible; you therefore want to maximize the value of those bits by removing extraneous artifacts from the audio signal before it hits the compression codec. That cleansing and conditioning of the raw audio signal is the job of the DSP section at the input.

The encoder’s central function is data compression.

Encoder handoff to CDN

The compression codecs produce periodic output in the form of chunks of data, each of which represents a small segment (typically 5 to 20 milliseconds) of the continuous audio signal. These chunks are wrapped in a transport format and transmitted to the CDN’s ingest server as discrete, time-stamped packets. Common transport protocols include Icecast, RTMP, HLS, MPEG-DASH and RTP.

Metadata is typically received by the stream encoder on a TCP or UDP socket, and most commonly arrives formatted as XML. What happens after that depends on the transport protocol being used.

For Icecast streams, metadata updates (including ad triggers) are sent to the server out-of-band, as separate HTTP messages. For RTMP, the metadata update is embedded in the transport stream itself, as a special INFO type packet. For HLS, metadata may be reformatted as ID3 data and embedded into a separate channel of the underlying MPEG2 Transport stream, and ad triggers can be woven into the manifest file as SCTE-35 “program replacement opportunities.”

[Read More Tech Tips Here]

For all of these methods, the exact details can differ from one CDN to the next since there are no universally accepted standards for handling metadata, so setting up a stream and getting the metadata to update correctly and in sync with the audio stream often requires a short period of trial and error while negotiating protocols with the CDN.

RTP is a special case. RTP is the only stream format that is commonly used to carry uncompressed, full-bandwidth audio (in the form of AES67, for example), although it can be used to carry virtually any kind of data, including AAC, Opus or MP3 audio.

RTP is typically used in a studio-to-studio or studio-to-transmitter link, rather than as an ingest feed to a CDN.

Metadata formatting

The final area we want to examine is the metadata itself. We’ve been talking about transforming it from one format to another, but what does that mean, and why do we need to do it?

To answer, let’s look at some examples of raw metadata received from various automation systems. (Names and numbers have been changed to protect the innocent.)

Some systems export simple tagged text:

artist=Sonny Rollins
title=God Bless the Child
length=00:07:29

More commonly, metadata arrives in XML or XML-like form. Note that many fields may be empty:

<nowplaying><sched_time>220200</sched_time><air_time>402000</air_time><stack_pos></stack_pos><title>TheSkyIsANeighborhood</title><artist>FooFighters</artist><trivia>*</trivia><category>MNJ</category><cart>R585</cart><intro>14000</intro><end></end><station>93.5HD1</station><duration>243300</duration><media_type>SONG</media_type><milliseconds_left></milliseconds_left><Album>ConcreteandGold</Album><Field2></Field2><ISRC>USRW9170028</ISRC><Label>RCA</Label><Tempo></Tempo><Year>2017</Year></nowplaying>

The HTML ampersand entity in this one will require special handling:

<audio ID="id_3155460704_30756200">
<type>Song</type>
<status>Playing</status>
<title>JINGLE BELL ROCK</title>
<artist>Hall &amp; Oates</artist>
<length>00:02:03</length>
<category>Classic</category>
</audio>

Here’s a station ID and a liner from the same source. Some CDNs may want this data, some may not:

<audio>
<type>Link</type>
<status>Playing</status>
<artist></artist>
<title>ROCK91.7 | LEGAL ID2</title>
<number>120002</number>
<length>00:00:11</length>
</audio>

<audio>
<type>VoiceTrack</type>
<status>Playing</status>
<artist></artist>
<title>VT TLA3 - Rock: 2021-03-25 08:37</title>
<number></number>
<length>00:00:06</length>
</audio>

Here’s a sweeper and an ad from another source, below. Notice that the <media_type> tag distinguishes one from the other. The arrival of a SPOT is often used to trigger an ad replacement by the CDN. Durations shown here are in milliseconds.

<nowplaying><sched_time>67199000</sched_time><air_time>67267000</air_time><stack_pos></stack_pos><title>CYQTONEQUICKSWEEP#12DRY</title><artist>201971108:06:28</artist><trivia></trivia><category>IM5</category><cart>BIBE</cart><intro>0</intro><end></end><station>95.7KQED</station><duration>3900</duration><media_type>UNSPECIFIED</media_type><milliseconds_left></milliseconds_left><Album></Album><Field2></Field2><ISRC></ISRC><Label></Label><Tempo></Tempo><Year></Year></nowplaying><nowplaying><sched_time>33716000</sched_time><air_time>33721000</air_time><stack_pos></stack_pos><title>ShopLocalAWestfieldMerchantsFriday</title><artist>WestfieldMerchantsJune</artist><trivia>shoplocalgreencountry</trivia><category>COM</category><cart>4652</cart><intro>0</intro><end></end><station>95.7KQED</station><duration>30000</duration><media_type>SPOT</media_type><milliseconds_left></milliseconds_left><Album></Album><Field2></Field2><ISRC></ISRC><Label></Label><Tempo></Tempo><Year></Year></nowplaying>

None of the metadata messages in these examples can be transmitted to the CDN ingest server in the form they are in. Instead, the relevant data must be stripped out and reformatted into a protocol that the ingest server can understand. This protocol often requires that additional information, which is not available in the original metadata received from the automation system (such as login credentials, the server URL, and query parameters) be woven into the message. For an Icecast stream, that might take a form like this:

http://source:abc123@ice5.streamnet.com/admin/metadata?mount=/BRAVOFM1im&mode=updinfo&song=Foo%20Fighters|The%20Sky%20Is%20A%20Neighborhood|00:04:03|SONG

Likewise, an ad trigger might look like this:

http://source:abc123@ice5.streamnet.com/admin/metadata?mount=/BRAVOFM1im&mode=updinfo&song=|Shop%20LocalA%20%2D%20WestfieldMerchantsFriday|00:00:30|COM

In the stream transmitted by the CDN, the local ad from the origin server might be replaced with another ad targeted to the geographic location of the listener. The CDN may use the duration of the ad (30 seconds in this example) as the queue for switching back to the original program, or it may wait for the next SONG update to switch back.

For RTMP and HLS streams, the metadata is reformatted in a particular manner and “injected” into the stream as in-band data. For example, for RTMP, a “setDataFrame” message is assembled, typically containing an array of three strings: title, artist and “url” (a container for everything else). With the Foo Fighters example from above as our input, the schematic form of the output, ignoring the header bits demarcating the various sections, would look more or less like this:

@setDataFrame
onMetaData
title:The Sky Is A Neighborhood
artist:Foo Fighters
url:http://www.blaze105.com?autoID=R585&autoCat=SONG&cat=MNJ&album=Concreteand Gold&label=RCA&ISRC=USRW9170028

Note that the mapping of the tags in the original message to some of the query parameters in the output “url” string is neither obvious nor predictable, and in this case was in fact determined by the CDN. The underlying implication is that the manufacturer of the stream encoder cannot know ahead of time what format either the incoming or the outgoing metadata will look like.

A common solution for effecting the transformation of arbitrary input to arbitrary output is a programmable, embedded scripting language, such as Lua. Current stream encoders often provide a menu of Lua filters that are able to transform common patterns of metadata input into similarly common output patterns. Usually all that is required to customize the transform filter for the station’s own particular needs are a few tweaks to the script.

In closing, we’ll show an example of one of the pitfalls of relying on metadata for accuracy, and why many stations are now employing metadata cleaners and aggregators in their flow path. This is a real message received from an automation system (which shall remain anonymous):

<audio>
<type>Song</type>
<status>Playing</status>
<artist>Beyonc�</artist>
<title>Crazy in Love</title>
<number></number>
<length>00:03:56</length>
</audio>

Obviously, Beyoncé is the intended artist, but how would a computer know that? The odd character sequence at the end of her name is actually a single character: the Unicode Replacement Character /uFFFD, or one representation of it. (The lozenge-question-mark � is another representation of the same character.) How did it get there? Some automated transcription program back in the day encountered a character it wasn’t designed to handle (in this case the é), and replaced it with a wild card. The problem for any metadata transform filter is that the wild card can refer to anything — there’s actually no way to know except from the context what the original character was supposed to be.

And so there we are, at the interface of data and chaos. Even in the age of digital streaming, keeping entropy at bay is still the constant battle.

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

The post The Politics and Protocols of Streaming appeared first on Radio World.

Rick Bidlack

A Stream of Thought … on Streaming

Radio World
3 years 4 months ago

For radio stations, streaming of our programming has changed considerably over the past decade.

In the early days, it was a novelty. It represented just another way for listeners to “tune in” to their favorite stations. There was little in the way of value in an internet-delivered stream, but many stations got on the bandwagon for various reasons, including (and perhaps especially) because the competition was doing it.

Those early streaming efforts were … primitive (to put it nicely). Bit rates were often low because bandwidth costs were so high in those days, and the streams sounded, well, not great. They were full of artifacts, and many exhibited that watery sound that was and is so common to low bit rate streams. Most were either unprocessed or poorly processed — wrongly processed is probably a better descriptor, and that didn’t help matters much on the listener’s end.

Special low-bit-rate processing algorithms properly used can make your stream sound great.

As time went on and bandwidth costs came down, bit rates were improved and things stated sounding better. We began to figure out how to monetize our streams to make them pay for themselves at the very least and be somewhat profitable at best. This roughly coincided with reduced costs for mobile data plans, making it possible for listeners to connect to our streams using their mobile devices.

Squeaks and chirps

We started figuring out how to process our streams right, using processing algorithms specifically created for reduced bit rate audio.

This made a big difference in our 32- and 64-kbps MP3 and AAC streams; they became downright pleasant to listen to. Gone were the watery sound and chirpy, squeaky artifacts. And because we weren’t trying to beat the guy(s) across town in a loudness war, our streams could actually have some dynamic range.

With the advent of hybrid radio, the quality of our streams has taken on a whole new level of importance. When the blend to the stream occurs in the listener’s radio, we want to avoid big difference in sound quality. It should be imperceptible, or almost so. The challenge is much the same as it has been for hybrid HD Radio for the past 15+ years: The blend has to sound good.

Streaming encoders have come a long way, too. Most, as far as I can tell, are still software encoders running on the station’s own hardware, but both the encoding software and the hardware are getting better and better.

In addition to traditional sound cards ranging from under $50 to over $1,000, stations with AoIP studio infrastructure have the option to feed their encoders via IP using PC drivers compatible with whatever AOIP system they are using.

Hardware like this Dell Precision rack-mount workstation using an AOIP driver can handle multiple stations with multiple streams each.

In the bigger markets, my company employs Dell Precision rack-mount workstations with some horsepower, dual-port NICs and employing multi-channel AoIP drivers to produce the streams. These machines can easily handle streams for multiple stations with multiple streams for each station. Streaming service for our stations is provided by Triton, and we use their proprietary encoder software on these workstations.

Purpose-built hardware encoders are now available from various manufacturers that will accept a variety of input sources, including AoIP. These encoders will produce multiple streams in different formats and with different data rates. Some include integral audio processing, providing a “one-stop” encoding solution.

Making it pay

As noted, monetizing our streams is important in many stations. Preroll and midroll audio or video ads, ad replacement and programmatic ad sales are elements that we have to deal with in many cases. Some of those things require special triggers from our playout systems, and that can be really tricky.

RIAA reporting for royalties is another important element that we have got to get right. Underreporting or missed reporting can get us in hot water legally; overreporting can cost us in unnecessary royalties. This reporting is a function of metadata export from our playout systems.

Some of the same metadata export is used to provide title/artist display on media players, and even to trigger lookup of album art for player/app displays, another reason to get it right. Listeners get irritated when incorrect information — or no information — is displayed. I know I do.

On a related note, stream listeners who don’t show up in the Nielsen data don’t count, so we’ve got to get our watermark encoding right. Program directors and station managers get really irritated when PPM doesn’t pick up on listeners that we have.

In the current issue of RWEE, Rick Bidlack, a development engineer at Wheatstone Corp., walks us through the building blocks of a stream.

There’s a lot at work here, from the playout system, the encoder, audio processing, metadata aggregation and conversion, and transmission to the masses. There are plenty of places for things to go wrong, but the better our understanding of the signal flow, the better equipped we as broadcast engineers will be to deal with it.

I remember a decade or more ago pulling out my iPhone and describing it to the president of our company that this was the “transistor radio” of the future. In a lot of ways, I missed that prediction by quite a bit; nobody walks around with an iPhone in their shirt pocket audibly playing a radio station stream. But in some ways I was right. There are plenty of folks using their smartphones to stream audio to their Bluetooth earbuds, and there are just as many that play streams through a Bluetooth-connected audio system, in cars, homes, even airplanes. And listeners in cars equipped with hybrid radio will sometimes listen to our streams and don’t even know it.

The bottom line for us is that more than ever, our internet streams have got to be right. They have to be reliable, meaning that someone (or something) has got to monitor them to be sure they are up. They have to sound good, be artifact-free and carry the correct metadata. Ad replacement has to be smooth and seamless, with overlays fitting exactly. And watermark encoding has got to be done right, too.

There is a lot at stake. We can’t afford to be anything but diligent.

Read more about streaming trends and best practices in Radio World’s free ebook “Streaming for Radio in 2021.”

Cris Alexander, CPBE, AMD, DRB, is director of engineering for Crawford Broadcasting and technical editor of Radio World Engineering Extra.

The post A Stream of Thought … on Streaming appeared first on Radio World.

Cris Alexander

KOEZ(FM) De-Ices, Optimizes With Dielectric

Radio World
3 years 4 months ago

The Dec. 22 issue of Radio World features our Buyer’s Guide for antennas, RF support and power products. Buyer’s Guide features application stories like this one.

Saga Communications station KOEZ(FM) in Iowa, serving the Ames and Des Moines markets, completed installation of a new Dielectric DCR-C ring-style antenna this fall.

The circularly polarized, center-fed antenna replaces an antenna knocked off the air by a partial tower collapse caused by a February ice storm. The station had been operating with a lower-power auxiliary antenna for months; the eight-bay DCR-C was operating below full power at press time, with full commissioning for KOEZ’s 100 kW ERP expected shortly.

KOEZ opted not to replace the top 100 feet of the tower lost to the storm. The side-mounted DCR-C has a center of radiation just short of 900 feet. Joe Farrington, chief engineer of Saga subsidiary Des Moines Radio Group, believes lowering the antenna position and dropping from 10 to eight bays will improve penetration within city limits.

“Downtown Des Moines has always been a challenge,” Farrington told the manufacturer. “There is a very low spot in the center downtown with a surrounding ridge. We believe the DCR-C is properly designed and positioned to actually strengthen our signal through Des Moines instead of somewhat skipping over it.”

Farrington said the tower was erected under old guidelines that didn’t consider icing and windload. “We have lightened the tower load considerably, both with the antenna weight and LED tower lights. Dielectric added radomes to the antenna design, which will protect it from future icing. We expect that the antenna and tower will each last its lifetime without incident.”

Dielectric’s broadband DCR-C antennas can be end-fed or center-fed, offer a power rating of 10kW per bay, and are available in stacked arrays up to 12 bays with an input rating to 40 kW.

Info: https://www.dielectric.com/antenna/dcr-c-hdr-c/

The post KOEZ(FM) De-Ices, Optimizes With Dielectric appeared first on Radio World.

RW Staff

Podcast Audio/Video Editor

Radio+Television Business Report
3 years 4 months ago

NY-ATL-LA- Remote- Job Details:: Podcast Audio/Video Editor

TheGrio
(n) grī/ō, ‘grīō: Journalist. Historian. Praise Singer. Poet. Musician. Curator. Storyteller.

TheGrio, is a digital, video-centric news community devoted to giving voice to trusted figures on the front line who inspire us every day, and to fresh perspectives who buck convention because there’s more than one way to be Black. We believe a well-informed community best determines its own interests. And so, TheGrio’s editorial mandate is to focus on news and events which have a pronounced impact on a Black global audience. We unabashedly explore culture and entertainment, health and lifestyle, politics and policy, business and empowerment, science and climate, tech and innovation, and everything in between that matters to us. From Kampala to Atlanta TheGrio is Black culture amplified.

TheGrio is strongly building its editorial staff. It is an investment in the business’s core competencies. These jobs will primarily be based in NY and Atlanta. Some of the positions will be opportunities to work from other cities or fully remote. Byron Allen, CEO of Allen Media Group, says, “TheGrio is the leader of fearless journalism and inspirational storytelling about Black people. No other Black news outlet has our cumulative audience reach or impact. This is a natural growth of our brand sponsorships, and editorial partnerships for TheGrio’s content on digital, mobile, streaming, podcasts, and social media.”

Job Description:

TheGrio is seeking a Podcast Audio/Video Editor to work on our slate of new podcasts. The ideal candidate will have professional experience in podcasts, audio and video production, as well as both studio and field recording. The ideal candidate will be able to edit together compelling stories from interviews, audio clips, and commentary, and serve as a full-on collaborator with podcast hosts and producers.

Candidates should have a minimum two years of audio or digital platform experience, proficiency in audio production tools (ProTools, Audition, or Audacity) and work on deadline.

Responsibilities:

Executing assignments with a strong understanding of TheGrio’s voice, brand and mission.
Excellent audio editing, special effects, and creative sound design.
Working with podcast producers to shape and execute an ambitious narrative work.
Shaping the edit around the episode concepts and providing editorial input.
Working as a team player capable of clearly communicating with key stakeholders.
Collaborating with hosts and media teams to meet their vision and clarify storyline when editing interviews into episodes, but also comfortable working autonomously.
Willingness to collaborate across platforms, products and businesses.
Ensuring each show meets the highest audio quality standards.
Editing 6-10 show episodes each week on deadline.
Cooperatively collaborates on production and post-production.
Diligently keeping up with schedules, and workflows for all podcasts.
Ensuring the accurate and timely management of an audio library, archives, and music.
Managing time so that podcast episodes and special features meet regular production schedules.
Sourcing audio material for each episode.
Ensuring the highest quality sound and video products.
Guiding and supporting junior staff on edits.
Managing episode uploads and publication, and organizing files in a storage system.
Maintaining standards and practices guidelines.
Proactively supporting a healthy newsroom culture with high performance and quality commitments.
Helping the teamwork through technical issues and anticipate technical needs.
Stays up to date on news and current affairs pertaining to Black America and the diaspora.

Education/Requirements:

Bachelor’s degree or equivalent work experience in communications, journalism, Web production or related subject preferred.
Minimum 3 years experience producing digital content at a major news network or online news publication.
Have a firm understanding of rights and clearances, and thoroughly track sources of material for licensing.
Must have expert-level experience with all aspects of digital video production.
Proven knowledge of online production and multimedia storytelling, online publishing systems and technologies.
Proven ability to prioritize and manage multiple projects simultaneously.
Demonstrated organizational and time management skills and works well under deadline pressure.
Story-driven editing and producing experience.
Strong knowledge of current events.
Passionate about amplifying the news and culture of Black people.

About Us:
We are the #1 Black-owned, digital video-centric news platform devoted to providing Black America with compelling stories and perspectives.

Established in 2009, TheGrio is a trusted voice in the Black community. In 2021, we’re continuing to reshape media narratives, uplift Black voices, and report from the front lines of our communities.

TO APPLY FOLLOW THE LINK: http://careers.weathergroup.com/

RBR-TVBR

Audio Producer and Writer

Radio+Television Business Report
3 years 4 months ago

NY-ATL-LA- Remote- Job Details:: Audio Producer and Writer

TheGrio

(n) grī/ō, ‘grīō: Journalist. Historian. Praise Singer. Poet. Musician. Curator. Storyteller.

TheGrio, is a digital, video-centric news community devoted to giving voice to trusted figures on the front line who inspire us every day, and to fresh perspectives who buck convention because there’s more than one way to be Black. We believe a well-informed community best determines its own interests. And so, TheGrio’s editorial mandate is to focus on news and events which have a pronounced impact on a Black global audience. We unabashedly explore culture and entertainment, health and lifestyle, politics and policy, business and empowerment, science and climate, tech and innovation, and everything in between that matters to us. From Kampala to Atlanta TheGrio is Black culture amplified.

TheGrio is strongly building its editorial staff. It is an investment in the business’s core competencies. These jobs will primarily be based in NY and Atlanta. Some of the positions will be opportunities to work from other cities or fully remote. Byron Allen, CEO of Allen Media Group, says, “TheGrio is the leader of fearless journalism and inspirational storytelling about Black people. No other Black news outlet has our cumulative audience reach or impact. This is a natural growth of our brand sponsorships, and editorial partnerships for TheGrio’s content on digital, mobile, streaming, podcasts, and social media.”

JOB OVERVIEW

TheGrio is looking for Audio Producers and Writers for its Podcast Network. The ideal candidates will help write and produce episodes for multiple podcasts per week. This job is located in New York, NY.

Responsibilities:

Assist the Managing Editor of Podcasts in all aspects of content creation.
Producing and developing episode content and show ideas that fit with specific Grio podcast themes – covering all aspects of the Black experience – including news, entertainment, politics, social justice, education, etc.
Research current events, trends, topics that keep theGrio’s brand relevant, fresh and impactful to Black audiences.
Writing scripts for multiple podcasts.
Collaborating with hosts and media teams to meet their vision and clarify storyline when editing interviews into episodes, but also comfortable working autonomously.
Ensuring each show meets the highest audio and video quality standards.
Cooperatively collaborates on production and post-production.
Diligently maintains schedules and workflows for all podcasts.
Ensures the accurate and timely management of an audio library, archives, and music.
Sourcing audio material for each episode.
Managing files in a storage system.
Proactively supporting a healthy newsroom culture with high performance and quality commitments.
Consistently thoroughly track sources of material for licensing.
Stays up to date on news and current affairs pertaining to Black America and the diaspora.
REQUIREMENTS

A Bachelor’s degree is required.
Deep knowledge and awareness of Black America.
Strong knowledge of narrative storytelling.
Excellent written and verbal communication skills.
Excellent organizational and time management skills.
Demonstrated organizational and time management skills.
Works well under deadline pressure with multiple projects in production at one time.
Ability to work independently, be proactive, and take initiative.
3 years’ experience producing/writing in audio industry, podcasts.
Maintains ethical journalism standards.
Works as a team player capable of clearly communicating with key stakeholders.
Have a firm understanding of rights and clearances.
Must have expert level experience with all aspects of audio production.
Proven knowledge of online production and multimedia storytelling, online publishing systems and technologies.
Story-driven producing experience.

About Us:

We are the #1 Black-owned, digital video-centric news platform devoted to providing Black America with compelling stories and perspectives.

Established in 2009, TheGrio is a trusted voice in the Black community. In 2021, we’re continuing to reshape media narratives, uplift Black voices, and report from the front lines of our communities.

TO APPLY FOLLOW THE LINK: http://careers.weathergroup.com/

RBR-TVBR

Managing Editor and Producer, Podcast

Radio+Television Business Report
3 years 4 months ago

NY-ATL-LA- Remote- Job Details:: Managing Editor and Producer, Podcast

TheGrio
(n) grī/ō, ‘grīō: Journalist. Historian. Praise Singer. Poet. Musician. Curator. Storyteller.

TheGrio, is a digital, video-centric news community devoted to giving voice to trusted figures on the front line who inspire us every day, and to fresh perspectives who buck convention because there’s more than one way to be Black. We believe a well-informed community best determines its own interests. And so, TheGrio’s editorial mandate is to focus on news and events which have a pronounced impact on a Black global audience. We unabashedly explore culture and entertainment, health and lifestyle, politics and policy, business and empowerment, science and climate, tech and innovation, and everything in between that matters to us. From Kampala to Atlanta TheGrio is Black culture amplified.

TheGrio is strongly building its editorial staff. It is an investment in the business’s core competencies. These jobs will primarily be based in NY and Atlanta. Some of the positions will be opportunities to work from other cities or fully remote. Byron Allen, CEO of Allen Media Group, says, “TheGrio is the leader of fearless journalism and inspirational storytelling about Black people. No other Black news outlet has our cumulative audience reach or impact. This is a natural growth of our brand sponsorships, and editorial partnerships for TheGrio’s content on digital, mobile, streaming, podcasts, and social media.”

Job Description:

TheGrio is seeking a Managing Editor Director and Producer to build TheGrio’s podcast network, create content and manage our podcast team. We’re looking for big thinkers with a passion for the Black community and demonstrated excellence in storytelling. This leader will be responsible for the development and business operations of our podcast network, which includes managing an original slate of podcast offerings from TheGrio and managing the podcast network as a platform for unlimited podcasts about the Black experience in America and globally. The ideal candidate is an expert in storytelling, podcast production, technical requirements, distribution models, advanced analytics, project management, as well as managing a team of hosts, producers, and editors.

The Managing Editor Director and Producer will work closely with theGrio’s editorial team to amplify and cross-promote original content on the website, as well as promote larger editorial goals and themes throughout our podcasts.

This leader should be highly organized, self-motivated, creative, collaborative, and familiar with the news and cultural issues important to Black America.

Responsibilities:
Building TheGrio’s Podcast Network as a destination for subscribers interested in podcasts by Black creators or about Black culture.
Manage a team of in-house hosts, producers, and podcast editors.
Working closely with Editorial, the Creative Director and various other departments, including businesses across Entertainment Studios, Ad Sales, Affiliates, Marketing, PR, Legal, Finance, etc., to create a powerhouse podcast network with its own community of engaged listeners.O
Overseeing production and post-production schedules, and workflows for all podcasts.
Ensuring each show meets the highest audio quality standards.
Maintaining the highest legal, ethical and journalism standards for audio publication.
Charting and leading the podcast team with an overall strategy, with corresponding calendars and milestones.
Operating as a chief audio storyteller— coaching and training your team on writing and producing episodes that are download-worthy and relevant to the audience.
Producing original content yourself.
Ensuring the accurate and timely management of an audio library, archives, and music.
Monitoring and managing licensing agreements.
Applying a deep understanding of audience analytics to all shows to organize and optimize content, assess trends, and develop innovative, dynamic content and products, and present reports regularly to leadership teams,
Monitoring metrics, analysis of the broader marketplace, including user behavior and feedback.
Helping the team work through technical issues and anticipate technical needs.
Stay up to date on news and current affairs pertaining to Black America and the diaspora.
Education/Requirements:

Bachelor’s degree (communications or journalism preferred).
4-5 years minimum experience in Podcast management, production.
Adept at relationship building and managing talent.
Ability to operate strategically and tactically as the situation demands.
A results-oriented and mission-driven leader who leans on building workflows and data-driven strategies.
Ability to work in a fast-paced, high-pressure environment without sacrificing accuracy and attention to detail.
Desire to achieve, flexibility and willingness to work the hours necessary to get the job done in a 24×7 environment.
Able to manage the repurposing and/or reversioning of various content.
Excellent collaborative skills and ability to work well on teams.
Experience using newsroom management systems and content management systems.
Strong interpersonal skills.
Knowledgeable in developing and producing rich content and a range of programming formats for multiple platforms aimed at broadening and developing audience loyalty.
Story-driven writing and producing experience.
Strong knowledge of current events.
Passionate about amplifying the news and culture of Black people.

About Us:
We are the #1 Black-owned, digital video-centric news platform devoted to providing Black America with compelling stories and perspectives.

Established in 2009, TheGrio is a trusted voice in the Black community. In 2021, we’re continuing to reshape media narratives, uplift Black voices, and report from the front lines of our communities.

TO APPLY FOLLOW THE LINK: http://careers.weathergroup.com/

RBR-TVBR

Keep Your RF Plant Cool, Clean and Well-Grounded

Radio World
3 years 4 months ago

Jeff Welton is Nautel’s regional sales manager for the central U.S., but that job title doesn’t capture his better-known role as “go-to” guy for technical tips, problem-solving and entertaining public presentations.

The industry has caught on. In 2018 he received the Society of Broadcast Engineers James C. Wulliman Educator of the Year Award. In 2019 the Association of Public Radio Engineers handed him the APRE Engineering Achievement Award. And in 2020 he received the NAB Radio Engineering Achievement Award.

This conversation is from the Radio World ebook “Mission-Critical: Maintaining Your Transmitter Site.”

RW: When we’re talking about maintaining a site for broadcast radio operators, you have a philosophy.

Welton: I’m a guy who works for a transmitter company, but it’s a good philosophy for almost any electronic installation. The three principle tenets are: Keep it cool, keep it clean and keep it well grounded.

RW: There are hundreds of things we could talk about to meet those goals. Where do you start?

Welton: My wife likes to say that I can spot a butterfly half a mile away and go chasing it off into the wilderness, totally losing my train of thought. It’s easier for me to pick a specific task and approach that first.

A FLIR infrared camera attachment lets Jeff take quick visual temperature readings.

I might walk into a facility and look at airflow direction and check to make sure that the air is going to the actual intake so the equipment that needs to be cooled. Or I might go in with a temperature meter — a Fluke infrared temperature sensor, or I’ve got one of the FLIR infrared camera attachments for my cellphone, it’s a wonderful tool — and do temperature readings to spot checks throughout the facility to see if there are any hotspots that may need additional air flow.

I may do another trip and just do a look-around and open a panel or two. If you’re seeing piles of dirt building up in your equipment, that’s a hint and a half that something needs to be done with air pressure and filtering. You look for the clues as you go. Obviously lightning protection and grounding are easiest. Stuff’s blowing up? You need to do more of it.

RW: Have you found that having fewer engineers coming into the business and fewer people who understand RF has made this a lot harder?

Welton: It does make it a little more challenging. With younger folks being so oriented toward IT and IP addresses, management [may forget] there’s still a big, heavy piece of equipment out there that generates heat and needs a lot of cooling and some maintenance.

We’ve been doing Tuesday webinars on maintenance and mentoring; you can find the archives on the Nautel website.

In addition to newer engineers who aren’t so intimately familiar with the big, heavy, glowing stuff, a lot of managers are working with lower budgets. When you’re running low on time and money, you’re not going to put as many resources towards maintenance — the oil changes, if you will.

Keep spares of any “mission critical” components. Managers, ask your engineer what they could not do without in an emergency.

But most people wouldn’t think of going 80,000 miles without changing the oil on their car, so why would you let the transmitter, which generates all the revenue or underwriting for your station, go for a full year without any maintenance whatsoever?

Especially in the year of COVID, where every day became a series of remote broadcasts as on-air hosts and DJs got moved to their living rooms, engineering gets stretched really thin, going from a couple of remote broadcasts a week to half a dozen a day. The resources for site maintenance and transmitter maintenance get stretched even thinner.

But you can’t leave the air filters in the transmitter until they’re covered with a half-inch of crud.

RW: Is that the most common problem you’re hearing about?

Welton: It’s a bunch of things. High winds get into ventilation systems because exhaust fans failed and weren’t putting the air out, so the wind blew the rain back into the transmitter.

I’ve had one that got snowed on. Several leaky roofs, several lightning-damaged systems as a result of lack of maintenance on the grounding system.

It’s more from a lack of attention or personal presence at the site to catch these things before they become an issue. Some of it may be purely financial. A new transmitter at a low-power level costs a couple of thousand dollars, an engineer costs tens of thousands, so do the math; it’s cheaper to replace the transmitter every so often. It’s a conscious decision in some cases. In other cases, “We got busy and forgot.”

RW: What is the recommended frequency of visiting a remote site for general inspection?

Welton: If I’ve got a site in a cornfield in Iowa, where I’m dealing with windblown dust on a regular basis, it needs to be visited once a month, especially in the summer. If I’ve got a sealed air-conditioned facility and a company was contracted to come in to clean the heat exchanger coils, I may visit that once a year.

Inspect towers by night, and by day, checking paint as well as lights. Know whom to notify if lights are out.

I’ve done Mississippi in cottonwood season; if you’re running a forced air system, you’re going to be down there every couple of weeks in July and August.

It will depend on your sites; but there needs to be a schedule and you can’t vary from it too much.

RW: Let’s imagine getting ready to go to a site for a monthly inspection. What’s in your kit?

Welton: The number one tool is the two-foot bolt cutters! I call it the skeleton key — for when a power company guy changed locks around my lock at a multi-access site.

Then my infrared camera, which I can attach to my cellphone. I can power it up as I walk in the building, and point it at the power panels and run it over the coax, looking for any hotspots before I’ve even unpacked my gear.

A caveat is that you need to have a non-reflective surface. Especially with laser-guided infrared cameras, reflective paint can skew the readings. (I’m Canadian so I like hockey tape, a cloth-based tape with matte finish that sticks really well; you can stick that on your electrical panel.)

After the temperature sensor, a small kit of hand tools with a knuckle-buster — a crescent wrench or adjustable wrench.

With stuff coming in from overseas, I’m going to want a combination of metric and Imperial tools.

A Leatherman or Gerber [multi-tool], at your preference, so you’ve got Phillips and flathead screwdrivers.

If I knew I’d be looking at air filters, I’d want a full set of air filters and belts for the blowers already at the transmitter site, or in my toolkit.

I carry a first aid kit, rather than putting electrical tape, an old paper towel or shop rag on our finger when we cut it. I am known for sticking my fingers in places I probably shouldn’t have stuck them.

RW: Ideally you would bring someone with you for safety reasons, but that’s probably not practical for a lot of stations.

Welton: The person doesn’t have to be RF-trained. Have somebody there, show them where the circuit breaker is in case you get connected across something you shouldn’t be connected across.

They need to be able to call 911, whether it’s a landline or a cell phone, depending on the service area. A lot of sites tend to be above cell coverage. But have a way to reach emergency services.

Beyond that, they’re there to make sure you don’t do anything foolish. Ideally somebody who doesn’t distract you from what you’re doing.

A lot of engineers take their significant other. Or grab the general manager. It’s good to have the GM go. I still run into GMs who don’t know where their site is.

RW: If time is limited and you’re doing a regular visit rather than responding to a specific problem, what are you checking?

Welton: Anything that handled air — whether it’s a filtered air intake, an open-air intake transmitter, air filters, heat exchanger coils on an air conditioning system. Check the cooling system, whatever it happened to be.

While reliable cooling is important, remember that an air conditioner that is oversized for your space may cause condensation and mold.

Listen for blower belts that might be starting to squeak or getting a little persnickety.

If it’s a generator site, I’d run the generator to make sure it started. On a regular basis, you also need to do a full load test and switch the whole site over to generator.

Check the foliage. Look for carcasses like snakes or other kind of vermin in and out of the building.

If it’s an AM, I’m glancing at the base insulator and taking a quick check on guy wire anchors. Just do a physical once-over. Walk around.

RW: You’ve probably seen things that made you shake your head.

Welton: A few. I walked into one site where I was convinced, by the end of the visit, that the engineer was trying to find a way to commit suicide. It was the scariest thing I’d ever seen. Open panels, bypassed interlocks, the tuning unit had overgrown to the point you were running a risk of tripping or falling just going into the antenna enclosure.

He had been unwell and somebody had been covering; but it was a collection of “This is not really good.”

For the most part, people take pride in their facilities. But there are times when you’ll see pieces of Schedule 90 conduit lying on the floor waiting for somebody to step on them, go for a ride, bang their head on a cabinet and lay there unconscious until somebody finds them.

The safety thing is critical. I don’t go into any site where I’m going to be touching electrical stuff without safety shoes on. It’s just a given. They’re a cheap investment and good insurance.

But if you look at the number of engineers found at transmitter sites, most of the time it wasn’t electricity that killed them. It was a trip and a fall and bang your head on something, or a heart attack, or an intruder.

We get too busy doing things. You put in a full day at the studio or in meetings, and then a transmitter goes down, and you spend the next 12 hours at the transmitter site. Sometimes you need to know when it’s time to pull the plug and say, “I’m too tired to do this coherently, and I’m a danger to myself and my equipment.”

RW: You’re not doing the station any good if you get yourself killed —

Welton: Right.

RW: Or yourself.

Welton: Well —

RW: Go ahead.

Welton: Somebody used to say, “Nobody ever died from a lack of rock ’n’ roll.”

RW: Are there common questions or service issues that come up?

Welton: I get a lot of questions on grounding. If you’re laying on a new site and want a good resource to get started, I refer people to the grounding for transmitter stations paper in the Resources tab of our website. Or Google the Motorola R56 standard. It goes into massive detail. If you follow that, you’re probably going to have the best grounded facility you can have.

Stock your site with emergency supplies like drinking water, paper towers, cleaning wipes and first aid kit, and if the site is remote, consider a survival kit. For ideas, see fivegallonideas.com/emergency-kit. (Getty Images)

One of the biggest questions I get is when somebody is putting a new piece of equipment into a facility that they’ve owned for decades and that has seen several transmitters, several engineers, and things have been laid on top of other things. Sometimes you need to assess whether it’s best to rip it all out and start again or whether you can add without creating loops and more challenges. Just take the time to sit down and assess where you are before you start.

The bulk of what we see in emergency situations? You’re not going to stop an “out-of-a-blue 200,000 amp lightning strike,” but the vast majority of [problems] could have been prevented by scheduled site visits and replacement cycles.

Everybody’s like, “Oh, the transmitter guy’s saying buy a new transmitter.” Well, I’m not saying buy a new transmitter this week. But when you have a piece of gear that’s 40 years old, you probably should be starting to think about the time to get a new one. And the best time is not when it’s got smoke coming out the top of it.

RW: We’ve all heard stories about an engineer finding a bullet hole in a pressurized line. That makes me think about the question of personal safety. Are a lot of clients going up there with a sidearm?

Welton: I’m a Canadian, which is an unarmed American with health insurance. I’m not really qualified to answer that. But I grew up in a farm country with guns, and when we went back in the woods, typically we had a weapon with us of some sort, whether it was for vermin control or because we had bears back there.

The Alaskan folks, you better have a sidearm going up there because running into a Kodiak bear is going to make for a bad day.

Sometimes it’s not the rural sites. Some of the urban locations I’ve been to — I was at a site in Houston where they had double razor wire fencing, and you had to go in through the outer gate, and the inner gate wouldn’t open until the outer gate was closed.

Again, it’s situational. I’ve got sites in Wyoming where I wouldn’t think anything of driving in there at one o’clock in the morning. You might see a bighorn sheep.

If you’re coming to a facility, you’re not familiar with, do it during the day until you get a feel for the area.

RW: There’s so much we could talk about — documentation or stocking the facility with emergency supplies.

Welton: Oh my goodness. Documentation. You said that and my eyes lit up.

So often, things are done with no hint of a note as to what was done or why. Document everything.

The older I get, the less inclined I am to remember why I did whatever I did 20 years ago. Also, for the value of the station — at some point somebody is going to look at this going, “What was he thinking?”

Welton suggests you label everything with serial numbers, service dates, what plugs go where, transmitter TPO etc. Shown is a Sanford RHINO 5200 Label Printer kit.

[At one time] you walked into a site, the first thing you did was sign into the logbook; and before you left, you filled in notes on everything you did. We need to get back to that.

With tools like Evernote, you can do audio transcription or attach photos, put in handwritten notes and have character recognition — tools like that on a cellphone are huge.

Now, doing a full spreadsheet, a list of every wire in the facility, starting from scratch, that’s going to take some time; but it takes a lot less to update it as you go than it does five years from now to have to create it from nothing.

So, document, document, document.

RW: Is there a section of the Nautel website you want people to be aware of?

Welton: When you go to the support page, there are links to “how-to” videos. If the service guys get regular calls on something they’ll create a short how-to video for our YouTube channel.

And there’s the latest software. Things we used to do with bags of resistors, capacitors and a sheet of instructions are done with software updates now, so you can find the latest software, read through the release notes to see if it applies to your situation. And my “Tips and Tricks” articles, the quarterly Waves newsletter that we put out.

RW: Final thoughts, Jeff.

Welton: The laptop is less a luxury item than a necessary tool. Obviously we pioneered this with the AUI back in the early 2000s, but more and more equipment will have features that you can access over an IP connection that you won’t necessarily have access to from the front panel.

For a contract engineer, you almost can’t do your job properly without a station or personal laptop or a tablet anymore. Some sort of electronic device that you can plug into an RJ-45 connection.

A Few More Tips

Here’s a further sampling from Welton’s “Tips and Tricks” presentations:

  • Steel wool is an effective barrier to vermin when stuffed in gaps and cracks.
  • Keep a full set of spare keys where they are easy to find. You will need them eventually.
  • Change default passwords on all equipment.
  • Use a VPN. There are free ones listed at techradar.com/vpn/best-free-vpn, but paid ones can be very affordable.
  • Keep spare batteries handy and remember they have a shelf life. Change frequently on smoke detectors and any key components where batteries provide backup.
  • Provide backups to your STL or other primary link. Is there a redundant method of control?
  • Take advantage of the Alternative Broadcast Inspection Program to check yourself and to help keep your staff aware of relevant rules.

The post Keep Your RF Plant Cool, Clean and Well-Grounded appeared first on Radio World.

Paul McLane

Open Video System Order, Digital Broadcasting

FCC Media Bureau News Items
3 years 4 months ago
OVS Order

Broadcast Actions

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Applications

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Pleadings

FCC Media Bureau News Items
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An ABC Radio Network Entertainment Reporter’s Star Dishes

Radio+Television Business Report
3 years 4 months ago

ABC Radio Network entertainment reporter Bill Diehl is out with a book.

’50 Years Of Celebrity Chatter (Or The Time I interviewed A Porn Star Naked)‘ has stories and quotes from almost all the well-knowns he’s talked with over the years.

Diehl dug deep into his archives for the collection, bringing back great memories, “It’s been a great ride,” said Diehl.

Among those chiming in on Diehl’s career: Barbara Walters.

“Bill Diehl has interviewed me countless times over the course of our respective careers,” she said. “His knowledge of the entertainment business is vast and his insight is always keen.”

The book is available on Amazon. It is available in paperback form for $12.95, and on Kindle devices for $7.95.

— Radio Ink

RBR-TVBR

Reflections on 2020, From the FCC Chairwoman

Radio+Television Business Report
3 years 4 months ago
This holiday season once again may look a little different than many of us might have imagined. But with vaccines widely available in the United States, many more of us have been able to reunite with family and friends during the past year. As FCC Chairwoman Jessica Rosenworcel sees it, “The personal networks that have supported us through these days have been important, as have the communications networks that make it possible for so many of us to stay in touch, stay working, stay healthy, stay informed, and stay entertained.”

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RBR-TVBR

AT&T Motion to Dismiss Denied in Circle City Spat

Radio+Television Business Report
3 years 4 months ago

Two motions filed by AT&T and DirecTV against the owner of Indianapolis’ MyNetworkTV and The CW Network affiliates that sought to dismiss a racial discrimination lawsuit filed against the MVPD service providers have been denied by the Chief Judge of Indiana’s Federal District Court.

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Adam Jacobson

Report: Teheran Cyberterrorists Behind CMG Attack

Radio+Television Business Report
3 years 4 months ago

In June, several Cox Media Group radio and television stations fell victim to a vicious cyberattack. Audio streaming was nonfunctioning for weeks. Some TV stations had extreme difficulties in producing a live, local newscast. The company didn’t comment on what was wrong. Now, new information has surfaced as to who the culprit is behind the cyberincursion.

All arrows point to Iran.

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Adam Jacobson

NATPE Miami Preview? NBCU Inks Ukraine Distribution Deal

Radio+Television Business Report
3 years 4 months ago

Is a harbinger of a strong programming sales market in 2022, and a healthy transactions marketplace at the upcoming NATPE Miami conference?

Television and Radio Broadcasting Company Ukraine, part of media holding Media Group
Ukraine, has signed a three-year contract deal with NBCUniversal Global Distribution for exclusive rights to broadcast its content in the eastern European nation.

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RBR-TVBR

How Was The August 11 EAS Test?

Radio+Television Business Report
3 years 4 months ago

On August 11, 2021, the Federal Emergency Management Agency (FEMA), in coordination with the FCC, conducted a nationwide test of the Emergency Alert System (EAS) using only the broadcast-based distribution system, otherwise known as the “EAS daisy chain.”

As FEMA explained, “[t]he intent of conducting the test in this fashion is to determine the capability of the [EAS] to deliver messages to the public in event that dissemination via
internet is not available.”

How did this sixth EAS nationwide test go?

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Adam Jacobson

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