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In the wake of the dismissal of chairman and CEO Les Moonves, CBS named Richard Parsons as interim chairman of the board of directors. CBS’s board unanimously approved the appointment. “Dick Parsons has a combination of deep industry knowledge and unmatched corporate and board experience,” said ...

Exec is former CEO of Time Warner

In the wake of the dismissal of chairman and CEO Les Moonves, CBS named Richard Parsons as interim chairman of the board of directors.

CBS’s board unanimously approved the appointment.

“Dick Parsons has a combination of deep industry knowledge and unmatched corporate and board experience,” said Candace Beinecke, chair of CBS’ Nominating and Governance Committee. “We are fortunate to have Dick in this leadership role.

Parsons was chairman and CEO of Time Warner until 2007. He is also a former chairman of Citigroup and former interim CEO of the Los Angeles Clippers.

Moonves was removed as he battled the Redstone family for control of the company and was the subject of allegations that he sexually harassed and assaulted women over the course of his career.

After his removal, several new directors were added to the CBS board.

“We have a distinguished and independent Board that is steadfast in its commitment to serve the best interests of all shareholders,” said Parsons. “I think I speak for all Board members when I say I look forward to learning more about CBS’ compelling opportunities and how we can help guide and support the Company’s growth.”

CBS also said that two long time directors, Bruce Gordon and William Cohen will step down from their posts, citing other personal and professional priorities.

Author: Jon Lafayette
Posted: September 25, 2018, 11:37 pm
Senate Judiciary Chairman Charles Grassley (R-Iowa) has scheduled a potential committee vote on the nomination of Judge Brett Kavanaugh to the Supreme Court for Friday, Sept. 28, at 9:30 a.m., but it hardly appears set in stone.  That would only be a day after a hearing featuring Kavanaugh and ...

But appears to be procedural move in case that is possible

Senate Judiciary Chairman Charles Grassley (R-Iowa) has scheduled a potential committee vote on the nomination of Judge Brett Kavanaugh to the Supreme Court for Friday, Sept. 28, at 9:30 a.m., but it hardly appears set in stone. 

That would only be a day after a hearing featuring Kavanaugh and Dr. Christine Blasey Ford, who has accused him of sexual assault while both were in high school.

Grassley's office pointed out that noticing the "potential" executive business meeting for Friday at least three days before was per committee rules, " so an executive business meeting is being noticed tonight in the event that a majority of the members are prepared to hold one on Friday."

That means the vote could be held, but may not be. 

Kavanaugh has been accused by at least two women of sexual misconduct, accusations he has strongly denied.

Author: John Eggerton
Posted: September 25, 2018, 10:50 pm
The broadcast industry is experiencing unprecedented disruption from converging forces driven by new customer expectations and advancements in technology. The advent of Ultra High Definition 4K broadcasts – and coming prevalence of 8K – means the consumer has become more discerning than ever ...

Content creators can now profitably connect with niche markets

The broadcast industry is experiencing unprecedented disruption from converging forces driven by new customer expectations and advancements in technology.

The advent of Ultra High Definition 4K broadcasts – and coming prevalence of 8K – means the consumer has become more discerning than ever before in terms of their quality of experience when it comes to reliability, pristine pictures and crystal-clear audio. At the same time, the introduction of over-the-top (OTT) streams and the shift to non-traditional screens means viewers have never expected more flexibility in how and where they consume that content. The diversity in available programming – from local studios streaming online to international content providers streaming prestige productions – signals a new age of television. With it, comes increased competition for consumer eyes and ears.

This is the new content economy. Broadcast organizations can view this as a bane – something to resist as they protect legacy assets – or accept it for what it truly is: a boon to everyone in the content supply chain.

These new technologies have created a highly disruptive environment that has opened the door to infinitely more opportunities to create, deliver, and view content. The growth in the video broadcasting ecosystem signals an opening for traditional broadcasters to expand the reach of their content. It also offers the ability for new entrants to bring novel, affordable, and exciting content offerings to market quickly. All content creators can now profitably connect with niche markets. This is a chance for everyone in broadcasting to benefit from an exciting shift in our industry. It is a moment to be seized.

With change comes risk. An obvious one for broadcasters – both established and emerging – is that consumers are now in a buyer’s market. As OTT services become more commonplace, the barrier to switching providers will quickly diminish. Long-term contracts and hardware rentals are becoming obsolete. Customer retention will hinge on quality of service (QoS) and quality of experience (QoE).

Quality of experience will become exceptionally important. There is little point being able to successfully deliver the content if the quality of the delivered content is unacceptable. Providing an outstanding viewing and audio experience and ensuring consistent quality is paramount to retaining customers. The human eye is extremely good at detecting faults in an image. The only solution is to provide pristine and perfect quality as close to 100 percent of the time as possible.

Cue the fascinating world of monitoring. In the early days of streaming, providers were setting up OTT services so quickly that they often only monitored that a signal was being sent out. Although the signal was being sent out, there was no visibility of the content quality in that signal. Providers were oblivious to the problems that their consumers may have been experiencing. This may have been acceptable when content was being provided free of charge, but using customers as monitors is not a successful long-term business strategy.

As more customers pay for OTT services their expectations of quality have increased, their tolerance levels have decreased, and their ability to change provider has never been easier. A high bar has been set by the quality experience and reliability delivered through traditional broadcast mechanisms. Monitoring allows providers to assure the quality of the content, quickly react to content problems and hopefully fix them before their customers even notice the issue.

Live cloud streaming, OTT, and VOD networks are among the most complex in the industry. New services, new features, and new technologies are being added at a rapid pace, oftentimes without clear visibility into the workflow in which they are deployed. The solution here is effective monitoring, monitoring with the ability to:

  • Detect, alert, and report on customer impacting QoE issues
  • Utilize a software architecture that supports quick changes and access from different locations
  • Monitor linear and multi-profile streaming content whether it is encrypted or not
  • Facilitate unique customizations for data aggregation and analytics

Stated succinctly, effective monitoring allows broadcasters of all types to quickly react to issues before they affect the customer. This leads to increased customer satisfaction, less customer churn, and reduced risk as they enter the exciting new world of OTT technologies.

Author: Ian Valentine
Posted: September 25, 2018, 10:19 pm
Rep. Jerry McNerney (D-Calif.) and eight other Democratic members of the House Energy & Commerce Committee have written FCC Chairman Ajit Pai asking him to delay a Sept. 26 vote on an item billed as streamlining the deployment of much-needed 5G plans—the Streamlining Deployment of Next ...

Say local government issues yet to be resolved

Rep. Jerry McNerney (D-Calif.) and eight other Democratic members of the House Energy & Commerce Committee have written FCC Chairman Ajit Pai asking him to delay a Sept. 26 vote on an item billed as streamlining the deployment of much-needed 5G plans—the Streamlining Deployment of Next Generation Wireless Infrastructure item.

While they said they are all for fast deployment of 5G, they say cities and localities have issues that need resolving before any vote.

Among other things, the item would put local governments on a shot clock for tower-sitting decisions, "limit state and local governments to charging fees that are no greater than a reasonable approximation of their costs for processing applications and for managing deployments in the rights-of-way."

Related: T-Mobile Signs $3.5B Deal with Ericsson for 5G Gear

The FCC has advertised the item as "reaffirming local control" over wireless infrastructure decisions, while "ensuring that commonsense guardrails apply to outlier conduct."

The House Democrats don't see it that way.

"[I]n order to achieve the best outcome for consumers, it is crucial that 5G be deployed in a way that carefully balances the interests of both communities and the wireless carriers. The Declaratory Ruling and Order clearly falls short of striking such a balance," they said.

For example, they said, "limiting the purpose for which small wireless facility fees can be collected by cities and municipalities, as proposed by the Declaratory Ruling and Order, will only stifle local policy innovation, including efforts to bridge the digital divide."

They pointed to what they said was the faulty reasoning underlying the deregulation. "The item assumes the savings that wireless carriers will have from paying lower fees will result in 5G deployment investment in rural areas, yet there is no guarantee that the savings will result in wider deployment," they told the chairman.

Related: AT&T Tells FCC Consumers Will View 5G as Compelling Alternative to Wireline Broadband

They also echoed criticism of the FCC's Broadband Deployment Advisory Committee (BDAC) and its lack of representatives from cities and municipalities.

Commissioner Brendan Carr, who motormanned the item, estimated that the FCC's planned rule revisions "will cut $2 billion in red tape" regulatory costs for the industry.

He also said the FCC has taken into account the needs of state and local agencies, and their complaints that the profusion of small towers whose deployment is being streamlined is a gift to wireless carriers at the expense of local governments.

Gary Arlen contributed to this report.

Author: John Eggerton
Posted: September 25, 2018, 10:05 pm
Bolstered by numerous season premieres, the session ending Sept. 16 was a very strong one for syndication, even though the week included Hurricane Florence, which caused widespread preemptions and eviscerated viewing levels with evacuations, flooding and massive power failures in several markets. ...

Magazines especially sharp with Emmys coverage

Bolstered by numerous season premieres, the session ending Sept. 16 was a very strong one for syndication, even though the week included Hurricane Florence, which caused widespread preemptions and eviscerated viewing levels with evacuations, flooding and massive power failures in several markets.

In addition, there were also preemptions for coverage of the 17th anniversary of the 9/11 attacks.

Magazines were especially sharp with CBS Television Distribution's Inside Edition rising 11% from the previous frame to a 3.1 live plus same day national Nielsen rating and landing slightly ahead of CTD sister show Entertainment Tonight, which climbed 7% to a 14-week high 2.9.

Related: Tamron Hall Daytime Talker Cleared on ABC Owned TV Stations for Fall 2019

Warner Bros.' TMZ added 8% to a 1.3. NBCUniversal's Access raced ahead 9% to a 15-week high 1.2. Warner Bros.' Extra spurted 10% to a 12-week high 1.1. CTD's DailyMailTV surged 11% to a seven-week high 1.0. Twentieth's Page Six TV held steady at a 0.7 despite high preemptions, and Trifecta's Celebrity Page was unchanged at a 0.2.

In other ratings news for the category, comprehensive next-day reporting on the 70th Emmy Awards gave a boost to the entertainment magazines, all of which were even with or up over year-ago time period averages.

On Sept. 18, Entertainment Tonight recap coverage of the Emmy cast was the highest rated of all the magazines in the overnights with a 3.0 rating/6 share primary run metered market average and time period growth over last year of 25% in New York and 15% in Los Angeles.

Related: NBC Station Group Buys Syndicated 'Kelly Clarkson'

Primary run metered market Emmy recap results for the other entertainment magazines included: Access with a 1.8/4 share and year-over-year time period gains of 29% in Los Angeles and 76% in Philadelphia; Extra with a 1.6 rating/4 share and increases of 35% in Philadelphia and 100% in Washington D.C.; Page Six TV with a 0.8 rating/2 share and spikes of 40% in Los Angeles and 60% in Chicago; and DailyMailTV with a 0.7 rating/2 share and improvement of 20% in New York and 75% in Washington D.C.

On the rookie front, panel talker CTD's Face the Truth, the first of the nationally cleared first-run newcomers to debut this season, premiered at a 0.8, that equaled the third-highest opening week among all first-run strips that have premiered in the past three years. Debmar-Mercury's new courtroom entry, Caught in Providence, the season’s only other fully cleared first-run strip, got out of the gate on Sept. 24 with a preliminary 0.3 rating/1 share weighted metered market average for all telecasts, down 40% from its year-ago time periods.

Related: Disney-ABC Riffs on Dre's Love of Shoes to Kick Off 'Black-ish' in Syndication

Turning to the veterans, CTD's Dr. Phil began operating on season 17 with a 4% advance to a 2.8 and extended its streak of first-place finishes in talk to 106 weeks with two ties. Among women 25-54, Phil was again first in talk with a 1.2 in the key demo. Back in households, Disney-ABC's Live With Kelly and Ryan snared second place with a steady 2.1. Following Live, Warner Bros.' Ellen DeGeneres danced to an 11% gain, landing at a 2.0.

NBCU's Maury recovered 8% to a 1.3. NBCU's and Steve Harvey's Steve swelled 20% among women 25-54 to a 0.6 demo rating and 9% to a nine-week high 1.2 in households to tie Debmar-Mercury's Wendy Williams, which returned to original episodes with a 50% leap to a 1.2.

Further back, NBCU's conflict talker Steve Wilkos picked up 10% to a 1.1. CTD's Rachael Ray was flat at a 1.0 and landed in a tie with Sony Pictures Television's Dr. Oz, which rebounded 25% from a series low the week before to a 1.0.

Related: 'Jeopardy!' to Host First-Ever All-Star Games

Warner Bros.' The Real rallied 20% to a 0.6. CTD's The Doctors deteriorated 29% to a 0.5. NBCU's out-of-production Jerry Springer sank 56% to a new series low 0.4, and for the 12th week in a row ratings for Disney-ABC's Pickler & Ben were reprocessed and not available.

Elsewhere in daytime, CTD's Judge Judy began hearing cases in its 23rd season and continued to show its competition no mercy with an 11% jump to a 16-week high 6.9. That easily topped all first-run and off-net programs for the seventh straight week.

Judy’s CTD creation Hot Bench kicked off season 5 with a 5% gain to a four-week high 2.1. Warner Bros.' People’s Court, Warner Bros.' Judge Mathis, and Twentieth's Divorce Court were unchanged at 1.4, 1.0, and 0.8, respectively. While Trifecta's Judge Faith fell 20% to a new series low 0.4.

Related: Slow Syndie Season Yields Just Two New Series

On the game show playing field, leader Debmar-Mercury's Family Feud held steady at a 6.0. CTD's Wheel of Fortune accelerated 8% to a 5.7, tying CTD's Jeopardy!, which answered with a 12% gain to a 5.7.

Disney-ABC's Who Wants to Be a Millionaire appreciated 14% to a 1.6 and Entertainment Studios' Funny You Should Ask was flat at a 0.5.

Meanwhile, Disney-ABC's viral video show RightThisMinute, stayed at a 1.3 and NBCU's off-net true-crime strip Dateline rose 9% to a four-week high 1.2, which was 300% ahead of the off-Investigation Discovery True Crime Files, which debuted at a 0.3.

Among off-net sitcoms, Warner Bros.' leader Big Bang Theory inched up 2% to a 4.3. Twentieth's Last Man Standing was on par with the prior week’s 2.0. Twentieth's Modern Family and SPT's The Goldbergs were unchanged at 1.9 and 1.4, respectively. Warner Bros.' Two and a Half Men retreated 7% to a 1.3. Twentieth's Family Guy eased 8% to a 1.2, tying Warner Bros.' Mike & Molly, which maintained its 1.2. Warner Bros.' 2 Broke Girls and SPT's Seinfeld both stayed at a 1.0. While Warner Bros.' Mom remained at a 0.9 for the 10th straight week.

Author: Jessika Walsten
Posted: September 25, 2018, 9:48 pm
Dick Wolf’s FBI premieres on CBS Sept. 25. It’s a procedural about the inner workings of the FBI’s New York office, “bringing to bear all the Bureau's skills, intellect and mind-blowing technology to keep New York and the country safe,” in CBS’ words. The cast includes Missy Peregrym, Jeremy ...

CBS show details what federal agents do to keep America safe, and other series skip, says cast member Noel

Dick Wolf’s FBI premieres on CBS Sept. 25. It’s a procedural about the inner workings of the FBI’s New York office, “bringing to bear all the Bureau's skills, intellect and mind-blowing technology to keep New York and the country safe,” in CBS’ words.

The cast includes Missy Peregrym, Jeremy Sisto, Zeeko Zaki, Sela Ward and Ebonée Noel.

We spoke with Noel, who plays analyst Kristen Chazal, at TCA’s press tour. She said her favorite moment of the season—and they hadn’t shot much when we spoke last month—was a scene where Kristen diffuses a bomb. “It’s fun to play a character who’s thrown out of their comfort zone right away,” she said.

Noel—and Chazal, for that matter—had never diffused a bomb before. “I did a little research,” she said, “to try to do the best I could to show that sort of high-stakes situation.”

FBI has gotten mixed reviews. CNN’s Brian Lowry gave it low marks creatively, but acknowledged the show is timely. “Producer Dick Wolf brings his Law & Order formula to CBS with FBI, a series made more notable -- given the bureau's long history on the screen -- by the current criticism directed its way from the White House,” he wrote.

Hollywood Reporter’s Daniel Fienberg said, “Following a general Dick Wolf Productions blueprint, the FBI pilot is full of headline-mining lip service, including lots of paranoia about MS13 gang members and also about the threat of the alt right, embodied by a deliciously reptilian Dallas Roberts in the sort of juicy nemesis part that a cable drama would surely stretch across a full season.”

Noel said FBI offers some things you won’t find on other law enforcement procedurals. “Like Dick said, we try to do things you’re not going to see on a cop show, you’re not going to see on other law enforcement shows,” she said.

Noel mentions all the things FBI agents do on a daily basis that the public doesn’t even know about. “The show tries to lift the curtain on that,” she said, “which I find incredibly interesting.”

We wrote in the new issue about CBS’ efforts to be more diverse in prime, and FBI achieves on that front, too. There’s a Muslim agent, played by Zeeko Zaki. Noel is African-American. She describes “a different face to law enforcement” on the show—not only more diverse, but younger than what viewers are used to seeing in a cop drama.

Noel and Dick Wolf go back a bit. She said her first job in television was on Law & Order: SVU, playing a rape survivor. She mentions her character getting interviewed in her apartment as the detectives searched for the perpetrator, which she calls “a classic SVU moment.”

“I’ve watched a lot of Law & Order in my life,” adds Noel.

Author: Michael Malone
Posted: September 25, 2018, 8:31 pm
At the 2018 NAB Show New York, Artel will feature an integrated, end-to-end, IP-centric network demo area designed to address customers’ growing requirements for standards-based solutions that provide service continuity, interoperability, and accurate synchronization, all of which are imperative ...

At the 2018 NAB Show New York, Artel will feature an integrated, end-to-end, IP-centric network demo area designed to address customers’ growing requirements for standards-based solutions that provide service continuity, interoperability, and accurate synchronization, all of which are imperative for mission-critical media feeds as broadcasters migrate toward all-IP or hybrid IP/SDI networks. Artel’s exhibit will showcase the company’s expanding portfolio, including solutions for SMPTE ST 2110, AES67, SMPTE ST 2022-7 Seamless Protection Switching, and ARQ Reliable Internet Streaming Transport (RIST) for OTT streaming.

Bridging the Gap for Media Over IP With Quarra PTP Ethernet Switches

At the 2018 NAB Show New York, Artel will highlight the SMPTE ST 2110 compatibility and AES67 audio-over-IP accuracy capabilities of its Quarra PTP Ethernet switches. The Quarra family of PTP-enabled switches offers the industry’s most accurate IEEE 1588-compliant timing and synchronization. The switches support SMPTE ST 2110 and ST 2059-2, permitting interoperable use of IP-based media equipment with conventional genlocked SDI equipment. They are RAVENNA AES67-approved and Dante- and QSC-tested. Quarra switches are designed for audio/video broadcast, defense and security, finance, utilities, telecom, and enterprise IT applications in which accurate timing and control are required.

The Quarra PTP switches also will be shown in action at the IP Showcase and the AES67 interoperability demonstration at the AES New York 2018 Show running concurrently at the Javitz Convention Center in New York.

Photo Link: www.wallstcom.com/Artel/ArtelVideoSystems-Quarra-10G-PTP-Ethernet-Switch-Front.jpeg

Photo Caption: Artel Video Systems Quarra 10G PTP Ethernet Switch

Designing for Operational Simplicity With SMART Technologies

Operational efficiency is a key consideration for today’s end users as they look toward migrating to IP and choosing solutions to meet their needs. At the 2018 NAB Show New York, Artel will highlight its SMART Media Delivery Platform™‘s network resiliency and operational simplicity with new software-defined functionality, feature flexibility, and integrated Layer 2 and Layer 3 network routing capabilities, which enable reliable and accurate video, audio, and data transport as well as interoperability with other IP-based solutions. Designed to attach seamlessly to the IP network without the need for external network elements, the SMART platform supports SMPTE ST 2022: 1, 2, 5, 6, and 7 hitless switching; QoS; VLAN tagging; and traffic management. The SMART solution is software-enabled, providing an easy and efficient platform for adding or upgrading functionality via software download.

At the 2018 NAB Show New York, Artel will feature its SMART solution along with the other SMPTE standards-based IP solutions in the company’s modular InfinityLink and DigiLink Media Transport Platforms.

Photo Link: www.wallstcom.com/Artel/ArtelVideoSystems-SMARTMediaDeliveryPlatform.jpeg

Photo Caption: Artel Video Systems’ SMART Media Delivery Platform™

Harnessing Unmanaged Networks With the ARQ IP Streaming System

The need for reliable delivery of high-quality media over internet, satellite, microwave, or other broadband services is on the rise in esports, broadcasting, campus networks, and other commercial OTT applications. The ARQ IP Streaming System from Artel uses Reliable Internet Streaming Transport (RIST)-based services for OTT video applications. Configuration of the ARQ system is simple, and users can scale up the system in single-stream increments to quickly accommodate new streams to deliver multiple UDP unicast and multicast services.

Photo Link: www.wallstcom.com/Artel/ArtelVideoSystems-ARQ-IP-Streaming-System.jpeg

Photo Caption: Artel Video Systems’ ARQ IP Streaming System

2018 NAB Show New York attendees are encouraged to stop by Artel’s booth (N737) to learn more about the company’s IP-centric media delivery solutions.

Company Overview:
Artel Video Systems is a world-class provider of innovative, real-time multimedia delivery solutions serving global markets. Today, most live events in the U.S. traverse Artel products to support their mission-critical workflows. Artel’s expertise in IP- and fiber-based technologies spans more than 30 years and has established Artel as a trusted partner in the development of reliable, standards-based IP infrastructures. Artel’s integrated solutions include precision timing, IP-and fiber-based multimedia delivery, data networking, and OTT systems. Artel is an employee-owned business. More information is available at www.artel.com.

Link to Word Doc: www.wallstcom.com/Artel/180925Artel.docx

Author: Dundee Hills Group
Posted: September 25, 2018, 7:34 pm
Department of Justice antitrust chief Makan Delrahim says he is not "unilaterally disarming" his division, but that he is taking a number of reforms to speed the merger review process. "Provided that the parties expeditiously cooperate and comply throughout the entire process, we will aim to ...

Outlines reforms to expedite process

Department of Justice antitrust chief Makan Delrahim says he is not "unilaterally disarming" his division, but that he is taking a number of reforms to speed the merger review process.

"Provided that the parties expeditiously cooperate and comply throughout the entire process, we will aim to resolve most investigations within six months of filing," he said in a speech Tuesday at the 2018 Global Antitrust Enforcement Symposium. For comparison, in 2017, "significant" merger reviews took, on average, 10.8 months to resolve, he said.

To cut that timeline to six months, Justice is inviting parties to meet early with its antitrust team. "We want to understand their deal rationale and any other facts they believe will be important to our analysis," he said. 

But there are many more reforms, which he enumerated. They include:

  1. Publishing a sample voluntary request letter, to give the parties a sense of what key deal information DOJ needs.
  2. Publishing a model timing agreement, a process for speeding the mechanism by which parties comply with info requests and DOJ analyzes the deal, and reforming those agreements, including fewer depositions.
  3. Updating the 2011 guide to merger remedies, which in the meantime is being withdrawn (the 2004 guide will be followed until the update).
  4. Release statistics on how long it is taking to review mergers, including the average duration of investigations following second requests for info, and the time between the opening of an investigation and its early termination or closing of the investigation.

But Delrahim indicated the reform door needs to swing both ways. He said DOJ would expect the following from merging parties:

  1. Faster and earlier production of documents.
  2. Earlier production of data.
  3. No more of what he called "privilege log gamesmanship," which he said is parties trying to game the process by withholding large numbers of documents as privileged, then dumping them on DOJ later in the process. "While some of the de-privileged documents might be close calls, most never should have been withheld in the first place."
  4. A longer post-complaint discovery period.

"Delay is a form of uncertainty and risk, and we should seek to remove it from the merger-review process whenever possible," Delrahim said. But added to the disarming point: "We will never compromise our ability to enforce the law effectively."

Communications companies were unlikely to have assumed Delrahim was unilaterally disarming, given his division's muscular oversight of the Sinclair-Tribune deal, which ultimately cratered, and its suit to block AT&T/Time Warner.

Author: John Eggerton
Posted: September 25, 2018, 7:20 pm
The Trump Administration has drawn up a framework for protecting consumer data privacy in an age of ubiquitous free internet content, much of which is based on targeted advertising and data sharing to support that business model. The National Telecommunications & Information Administration ...

Focuses on outcomes rather than how they are achieved

The Trump Administration has drawn up a framework for protecting consumer data privacy in an age of ubiquitous free internet content, much of which is based on targeted advertising and data sharing to support that business model.

The National Telecommunications & Information Administration outlined the seven-point plan Tuesday (Sept. 25) and is seeking comment on that approach, which is presented in broad-brush strokes with goals most can agree on--transparency, control, security, but without any prescriptive approaches like opt-in regimes for collection and sharing or minimum security standards, where the tough work of implementation, and getting Republicans and Democrats to agree, will have to be done.

Related: Charter Says Parity Is Key to Online Privacy Approach

NTIA said the Administration is seeking these "outcomes," but says it is not planning to dictate the practices to achieve those outcomes, which are outlined below, but NTIA summarizes as producing "a reasonably informed  user, empowered to meaningfully express privacy preferences, as well as products and services that are inherently designed with appropriate privacy protections, particularly in business contexts in which relying on user intervention may be insufficient to manage privacy risks."

1. "Organizations should be transparent about how they collect, use, share, and store users’ personal information. 2. "Users should be able to exercise control over the personal information they provide to organizations. 3. "The collection, use, storage and sharing of personal data should be reasonably minimized in a manner proportional to the scope of privacy risks. 4. "Organizations should employ security safeguards to protect the data that they collect, store, use, or share. 5. "Users should be able to reasonably access and correct personal data they have provided. 6. "Organizations should take steps to manage the risk of disclosure or harmful uses of personal data. 7. "Organizations should be accountable for the use of personal data that has been collected, maintained or used by its systems."

NTIA's announcement came the day before the Senate Commerce Committee is hearing from edge providers and ISPs about their data privacy and security regimes and plans, including similar sentiments about the need to provide security, transparency and control.

It also comes in the wake of Europe's adoption of a new data protection regime, something NTIA acknowledged in the comment request (the European Union adopted a tough new General Data Protection Regulation (GDPR) online privacy framework May 25, one some Democratic members of Congress have pressed the U.S. to adopt.

"A growing number of foreign countries, and some U.S. states, have articulated distinct visions for how to address privacy concerns, leading to a nationally and globally fragmented regulatory landscape," NTIA said. "Such fragmentation naturally disincentivizes innovation by increasing the regulatory costs for products that  require scale. The Administration hopes to articulate a renewed vision, one that reduces fragmentation nationally and increases harmonization and interoperability nationally and globally."

Comments will be due 30 days after publication of the request for comments in the Federal Register, which probably means six weeks or so, but stakeholders were not waiting around.

An inquiry on broad-strokes proposals with plenty of room for self-regulation and options for compliance was getting a good reception from the relevant stakeholders.

“SIIA is pleased that NTIA has launched an inquiry into steps that can be taken to improve privacy protection in the United States, while still allowing for innovative data uses," said Software & Information Industry Association VP Mark MacCarthy. "We will be responding to this request for comments and encourage industry groups, privacy advocates and privacy scholars to participate.”

"USTelecom appreciates this effort by NTIA to advance the privacy conversation," said USTelecom president Jonathan Spalter. "Our members understand the success of any digital business depends on consumer trust. Several members of Congress have also introduced – or plan to introduce – privacy legislation. Taken together, we hope these initiatives will lay the groundwork for a single, national framework with strong consumer protections and flexibility for a competitive and innovative marketplace. What we need most is clear and consistent privacy rules that apply equally to all companies that interact with consumers through the internet."

USTelecom, NCTA-The Internet & Television Association and other ISPs are in agreement that any privacy regime needs to apply equally to the edge providers who do most of the data mining and sharing.  

Author: John Eggerton
Posted: September 25, 2018, 6:29 pm
NBC Nightly News won the 2017-2018 season in terms of viewers 25-54, averaging 1.84 million viewers in that demo, ahead of ABC World News Tonight’s 1.76 million and CBS Evening News’ 1.28 million, according to Nielsen’s most current ratings. World News Tonight had the most total viewers for ...

ABC’s evening news is up 4% in total viewers

NBC Nightly News won the 2017-2018 season in terms of viewers 25-54, averaging 1.84 million viewers in that demo, ahead of ABC World News Tonight’s 1.76 million and CBS Evening News’ 1.28 million, according to Nielsen’s most current ratings.

World News Tonight had the most total viewers for 2017-2018, with 8.59 million tuning in to the evening news on average, ahead of NBC Nightly News at 8.11 million and CBS Evening News at 6.19 million.

World News Tonight was up 4% in total viewers for 2017-2018 and 1% in 25-54. NBC and CBS were down versus the previous season.

Lester Holt anchors NBC Nightly News. David Muir anchors World News Tonight and Jeff Glor has the job at CBS Evening News.

Author: Michael Malone
Posted: September 25, 2018, 6:04 pm
David Decker, who has been with Warner Bros. for 15 years, has been named executive VP of Warner Bros. Domestic Television Distribution, succeeding industry fixture Ken Werner. Decker, who had been executive VP, cable and SVOD sales at Warner Bros., adds oversight of station sales to his portfolio. ...

Succeeds Ken Werner who is retiring

David Decker, who has been with Warner Bros. for 15 years, has been named executive VP of Warner Bros. Domestic Television Distribution, succeeding industry fixture Ken Werner.

David Decker

Decker, who had been executive VP, cable and SVOD sales at Warner Bros., adds oversight of station sales to his portfolio.

Rick Meril, executive VP and general sales manager for Warner Bros. Domestic Television Distribution will now report to Decker, who remains responsible for pay, cable, D2 and on-demand platforms.

“David has done a great job of dramatically growing our multi-platform business over the last three years,” said Jeffrey Schlesinger, president, Warner Bros. Worldwide Television Distribution “His combination of strategic thinking, smart salesmanship and strong leadership are a true asset and he’s ready to take the next step. Having worked side by side with Ken for many years, enables us to have a seamless transition in our domestic television distribution business as we begin the new year.”

Decker was executive VP for cable and SVOD sales since 2015. Previously he was executive VP, business & legal affairs for Worldwide Television Distribution.

Before Warner Bros, Decker was with Stone Stanley Entertainment .

Author: Jon Lafayette
Posted: September 25, 2018, 5:30 pm
A trio of children's advocacy groups are telling the FCC that if they proceed with their proposed deregulation of children's TV rules, it could spell the end of children's programming on broadcast TV. "The FCC’s assumption that children’s television guidelines are no longer necessary because ...

Tell FCC its assumption rules are no longer needed is wrong

A trio of children's advocacy groups are telling the FCC that if they proceed with their proposed deregulation of children's TV rules, it could spell the end of children's programming on broadcast TV.

"The FCC’s assumption that children’s television guidelines are no longer necessary because programming is available on other platforms is simply wrong," they told the FCC. "To obtain access to non-broadcast programming, households must have access to cable or broadband service, and be able to afford subscription fees and equipment. Many families, especially low-income families and families in rural areas cannot access or afford alternative program options." 

That came in comments from the Center for Digital Democracy, Campaign for a Commercial-Free Childhood, and the Benton Foundation filed Monday, the deadline for comment on the proposal. The groups are represented by Georgetown University Law Center's Institute for Public Representation.

At baseline, the Republican-driven effort is premised on a changing market filled with children's programming on cable and over-the-top, which they see as obviating the need for mandates and quotas on broadcasters, and as prompting the need for deregulating the FCC's enforcement of the children's TV statute to give those broadcasters more flexibility than a 30-minute, weekly scheduled on-air educational and/or informational program.

"Only children’s programs on broadcast and cable are subject to advertising limits and policies prohibiting deceptive and unfair advertising practices such as host-selling," counter groups in their filing this week," the said, "and only television broadcasters are mandated to provide programming specifically designed to educate and inform children."

Related: Senate Dems tell FCC to Abandon Kids TV NPRM

They say, by contrast, that online offerings are for the most part “program-length commercials and 'native' ads designed specifically to promote and sell toys, fast-food and other products. The groups also cite the privacy drawbacks of relying on over-the-top." [T]he NPRM fails to address the problem that children watching videos on YouTube, on mobile apps, and even on premium OTT services, are subjected to invasive data collection, profiling and interactive ad targeting practices," they said.

The Notice of Proposed Rulemaking (NPRM) adopted July 12 asked lots of questions and posed its proposals as tentative conclusions. It would have sounded even more like a notice of inquiry (information-seeking that is one step removed even from an NPRM) than a rulemaking proposal if the lone Democrat, Jessica Rosenworcel had been convinced to vote for the effort--Republican Michael O'Rielly, who was heading up the item, said he would have been willing to remove all the tentative conclusions had they reached an agreement. Rosenworcel had too many issues with the underlying direction of the item to agree to support it even without conclusions.

While it was approved July 12, the NPRM is not the same as a final order. It signals what the chairman plans to do, and seeks input on other things it might do but still has questions about, with a final vote not coming until stakeholders have a chance to weigh in--which they have now had a chance to do--and the item adjusted accordingly, if need be.

O'Rielly had signaled he hoped to have a final order voted by year's end, so that timetable would appear still to be in play.

Currently, there is a three-hour per week mandate of children's educational or informational (E/I) programming. 

The NPRM ponders lifting that mandate, or allowing non-broadcast efforts to count toward the baseline requirement of meeting children's programming needs.

The FCC also is suggesting broadcasters be able to fulfill their children's programming obligations, whether it remains a quota of hours or some other approach, on their multicast stations, if they program them, rather than having to to so on their primary channel. Currently, stations must air at least three hours of E/I on their primary channel between 7 a.m. and 10 p.m. (so called "core" children's programming), then additional programming on their multicast channels in proportion to the free video they provide there. So, if they program them 24/7 with free content, it is the same three hours, but if only two-thirds free content, then two hours, etc

Author: John Eggerton
Posted: September 25, 2018, 5:29 pm
CBS Television Studios has renewed its overall production deal with Robert and Michelle King, co-creators of CBS All Access drama The Good Fight as well as former CBS drama The Good Wife. The three-year deal is through their King Size Productions banner. Under the agreement, CBS will have exclusive ...

‘Good Fight’ creators signed for three more years

The Good Fight

CBS Television Studios has renewed its overall production deal with Robert and Michelle King, co-creators of CBS All Access drama The Good Fight as well as former CBS drama The Good Wife. The three-year deal is through their King Size Productions banner. Under the agreement, CBS will have exclusive rights to produce television content created and developed by the Kings across all platforms.

Liz Glotzer is president of King Size Productions and will executive produce all of their upcoming series.

The Kings have been at CBS Television Studios since 2009.

“Robert and Michelle are two of the finest persons I have ever had the privilege of working with,” said David Stapf, president, CBS Television Studios. “Their brilliant writing and ability to create distinctive, successful television is only surpassed by their quality as people. Everyone at CBS TV Studios is thrilled and very proud to be working with them, Liz and their team for many more years.”

King Size’s newest production is Your Honor, written and executive produced by Peter Moffat. It has picked up to series by Showtime. They also have Evil in development for CBS, about the battle between science and religion. The Kings are developing Girls With Guns for CBS All Access in association with Scott Free Productions.

The Kings have been married for over 30 years.

“We couldn’t be more delighted to continue our relationship with the fantastic people at CBS Studios,” said Robert and Michelle. “David Stapf has assembled a team of some of the smartest, most thoughtful and supportive executives in the business. Working with them is a dream.”

Author: Michael Malone
Posted: September 25, 2018, 5:21 pm
The FCC has voted to confirm that a local franchise authority's (LFA) ability to regulate cable service does not extend to broadband and other non-cable services, and that in-kind commitments those authorities get from providers as part of franchise agreements count toward the 5% franchise fee cap, ...

Votes to confirm earlier FCC decision remanded by court

The FCC has voted to confirm that a local franchise authority's (LFA) ability to regulate cable service does not extend to broadband and other non-cable services, and that in-kind commitments those authorities get from providers as part of franchise agreements count toward the 5% franchise fee cap, with the exception of providing public, educational and government (PEG) channels.

The FCC is also asking for input on whether it should extend the prohibition on LFA regulation to state franchises and state regulations.

That is according to the FCC, which deleted the item, a Notice of Proposed Rulemaking, from its agenda for a Sept. 26 vote at the public meeting, saying it had already been adopted. The FCC still has to vote on a final order, but with the majority in favor, that will almost certainly happen.

The Free State Foundation whose supporters include major media companies, had hailed the FCC's planned Sept. 26 vote on an item regarding local franchising authorities (LFAs) as important pushback on localities trying to re-regulate internet access.

In Montgomery County, Md., v. FCC, the Sixth Circuit Court of Appeals last year found that the FCC could not use its mixed-use rule to bar LFAs from requiring franchisees to provide non-cable services because that would appear to prevent LFAs from regulating institutional networks, which statute clearly allows them to do.

The court also concluded that the FCC had not sufficiently justified why it had expanded its definition of franchise fees to include non-cash requirements by LFAs and thus count toward the 5% cap on franchise fees.

The court vacated those portions and remanded them back to the FCC for action, if necessary.

The FCC has now responded to the court by telling the court that the "mixed-use network ruling should be applied to prohibit LFAs from using their video franchising authority to regulate non-cable services offered over cable systems by incumbent cable operators," which includes internet access services, and clarifying that they can still regulate institutional networks.

The FCC decision should help in its pushback on state and localities trying to re-regulate internet access services.

Following the FCC's decision last fall to reclassify ISPs as information services and eliminate the rules against blocking, throttling or paid prioritization of internet access, various states and localities have been trying to restore the rules for their own state's internet customers, including through state laws and executive orders. That comes despite the FCC's assertion that states are preempted from trying to undo that deregulation by regulating the internet.

Local franchising authorities trying to tie broadband regs to traditional video service franchises is another potential flashpoint the FCC move would try to head off with the vote.

The FCC launched the revamp of local franchising rules in 2006 to make sure localities were not "unnecessarily refusing" to award cable franchises to new entrants. In its first order, it eased the franchise path for those new entrants by, among other things, putting a shot clock on local franchise negotiations, limiting build-out requirements and franchise conditions, and capping public and government access channel investments.

It then issued a second Report and Order that extended most of those new rules to incumbent cable operators as well when their franchises came up for renewal, concluding that "to promote the federal goals of enhanced cable competition and accelerated broadband development, the Commission's rules regarding the local franchising process should be extended to incumbent cable operators."

“Chairman Pai and the Commission deserve credit for proposing this rulemaking to preserve a free market environment for broadband," said Free State senior fellow Seth Cooper. "Congress has designated information services such as broadband for non-regulated or light-touch treatment. The Commission's proposed rulemaking clarifies that local governments cannot leverage their cable franchising authority to regulate broadband services. This will help shore up important limits on local government regulation set out in the Communications Act.”

“Today's unanimous FCC action rightly proposes to reinstate its earlier rules establishing clear limits on franchising authorities' ability to impose undue and unwarranted regulations and fees on cable operators that have the effect of delaying the deployment of broadband and other new services and making those services more expensive for consumers," said NCTA-the Internet & Television Association "We look forward to participating in the rulemaking proceeding.”

Author: John Eggerton
Posted: September 25, 2018, 4:52 pm
Launching what it calls a new kind of advertising company, AT&T announced that it will call its ad business Xandr, a name that recalls the company's founder with a tech twist. The company, which aims to build a one-stop marketplace for advanced advertising, said it reached agreements to sell ...

Signs addressable deals with Altice, Frontier

Launching what it calls a new kind of advertising company, AT&T announced that it will call its ad business Xandr, a name that recalls the company's founder with a tech twist.

The company, which aims to build a one-stop marketplace for advanced advertising, said it reached agreements to sell national addressable TV advertising inventory for Altice USA and Frontier Communications. Xandr will also collaborate with a4, Altice USA’s advanced advertising business to help expand a4’s addressable digital advertising capabilities.

AT&T unveiled Xandr at a Relevance Conference held by AT&T in Santa Barbara aimed at discussing ways to stop people from hating advertising. The conference was attended by top people in the agency business, clients and media companies.

Since acquiring Time Warner, AT&T CEO Randall Stephenson has been billing AT&T as a new kind of media company, with content, distribution and advertising units, AT&T.net and the recently acquired AppNexus, the digital at platform that will be building a platform for TV ad sales.

Brian Lesser

“Xandr is a name that draws inspiration from AT&T’s rich history, including its founder Alexander Graham Bell, while imagining how to innovate and solve new challenges for the future of advertising,” said Xandr CEO Brian Lesser. “Our purpose is to Make Advertising Matter and to connect people with the brands and content they care about.”

Lesser said that Xandr was in a unique position to create more relevant and engaging forms of advertising for consumers, media companies and advertisers because it controls content, distribution, data and technology.

It will be rolling out an ad format that enables a viewer to stop content and interact with an integrated ad by speaking into a voice remote or Alexa-type speaker. Without all four components attempts at creating new advertising formats are likely to fail .

Lesser noted that consumers used to accept a trade-off that they would get content for free on TV in exchange for having to watch a few ads. That compact has been disrupted by VCRs, DVRs and now streaming services like Netflix.

“We need advertising to pay for the content,” Lesser said. “Subscriptions can’t possibly pay for the content that’s being developed now.”

Brian Lesser (left) and AT&T CEO Randall Stephenson introduce Xandr.

At the conference Xandr released the findings of two surveys as part of its Xandr Relevancy Report.

A survey of consumer found that 66% of consumers wish advertisement were more relevant to their interests and lifestyle, while 57% said ads were not relevant to them. Despite that 82% said they understand that ads need to exist.

The survey found that 64% of those surveyed believe advertiser enables independent voices to be heard on the internet and 70% like when ad go beyond just selling a product.

Of the ads they’ve seen in their lifetime, consumers said 22% had a positive impact on them personally.

Xandr also surveyed people in the industry and found that 65% of agencies and marketers believe the current fragmented media landscape requires a new marketing structure that places more focus on the audience than the content. Only 19% of agencies and marketers said they were extremely satisfied with the implementation and execution of their media strategies.

The survey found that 38% of marketers said their company was ahead of the curve versus 62% who said they were either followers, hesitant or laggards.

The industry people surveyed thought technology could be a solution to the problems of advertising, with 76% of agencies and marketers saying they believe that media providers/platforms that offer advanced targeting techniques, delivering the right ad to the right consumer, are key in creating a better user ad experience.

The survey found that 71% of agencies and marketers believe of agencies and marketers believe that using advanced targeting techniques would improve advertising return on advertising spending and return on investment.

56% of agencies and marketers believe more advanced targeting solutions will drive optimal campaign delivery and 53% said consumers are okay with companies using their digital footprint in exchange for services.

Author: Jon Lafayette
Posted: September 25, 2018, 4:30 pm
Ken Werner, the long-time executive for Warner Bros. Domestic Television Distribution announced that he will retire at the end of the year. Werner will serve as a consultant to Warner Bros., which is expected to name a successor shortly. Since 2006, Warner has been in charge of selling theatrical ...

Veteran exec will serve as consultant

Ken Werner, the long-time executive for Warner Bros. Domestic Television Distribution announced that he will retire at the end of the year.

Ken Werner

Werner will serve as a consultant to Warner Bros., which is expected to name a successor shortly.

Since 2006, Warner has been in charge of selling theatrical movies, off-network comedies and drama and syndicated shows to an expanding range of outlets, including broadcast stations, cable networks, online sites and streaming services.

As each new platform arose, Werner helped convince them movies and other established Warner Bros. content would attract audiences, creating new revenue streams for Warner Bros.

He was responsible for selling into syndication Telepictures shows including The Ellen Degeneres Show, The Real and TMZ, as well as off-net series like The Big Bang Theory, Friends and Two and a Half Men.

“Ken has led our domestic television distribution business with great success to many record-setting years,” said Jeffrey Schlesinger, president, Warner Bros. Worldwide Television Distribution. "He and his team are industry leaders and have achieved these results with hard work, great salesmanship and innovation. We will miss Ken but wish him the best in retirement; his contributions will continue to be felt for many years to come.”

Before joining WBDTD in 1997, Werner was executive VP for distribution for the WB Network, increasing its coverage of 94% of U.S. homes from 56%. Before that he was senior VP, strategic planning and business development at CBS and senior VP of Walt Disney Television, He also held posts at Columbia Pictures Television and Viacom Enterprises.

“I have had a charmed career; fortunate to work at leading companies, alongside immensely talented colleagues, representing the most compelling content in a business that is always changing,” said Werner.

“I leave Warner Bros. with great pride in what my teams have accomplished, beginning with building the distribution foundation for the fifth broadcast network (The WB) through to the last seven years as we asserted a leadership role in developing the on-demand marketplace with precedent-setting innovative deals,” Werner said. “I am extremely lucky to have had the opportunity to represent the greatest TV and motion picture library in the world and am forever indebted to my WBDTD team, the larger Warner Bros. family, clients, competitors, friends and my family.”

Author: Jon Lafayette
Posted: September 25, 2018, 4:15 pm
NBC won opening night of the broadcast networks’ fall season, a robust opener for Manifest leading the net to a 2.1 in viewers 18-49, per the Nielsen overnights, and an 8 share. That beat the 1.4/5 that CBS tallied. NBC had The Voice season premiere at 2.0 and drama Manifest at 2.2. The Voice did ...

‘Magnum’ reboot opens OK on CBS

(Left) Josh Dallas as Ben Stone, Luna Blaise as Olive Stone

NBC won opening night of the broadcast networks’ fall season, a robust opener for Manifest leading the net to a 2.1 in viewers 18-49, per the Nielsen overnights, and an 8 share. That beat the 1.4/5 that CBS tallied.

NBC had The Voice season premiere at 2.0 and drama Manifest at 2.2. The Voice did a 2.6 in its premiere last September.

On CBS, the premieres of The Big Bang Theory did a 2.4 and Young Sheldon a 1.7. Magnum P.I. opened to a 1.2 and the Bull season premiere rated a 0.9.

Fox had a 1.3/5. The Resident premiere did a 1.1 and 9-1-1 a 1.6, after a 2.3 the previous night leading out of football.

ABC had a 1.2/5. Dancing with the Stars did a 1.1 from 8 to 10 p.m., down from last year’s 1.7 opener. The Good Doctor premiere did a 1.4 after last year’s 2.4 series starter.

Telemundo did a 0.6/3, with the El Senor de los Cielos finale at 0.8.

Univision rated a 0.4/2.

The CW was at 0.2/1. Penn & Teller: Fool Us did a 0.2, as did Whose Line Is It Anyway? Both lost a tenth of a point. The CW’s new shows start in early October.

Author: Michael Malone
Posted: September 25, 2018, 4:08 pm
Online privacy advocate Center for Digital Democracy chided the Senate Commerce Committee for a lack of consumer group witnesses at its Sept. 26 hearing on online privacy. That came in a letter Tuesday (Sept. 25) from Jeff Chester, executive director of the center, to the chairman and ranking ...

Argues it was missed opportunity to get 'real' story

Online privacy advocate Center for Digital Democracy chided the Senate Commerce Committee for a lack of consumer group witnesses at its Sept. 26 hearing on online privacy.

That came in a letter Tuesday (Sept. 25) from Jeff Chester, executive director of the center, to the chairman and ranking member of the committee, John Thune (R-S.D.) and Bill Nelson (D-Fla.), respectively.

The hearing is featuring edge providers and ISPs--Google, Amazon, Apple, Twitter, AT&T, Charter--talking about protecting user privacy and information security.

Related: Facebook Faces More Pushback

"Unfortunately, by only having industry representatives as witnesses, it is unlikely that the public will learn about the actual practices conducted every day by the digital data industry," Chester wrote, "practices that threaten our privacy whenever we use mobile devices, personal computers, gaming platforms, or connected televisions."

But Chester was hoping to be there by proxy, but suggesting a list of questions for the witnesses and urging the leadership to ask them. To check out the questions (and see if any get asked at the hearing), click here.

Chester suggested there was an urgent need for those answers. "Americans have never been at a greater risk for the loss of their privacy, and their autonomy, as a consequence of the unconstrained data-gathering and-use practices of the industry."

Related: Dems Debut New Opt-in Privacy Bill

Whether out of political necessity or corporate conscience or a recognition of the power and ubiquity of the networks and web sites they run, both edge providers and ISPs have signaled they are open to some kind of legislation, but how users are given more control over their data, and on what platforms, remains the hard work. 

"For the first hearing, the committee is bringing in companies most consumers recognize to make the discussion about privacy more relatable," said Federick Hill, communications director for the committee. "We expect there will be opportunities for other voices at future hearings on the subject."

Author: John Eggerton
Posted: September 25, 2018, 3:14 pm
Making a Murderer Part 2 premieres in Netflix Oct. 19. There are ten episodes. Laura Ricciardi and Moira Demos are the executive producers, writers and directors. The hit Making a Murderer documentary series debuted in late 2015, and followed the journey of Steven Avery as he was exonerated ...

‘Part 2’ offers a ‘window into the complex web of American criminal justice’ through the stories of Avery, Dassey

Making a Murderer Part 2 premieres in Netflix Oct. 19. There are ten episodes. Laura Ricciardi and Moira Demos are the executive producers, writers and directors.

The hit Making a Murderer documentary series debuted in late 2015, and followed the journey of Steven Avery as he was exonerated through DNA after 18 years in prison, and was later convicted of murder in an unrelated crime.

Part 2 “provides an in-depth look at the high-stakes post-conviction process, exploring the emotional toll the process takes on all involved,” said Netflix. Ricciardi and Demos closely follow Avery and his co-defendant and nephew, Brendan Dassey.

“Steven and Brendan, their families and their legal and investigative teams have once again graciously granted us access, giving us a window into the complex web of American criminal justice,” said Ricciardi and Demos. “Building on Part 1, which documented the experience of the accused, in Part 2, we have chronicled the experience of the convicted and imprisoned, two men each serving life sentences for crimes they maintain they did not commit. We are thrilled to be able to share this new phase of the journey with viewers.”

Part 2 introduces viewers to Kathleen Zellner, Avery’s post-conviction lawyer, in her fight to prove that Avery was wrongly convicted. Ricciardi and Demos follow Zellner as she uncovers unexpected evidence about what may have happened to murdered photographer Teresa Halbach and about how and why the jury convicted Avery of her murder.

Ricciardi and Demos also follow Dassey’s post-conviction lawyers, Laura Nirider and Steven Drizin with Northwestern University’s Center on Wrongful Convictions of Youth, as they fight in federal court to prove their client’s confession was involuntary.

Making a Murderer Part 2 is a Synthesis Films Production.

Author: Michael Malone
Posted: September 25, 2018, 2:48 pm
No surprise here, but there is a hefty partisan divide over whether the media's "watchdog" role helps keep political leaders from doing things that shouldn't be done, or whether it hinders their ability to get things done they should be doing. That is according to a new Pew Research Center poll. ...

But majority of respondents say media bite one side more than another

No surprise here, but there is a hefty partisan divide over whether the media's "watchdog" role helps keep political leaders from doing things that shouldn't be done, or whether it hinders their ability to get things done they should be doing.

That is according to a new Pew Research Center poll.

Pew found that 82% of Democrats back the "watchdog" function, which Pew defines as "news media criticism," while only 38% of Republicans share that view.

By contrast, 58% of Republicans say such criticism "gets in the way of political leaders doing their job."

The current leader of the Republican party, President Donald Trump, has made it clear he thinks media criticism, at least of his administration, is a politically motivated attack and an attempt to obstruct his policies.

The survey found that most of those polled think the media watchdogs tend to bite one side more than the other.

Two-thirds (68%) say the news media favor one side when covering political (and social) issues, while not even a third say the media deal fairly with both sides. Again there is a political divide, with 86% of Republicans saying the media favors one side, while only about half (52%) of Democrats say that is the case.

Social media, which has been much in the D.C. news over issues like Russian election meddling and fake news, gets low marks for trust. Only 4% say they have a lot of trust in news from that source. Twice as many Democrats trust social media as Republicans, but that is only 6% to 3%, respectively.

There were clearly some troubling signs for media outlets in the poll.

Almost seven in 10, while they expect news stories will be "largely accurate" are not confident news outlets are willing to admit when they are not accurate. More than half (58%) said news outlets don't understand "people like them" and that they don't feel "particularly connected" to their main sources of national news.

Previous Pew surveys have found that local TV news outlets are among the most trusted.

The margin of error for the sample (5,035 respondents, polled Feb. 22- March 4, 2018) is plus or minus 1.5 percentage points.

Author: John Eggerton
Posted: September 25, 2018, 2:43 pm
Robert Greenblatt, NBC entertainment chairman, has departed the company. He is replaced by Paul Telegdy, president, alternative and reality group, and George Cheeks, co-president, Universal Cable Productions and Wilshire Studios. Both start in their new roles Sept. 25. Greenblatt came on board at ...

Telegdy, Cheeks take over as co-chairmen

Robert Greenblatt, NBC entertainment chairman, has departed the company. He is replaced by Paul Telegdy, president, alternative and reality group, and George Cheeks, co-president, Universal Cable Productions and Wilshire Studios. Both start in their new roles Sept. 25.

Greenblatt came on board at NBC in 2011, after overseeing entertainment at Showtime. He inherited NBC primetime in rough shape. This past season, September to September, NBC won both the 18-49 demographic and total viewers. Series such as The Voice, which debuted in 2011, the Dick Wolf Chicago dramas and smash drama This Is Us have put NBC prime in a much different position.

The son of an HVAC system designer father and a travel agent mother, Greenblatt grew up in Rockford, Ill., and enjoyed the city’s lively theater scene.

Greenblatt’s career began with an internship at 20th Century Fox’s film studio. Peter Chernin, president of production outfit Lorimar-Telepictures at the time, hired Greenblatt to be his story editor in 1988. When Lorimar was sold to Warner Bros., Chernin shifted to Fox, and brought Greenblatt, who ran Fox’s primetime programming from 1992 to 1997.

Greenblatt went on to be an independent producer, bringing over a dozen series to life, including HBO smash Six Feet Under. He joined Showtime in 2003, where his hits included Dexter and Shameless.

In an interview with the New York Times, Greenblatt mentioned the “relentless” nature of being a network programming chief. He told the Times he loves the idea of running a company, but it won’t likely be a broadcast network.

Greenblatt was inducted into the B&C Hall of Fame in 2017.

Author: Michael Malone
Posted: September 25, 2018, 2:10 pm
Vesper Public Relations. Los Angeles, CA. September 17, 2018. - Multi award winning filmmaker, Carlos Hurtado, directs the Hispanic Heritage Month promotional video for Nickelodeon Network. Hurtado's commercial is the latest spot in Nickelodeon's Emmy nominated "That's Me" campaign. Hurtado's spot, ...

The Hurtado directed promo video is part of Nickelodeon's Emmy nominated"That's Me" campaign

Vesper Public Relations. Los Angeles, CA. September 17, 2018. - Multi award winning filmmaker, Carlos Hurtado, directs the Hispanic Heritage Month promotional video for Nickelodeon Network. Hurtado's commercial is the latest spot in Nickelodeon's Emmy nominated "That's Me" campaign. Hurtado's spot, which began airing Saturday, September 15, is the latest declaration from "Nick" that their programming has always been for kids: ALL KIDS.

"I am so very thrilled to be representing Latino youth for Nickelodeon's Hispanic Heritage Month portion of their "That's Me" campaign," said Hurtado.

He continues, "I've been inspired by the other commercials in the "That's Me" campaign and enjoyed the challenge of creating something that kept to the theme yet was uniquely Latino."

Hurtado's commercial for Nickelodeon features children talking about foods, celebrations, culture unique to their varied Latin heritage. You can view Nickelodeon's Hurtado directed Hispanic Heritage Month promotional video at the following link. https://www.youtube.com/watch?v=RCN1hAEZHnw

Learn more about Nickelodeon's That's Me campaign at the following link. http://nick-thatsme.com/

Carlos Hurtado is a Mexican- American Cannes Film Festival / American Pavilion award winner (Hollygrove) whose work has been featured on ABC, CNN, Univision, Azteca, Telemundo, Playboy radio, LATV, Moviemaker Magazine, Estrella TV and Alegria Magazine. Carlos Hurtado has created promotional material for such well known brands as Nickelodeon, Addidas, he's directed music videos for groups like Latin Grammy nominated Voz de Mando and Rod Stewart's daughter Ruby and his short films have garnered him 54 awards and 148 nominations.

Much of Carlos Hurtado's award winning films are inspired by nonprofit groups which he's partnered with. Carlos Hurtado is extremely devoted to his hometown of Los Angeles, CA and often creates films pro bono for nonprofit organizations that serve his community. Time and again Carlos finds in these programs, and the people being served by them the inspiration required to create his award winning films. While the awards, recognition, and continued prosperity are well worth celebrating, Carlos Hurtado is most rewarded when he can share his talent for filmmaking with these wonderful community based organizations and the amazing people they serve.

For more information on Carlos Hurtado, or to view some of his films visit... http://carloshurtadofilms.com/

Vesper Public Relations

Raymond Diaz

raymond@vesperpublicrelations.com

(562) 325-8266

Mariluz González

Vesper Public Relations

mgonzalez@vesperpublicrelations.com

(818) 667-6403

Author: Wire Contributor
Posted: September 25, 2018, 2:01 pm
New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems WHITE PLAINS, N.Y. — Sept. 25, 2018 — SMPTE, the organization whose standards work has supported a century of advances in entertainment technology and whose membership ...

New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems

WHITE PLAINS, N.Y. Sept. 25, 2018 SMPTE, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced the publication of new SMPTE ST 2098 standards for immersive audio. The Society has published ST 2098-1:2018, Immersive Audio Metadata; ST 2098-2:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups.

“Immersive audio makes a significant impression on audiences, and because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,” said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment. “By supporting delivery of a standardized immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant Immersive sound systems.”

SMPTE ST 2098-1 establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items supported in immersive audio content and, when appropriate, the range of values, value precisions, and cardinal values. (The format of the metadata items when carried in a bitstream or file is provided in SMPTE ST 2098-2.)

SMPTE ST 2098-2 defines a coded representation (bitstream) that carries the audio essence and metadata necessary to reproduce a complete immersive audio program.

SMPTE ST 2098-5 defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This standard also provides guidance on typical locations of cinema loudspeakers used for immersive audio reproduction.

The new standards for immersive audio are available now in the SMPTE digital library hosted on the IEEE Xplore platform at https://ieeexplore.ieee.org/browse/standards/number/smpte/?queryText=immersive%20audio.

A podcast with Vessa as a guest, discussing the challenges in sound quality in the cinema is available at https://soundcloud.com/smpteconnect/cinema-sound. Further information about SMPTE and its standards work is available at smpte.org.

# # #

About SMPTE

For more than a century, the people of the Society of Motion Picture and Television Engineers, or SMPTE (pronounced “simp-tee”), have sorted out the details of many significant advances in media and entertainment technology, from the introduction of “talkies” and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, SMPTE has received an Oscar and multiple Emmy Awards for its work in advancing moving-imagery engineering across the industry. SMPTE has developed thousands of standards, recommended practices, and engineering guidelines, more than 800 of which are currently in force today. SMPTE Time Code™ and the ubiquitous SMPTE Color Bars™ are just two examples of SMPTE’s notable work. Now in its second century, SMPTE is shaping the next generation of standards and providing education for the industry to ensure interoperability as the industry evolves further into IT- and IP-based workflows.

SMPTE is a global professional association of technologists and creatives who drive the quality and evolution of motion imaging. Its membership today includes more than 7,000 individuals: motion-imaging executives, creatives, technologists, researchers, and students who volunteer their time and expertise to SMPTE’s standards development and educational initiatives. A partnership with the Hollywood Professional Association (HPA) connects SMPTE and its membership with the businesses and individuals who support the creation and finishing of media content. Information on joining SMPTE is available at smpte.org/join.

All trademarks appearing herein are the properties of their respective owners.

Link to Word Doc: www.wallstcom.com/SMPTE/180925SMPTE.docx

Photo Link: www.wallstcom.com/SMPTE/SMPTE_Brian-Vessa.jpg

Photo Caption: Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment

Author: Dundee Hills Group
Posted: September 25, 2018, 1:54 pm
OWINGS MILLS, MD, SEPTEMBER 25, 2018 — Long-time Calrec Audio user and Emmy award-winning station, Maryland Public TV (MPT), has once again turned to Calrec with the addition of a 56-fader Artemis console into its facility. Calrec’s Hydra2 network was also integrated into the television network’s ...

OWINGS MILLS, MD, SEPTEMBER 25, 2018 — Long-time Calrec Audio user and Emmy award-winning station, Maryland Public TV (MPT), has once again turned to Calrec with the addition of a 56-fader Artemis console into its facility. Calrec’s Hydra2 network was also integrated into the television network’s workflow.

After 16 years of award-winning broadcasts with Calrec’s Alpha consoles, MPT was ready for an upgrade. The Artemis features 240 full signal processing channels to keep up with the audio requirements of the wide variety of programs produced by the television network’s six stations.

Calrec’s Hydra2 network was implemented to work with MPT’s new fiber infrastructure. This includes fiber drops throughout the building with additional I/O mounted in a portable SKB case that can be added when more I/O is needed. Hydra2 also incorporates Waves SoundGrid and Dante cards to take advantage of additional plug-in options, as well as networking and workflow options for even more flexibility.

MPT uses the Hydra2 network to help coordinate multi-location productions, where an interview can be in one studio and a live performance in another. Streamlining the audio routing throughout the facility was an important factor to facilitate the fast setup of productions of different sizes. Simple and quick audio routing was especially important as the network continues to expand, with plans to develop Studio A in 2019 to accommodate a 235-person studio audience.

says Helen Carr, regional sales manager for Calrec. “Over the years, MPT’s engineering team and A1’s have commented on the console’s reliability and how responsive the support department has been when addressing any operational questions. We are honored to have our products used on its award-winning shows and look forward to continuing to grow and expand with MPT in years to come.”

About Calrec Audio Ltd.

Calrec Audio is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 50 years, Calrec has developed a range of digital consoles relied on by the world's most successful broadcasters. Increasingly. consoles are integral components on a facility-wide network, giving rise to adaptable workflows, shareable resources and the ability to be easily expanded. From the very beginning, Calrec has created innovative solutions that have allowed broadcasters to develop their working methods and get greater value from their equipment. For premium audio solutions, broadcasters put their trust in Calrec. More information is available at calrec.com.

Follow Calrec Audio:

https://www.facebook.com/calrecaudio

https://twitter.com/calrecaudio

All trademarks appearing herein are the property of their respective owners.

Author: D. Pagan Communications
Posted: September 25, 2018, 1:16 pm
The FCC is giving communications providers affected by Hurricane Florence an extra two days to pay their annual regulatory fee. The FCC is self-supporting, paying for its operations through the fees it charges licensees to regulate them--according to how many full time employees (FTEs) the FCC ...

Fees for other licensees due Tuesday

The FCC is giving communications providers affected by Hurricane Florence an extra two days to pay their annual regulatory fee.

The FCC is self-supporting, paying for its operations through the fees it charges licensees to regulate them--according to how many full time employees (FTEs) the FCC calculates it takes.

Those fees are due by the end of Tuesday (Sept. 25). But given the communications outages caused by Hurricane Florence, the FCC is giving providers in most of a hundred counties in North Carolina, South Carolina, Georgia and Virginia until Sept. 27.

The FCC has deactivated its voluntary Disaster Information Reporting System (DARS) for Florence. As of its last report on Sept. 24, there were only a handful of radio and TV stations out of service.

Author: John Eggerton
Posted: September 25, 2018, 1:09 pm
West Palm Beach, FL – September 13, 2018 – Ultra Clásico, the Spanish-language channel comprised of digitally re-mastered classics and award-winning movies from the Golden Age of Mexican and Latin American cinema starring some of the region’s most iconic stars from the 1930s to the 1980s, announced ...

Praised by critics, Frappé de Menta is known as one of Geraldine Chaplin’s and Carlos Saura’s most acclaimed work.

West Palm Beach, FL – September 13, 2018 – Ultra Clásico, the Spanish-language channel comprised of digitally re-mastered classics and award-winning movies from the Golden Age of Mexican and Latin American cinema starring some of the region’s most iconic stars from the 1930s to the 1980s, announced the network premiere of Frappé de Menta, a 1967 Spanish psychological thriller about a man who becomes obsessed with his best friend's wife.

On Thursday, September 27 at 8 p.m. EST, the Ultra Clásico audience can tune into one of Carlos Saura’s most iconic films, Frappé de Menta. Starring an all-star cast led by Geraldine Chaplin, José Luís López and Alfredo Mayo, this film depicts the story of Julián, a middle-aged doctor who loses his head over Elena, his best friend's new wife. Driven by a strong obsession and the fact that his nursing assistant bears a troubling resemblance with Elena, Julián decides to gradually transform his nursing assistant into Elena, trying to change her looks, mannerisms and personality.

“We are excited to add Frappé de Menta to our lineup. This film features an extraordinary cast under the direction of one of the most accomplish Spanish filmmakers of all time, Carlos Saura. In addition, Geraldine Chaplin has surely lived up to her family’s legacy and is well-known internationally for her versatility as an actor and powerful performances in films from all over the world,” stated Jesús Piñango, Director of TV Content Strategy at Olympusat. “Both Chaplin and Saura are considered to be great contributors to Hispanic cinema.”

Praised by critics, Frappé de Menta is known as one of Geraldine Chaplin’s and Carlos Saura’s most acclaimed work. The film received multiple accolades over the years including the Best Spanish Film at the Saint Jordi Awards, the Best Actor Award for José Luís López at the CEC Awards and the Silver Bear for Carlos Saura at the Berlin International Film Festival.

Ultra Clásico is owned and operated by Olympusat Inc., and it’s currently available on Charter Spectrum, Hotwire Communications, Liberty Cable, Verizon FiOS and VEMOX™.

For more information on Ultra Clásico’s programming, including tune in dates and times, please visit ultraclasicotv.com and vemox.com.

Author: Olympusat Inc.
Posted: September 25, 2018, 12:00 pm
Charter says it backs legislation creating a uniform online privacy protection framework that is opt-in and enforced by the Federal Trade Commission. That is according to the written testimony of Rachel Welch, senior VP policy and external affairs for Charter, for a Sept. 26 Senate Commerce ...

Tells Hill it is ready for comprehensive legislation, uniformly applied

Charter says it backs legislation creating a uniform online privacy protection framework that is opt-in and enforced by the Federal Trade Commission.

That is according to the written testimony of Rachel Welch, senior VP policy and external affairs for Charter, for a Sept. 26 Senate Commerce Committee hearing on privacy. That echoes Charter CEO Tom Rutledge's commitment last April to backing comprehensive legislation.

Edge providers have been talking about the need for some kind of legislation or regulation—under increased pressure from the Hill—but an opt-in regime, they argue, could threaten the business model of targeted advertising that supports their free service.

Charter says the core tenets of any legislation should be control, transparency, uniformity, parity and security.

Under "control" is the key issue of opt-in or opt-out regimes for data sharing. Charter says it should be opt-in, and should apply to everyone, web browsers, search engines and websites as well as ISPs.

"That means no more pre-ticked 'boxes,' take-it-or-leave-it offers, or other default consents," Welch said. "It also means that the use of personal data should be reasonably limited to what the consumer understood at the time consent was provided."

Charter signaled that the data collection that needs protecting is not just the so-called sensitive data that most agree should not be shared without affirmative consent. "While there are legal protections for certain categories of particularly sensitive information, such as financial information and health-related data, vast amounts of other personal data are being collected, shared, tracked, and even sold online without specific protections."

Charter also cites third-party ad networks and online data brokers as things to watch out for and guard against in terms of info collection and sharing. It focuses on the edge, understandably, which does the majority of that collecting and sharing, including websites that embed tracking and ad links "throughout their pages." 

"If the framework is competitively neutral and reflects the principle of parity [not applied based on who is collecting it or whether the service is paid or free], it would not impede businesses from developing new technologies or business models that will encourage market entry, innovation, and robust competition," Charter said. "Instead, it would ensure that businesses have the necessary incentives to develop new products and services that both benefit consumers and earn their trust."

The FCC's reclassification of ISPs as information services deeded online privacy oversight to the Federal Trade Commission, and that is where Charter thinks it belongs. "The FTC is the nation’s leading agency when it comes to privacy enforcement, having brought hundreds of privacy and data security cases. Importantly, it has broad authority to safeguard consumers and enforce privacy protections across the entire online ecosystem," Welch told the committee. The FTC already has oversight over edge privacy.

Author: John Eggerton
Posted: September 24, 2018, 10:01 pm
They used a lot more than 280 characters, but Frank Pallone (D-N.J.), ranking member of the House Energy & Commerce Committee, and fellow Democrat Rep. Bobby Rush of Illinois, Monday pressed Twitter CEO Jack Dorsey to firm up his commitment to conduct a civil rights audit of his social media ...

Say it is needed to help restore public trust in platform

They used a lot more than 280 characters, but Frank Pallone (D-N.J.), ranking member of the House Energy & Commerce Committee, and fellow Democrat Rep. Bobby Rush of Illinois, Monday pressed Twitter CEO Jack Dorsey to firm up his commitment to conduct a civil rights audit of his social media platform.

Their goal is for Twitter to follow a kind of web Hippocratic oath: "First, do no harm to our country, our democracy, or the public."

That commitment came in testimony before the Committee Sept. 5.

Related: Twitter's Dorsey to Hill: We Don't Base Decisions on Political Ideology

At the hearing, which Pallone signaled he viewed the grilling as a Republican stunt to drum up campaign contributions by riding on the coattails of President Donald Trump's attacks on Twitter and other social media sites as censors of conservative speech. But he also conceded Twitter had a darker side, including being used for bullying and to spread disinformation. He quoted Dorsey as saying that truth will ultimately come out, but Pallone said he is not convinced. 

In the letter to Dorsey, Pallone and Rush said the civil rights audit was needed because of the use of Twitter to sew that division. "'[S]ome Twitter users, including foreign agents, continue to misuse the platform to promote racially divisive content and misinformation," they told him, adding: "[Widespread abuse, harassment, harmful misinformation and manipulation continue on Twitter."

They said an audit would be a positive step forward, pointing out that Facebook and others have agreed to similar review. 

They also put in a plug for greater transparency around Twitter's rules and policies, then "swift and fair" enforcement.

Both, they said would go a long way to Twitter regaining the trust of the public in its service, another way of saying Twitter currently does not have that trust.

Author: John Eggerton
Posted: September 24, 2018, 8:44 pm
Walt Disney Direct-to-Consumer & International has cleared Tamron Hall’s syndicated daytime talker on the ABC Owned Television Stations Group for fall 2019. The move will put the talk show in 23% of U.S. households, including WABC-TV in New York; KABC-TV in Los Angeles; WLS-TV in Chicago; ...

Puts show in 23% of U.S. households

Walt Disney Direct-to-Consumer & International has cleared Tamron Hall’s syndicated daytime talker on the ABC Owned Television Stations Group for fall 2019.

The move will put the talk show in 23% of U.S. households, including WABC-TV in New York; KABC-TV in Los Angeles; WLS-TV in Chicago; WPVI-TV in Philadelphia; KGO-TV in San Francisco; KTRK-TV in Houston; WTVD-TV in Raleigh-Durham, North Carolina; and KFSN-TV in Fresno, Calif.

News of Hall’s talker for Disney-ABC was released last month.

“We are thrilled to have the ABC Owned Television Stations Group as the launch partner for our new daytime talk show, hosted by the enormously talented Tamron Hall,” said Jed Cohen, executive VP and general sales manager, U.S. content sales and distribution, Walt Disney Direct-to-Consumer & International. “These stellar stations are a great fit for Tamron, and we are looking forward to a successful partnership with them.”

Hall previously hosted the third hour of NBC’s Today with Al Roker. She left the network after it hired Megan Kelly from Fox News and put Kelly’s talk show in the the Today third-hour timeslot

“I’m thrilled to partner with the ABC Owned Television Stations Group to bring our show – which will aim to showcase real joy and laughter, as well as inspiration in the face of adversity – to audiences across the country,” said Hall. “Having grown up professionally as a local news reporter and anchor, I know that it’s vital to tell stories that reflect local communities. I couldn’t be more humbled to return to daytime television backed by such a phenomenal team at an iconic company. The best daytime TV is the kind where you listen before you talk, and with my partners at Disney|ABC, that’s what we’ll deliver next fall!”

After a quiet fall 2018 for syndies, fall 2019 is becoming more and more crowded. Last week NBC bought The Kelly Clarkson Show for the NBC Owned Television Station Group, putting the Kelly Clarkson-led talker in nearly 30% of U.S. households. There is also a Warner Bros. talk show in the works with RuPaul as well as shows at other studios. 

Author: Jessika Walsten
Posted: September 24, 2018, 8:25 pm
Hulu has renewed costume drama Harlots for a third season. The season will have eight episodes. Season two debuted July 11. Set in 18th century London, Harlots follows the fortunes of the Wells family. Margaret (Samantha Morton) has been sent to America in chains, and Lydia Quigley (Lesley ...

Eight episodes in next season of show about prostitutes in 18 century London

Hulu has renewed costume drama Harlots for a third season. The season will have eight episodes.

Season two debuted July 11.

Set in 18th century London, Harlots follows the fortunes of the Wells family. Margaret (Samantha Morton) has been sent to America in chains, and Lydia Quigley (Lesley Manville) is vanquished. The Wells girls can free themselves of their mother’s feud, but running a lucrative brothel brings new enemies. Inspired by the stories of real women, Harlots is a family drama as explored from the female perspective.

Related: 'Jeopardy!' Arrives at Hulu

Harlots comes from the creative team of Moira Buffini, Alison Newman, Alison Owen, Debra Hayward and Alison Carpenter.

Author: Michael Malone
Posted: September 24, 2018, 8:06 pm
MILLVILLE, NJ, SEPTEMBER 24, 2018 – xG® Technology, Inc. (“xG”) (Nasdaq: XGTI, XGTIW), whose brands are recognized as the global leaders in live video communications in the broadcast, law enforcement and defense markets, announced that IMT Vislink was the featured provider of onboard video ...

MILLVILLE, NJ, SEPTEMBER 24, 2018xG® Technology, Inc. (“xG”) (Nasdaq: XGTI, XGTIW), whose brands are recognized as the global leaders in live video communications in the broadcast, law enforcement and defense markets, announced that IMT Vislink was the featured provider of onboard video technology at the 2018 MotoAmerica Championship of New Jersey superbike racing event that was held September 7-9 at New Jersey Motorsports Park, Millville, NJ. The race was broadcast nationwide on the beIN Sports Network. Video showing footage taken by the Vislink onboard system can be viewed at this link, while the entire race video can be viewed at this link. Images from the event can be viewed here.

MotoAmerica is the premier motorcycle racing series in the U.S. under the guidance of its president (and former MotoGP® world champion) Wayne Rainey. Its mission is to raise the profile of motorcycle road racing in the U.S. and to ultimately send its riders to compete in top-level international MotoGP championships.

“We are pleased to be involved with the MotoAmerica racing series,” said Raj Kotecha, Vice President of Strategic Accounts for Vislink. “It is a thrill for us to work with Wayne Rainey, and we look forward to supporting his efforts to raise the profile of this exciting race series throughout the U.S. For this event, we showcased an ultra-compact version of our established MDR (Modular Diversity Receive) system that we have successfully deployed at MotoGP and numerous other top-tier sporting events around the world for over a decade. We would also like to thank beIN Sports and Dorna Sports, our longtime partners in producing high-quality, customized racing coverage systems for MotoGP events, for helping make this participation with MotoAmerica possible.”

The MotoGP racing series is the premier level of motorcycle racing in the world. It features many of the fastest riders and most innovative motorcycle technology. MotoGP events are carried by over 100 broadcasters and are seen by over 400 million viewers around the world. Vislink has enjoyed a long-standing relationship with MotoGP and is its official RF systems supplier, providing onboard, aerial and pitlane camera transmission and receive systems. It was at the 2015 UK MotoGP World Championship that Vislink delivered the world’s first 4K UHD live wireless transmission.

About xG Technology, Inc.

xG Technology’s IMT and Vislink brands are recognized as the global leaders in live video communications and are trusted suppliers to tier-1 customers in broadcast/sports/entertainment, and law enforcement/public safety/defense markets. Their products are recognized for high levels of performance, reliability, build quality, extended operating ranges and compact form factors. In the broadcast, sports and entertainment sectors, IMT and Vislink provide high-definition communication links to reliably capture, transmit and manage live event footage. In the law enforcement, public safety & defense markets, IMT and Vislink provide secure video communications and mission-critical solutions to local, national and international agencies and organizations. More information can be found at and .

Based in Sarasota, Florida, xG Technology has over 80 patents and pending patent applications. xG is a publicly traded company listed on the NASDAQ Capital Market (symbol: XGTI) For more information, please visit .

Cautionary Statement Regarding Forward Looking Statements

Statements contained herein that are not based upon current or historical fact are forward-looking in nature and constitute forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. Such forward-looking statements reflect the Company’s expectations about its future operating results, performance and opportunities that involve substantial risks and uncertainties. These statements include but are not limited to statements regarding the intended terms of the offering, closing of the offering and use of any proceeds from the offering. When used herein, the words “anticipate,” “believe,” “estimate,” “upcoming,” “plan,” “target”, “intend” and “expect” and similar expressions, as they relate to xG Technology, Inc., its subsidiaries, or its management, are intended to identify such forward-looking statements. These forward-looking statements are based on information currently available to the Company and are subject to a number of risks, uncertainties, and other factors that could cause the Company’s actual results, performance, prospects, and opportunities to differ materially from those expressed in, or implied by, these forward-looking statements.

Author: D. Pagan Communications
Posted: September 24, 2018, 7:30 pm
A combative Judge Brett Kavanaugh has labeled both his alleged sexual assaults/misconduct as false and uncorroborated "smears," part of what he is calling a "frenzy" to "come up with something—anything—that will block this process and a vote on my confirmation from occurring." He said he is not ...

Calls allegations part of smear campaign, says he won't bow out

A combative Judge Brett Kavanaugh has labeled both his alleged sexual assaults/misconduct as false and uncorroborated "smears," part of what he is calling a "frenzy" to "come up with something—anything—that will block this process and a vote on my confirmation from occurring." He said he is not backing down or bowing out.

The White House has also said it thinks they are part of a campaign by Democrats to kill the nomination.

Related: Hill Dems Attempt to Delay Nomination

Kavanaugh's nomination by President Donald Trump was thought to be pretty much assured after three days of Hill testimony earlier this month during which Kavanaugh took some shots but nothing that appeared to be a serious blow. But the sexual assault allegations from two women that have since emerged—one a woman who said he assaulted her in high school and another accusation of him exposing himself while in college—has changed the equation, particularly in the #MeToo era when such allegations are getting heightened scrutiny, and being viewed through a different filter. 

Kavanaugh's response in a letter to the Judiciary Committee, came in the wake of the second allegation, this time from a former Yale classmate, that generated new calls for his nomination to be pulled and even for him to be impeached from his current post as a judge on the court primarily overseeing FCC legal challenges.

In the letter, addressed to the chairman (Sen. Chuck Grassley (R-Iowa) and ranking member (Dianne Feinstein (D-Calif.) of the Senate Judiciary Committee overseeing his nomination, Kavanaugh said such "grotesque and obvious character assassination" if allowed to succeed in blocking his nomination will dissuade competent and good people from public service. A copy of the letter was supplied by Grassley's office.

"I will not be intimidated into withdrawing from this process," he said. "The coordinated effort to destroy my good name will not drive me out. The vile threats of violence against my family will not drive me out. The last-minute character assassination will not succeed.

"I have devoted my career to serving the public and the cause of justice, and particularly to promoting the equality and dignity of women. Women from every phase of my life have come forward to attest to my character. I am grateful to them. I owe it to them, and to my family, to defend my integrity and my name. I look forward to answering questions from the Senate on Thursday."

In a note from initial accuser Christine Blasey (Ford) to Grassley, who released the letter with Blasey's permission, she said she, too, would not be intimidated from providing her story, despite death threats and what she called "disconcerting media intrusion."

"While I am frightened," she told Grassley, "please know, my fear will not hold me back from testifying and you will be provided with answers to all of your questions."

Author: John Eggerton
Posted: September 24, 2018, 6:38 pm
Cable operators not looking for a boost in broadcaster retrans leverage, have told the FCC Gray Television has not made a case for being allowed to own two of the top four stations in Honolulu. Gray is seeking to retain both stations in its deal to buy another high-rated station in the market. Gray ...

Says keeping two of top four stations requires exceptional circumstances

Cable operators not looking for a boost in broadcaster retrans leverage, have told the FCC Gray Television has not made a case for being allowed to own two of the top four stations in Honolulu.

Gray is seeking to retain both stations in its deal to buy another high-rated station in the market. Gray in June struck a deal, subject to FCC approval, to buy Raycom for $3.6 billion.

In a broadcast deregulation decision late last year, the FCC loosened its prohibition on owning two of the top four-rated stations in a market, saying it would still presume it was not in the public interest, but that presumption could be rebutted on a case-by-case basis. 

Related: ACA to FCC: If Gray-Raycom Goes Through, Retrans Fees Will Go Up

For example, Sinclair attempted to make such a showing before its proposed deal to acquire Tribune stations crumbled.

But in comments on the Gray/Raycom deal, NCTA-The Internet & Television Association, NCTA said that simply invoking deal efficiencies like economies of scale and cost savings that could lead to program investments is not enough to overcome the presumption of not being in the public interest.

NCTA said one of the ways the combo would not be in the public interest is that it would raise retrans fees.

Related: Gray TV Reaches Agreement to Renew NBC Affiliations

"The ability to jointly negotiate higher retransmission consent fees and higher advertising rates might also give them more money to spend on programming, but those anticompetitive results are reasons for prohibiting common ownership, not allowing it," said NCTA.

NCTA wants the FCC to make it clear for this and other transactions just how high the bar is for allowing combos that would otherwise be prohibited.

"[T]he case-by-case showings that it authorized when it voted to retain the general prohibition on common ownership of Top-Four stations require applicants to demonstrate that the harms the Commission has recognized that are associated with common ownership are outweighed by unusual benefits or that there are other exceptional circumstances with regard to such common ownership," NCTA told the FCC in reply comments on the deal. "Gray/Raycom has not made such a showing regarding their Honolulu stations."

Author: John Eggerton
Posted: September 24, 2018, 6:24 pm
image caption: Maverick Turner - Broadcast Audio Engineer; 2013 GRAS graduate; currently working for ESPN as an A1 Audio Operator. Gilbert, Ariz., Sept. 24, 2018 - The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the premier institution for audio engineering education, will ...

image caption: Maverick Turner - Broadcast Audio Engineer; 2013 GRAS graduate; currently working for ESPN as an A1 Audio Operator.

Gilbert, Ariz., Sept. 24, 2018 - The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the premier institution for audio engineering education, will be opening the doors to its Gilbert, Ariz. campus (1205 N. Fiesta Blvd.) to prospective students, parents, and the media on Saturday, Sept. 29 from 10am – 4pm. Three CRAS graduates with careers in the broadcast, video game, and music recording industries will be on hand for the Open House, and they will also be part of an Open Panel Forum held for current CRAS students the evening of Sept. 27.

“There are a host of opportunities for our students once they graduate, and we want to give them an idea of what’s out there first hand for them once they enter the open market,” said Kirt Hamm, CRAS administrator. “Besides our mandatory internship program, getting our students in touch with our graduates who either are working for others, or who have made the leap into self employment, is huge. That’s what this grad panel is about in our upcoming Open House. Continued education, networking, and learning what it takes for going out on one’s own by those who have done it already is of enormous value for any student.”

Hamm continued, “We also want prospective students and their parents to discover everything there is to know about a CRAS education, and with hard work and dedication just how successful they can be. For instance, every year, CRAS graduates populate, in great numbers, Grammy nominations for the year. Most recently, seven of our graduates worked on multiple 2018 Grammy Award-winning projects by numerous artists. In total, 28 CRAS graduates worked on 26 Grammy-nominated albums and songs across 28 categories this past year.”

Members of the September Open House Grad Panel include:

Maverick Turner - Broadcast Audio Engineer; 2013 GRAS graduate; currently working for ESPN as an A1 Audio Operator. Turner has worked for client(s) and companies such as: ESPN, House of Blues [Dallas], Carnival Cruise, Dallas Opera, Six Flags Over Texas, Undermain Theatre [Dallas, Texas], Northstar Baptist Church, and more. Along with being an operator, Maverick also has had music placement(s) on American Idol, FOX Sports and Comcast Television. He also recorded six albums as a hip-hop artist and has shared the same stage with major artist(s) such as Nipsey Hussle, Lil Scrappy, Young Joc & Bone Thugs N' Harmony.

Maverick often credits to his teachers, staff and his great experience while attending CRAS as a major route to his success.

Martin Gray - freelance engineer/studio manager; formerly of Westlake now with Alliance Music; 2015 CRAS graduate.

After graduation, Gray moved to Los Angeles and started climbing the studio ladder where he became a freelance engineer and was given the opportunity to also get involved in studio management. Gray’s credits include The Chainsmokers, Demi Lovato & Camila Cabello’s hit song “Havana”.

Cesar Marenco - Game Audio Dialogue Editor, Formosa Group; 2010 CRAS graduate.

Marenco applied his internship at Blindlight, where he earned his first credit, The Elder Scrolls V: Skyrim as a dialogue editor. Marenco then moved to Boston to attend Berklee College of Music, where he eventually graduated in 2017 in Electronic Production and Design with minors in “Acoustics and Electronics” and “Audio Design for Video Games”. He then interned at Igloo Music. He now works as a full-time dialogue editor at at Formosa Group - Interactive.

At the September Open House, guests will be able to interact with CRAS faculty and get a taste of the curriculum and the state-or-the-art audio gear spread throughout its numerous classrooms as well as its 42-foot Mobile Broadcast Unit. They will also be able to participate in live demonstrations in many of these real world audio recording studios, live sound venue, and labs.

The Conservatory of Recording Arts & Sciences is composed of two nearby campuses in Gilbert and Tempe, Ariz. A CRAS education includes Broadcast Audio, Live Sound, Audio Post for Film and TV, Music Production, Commercial Production and Video Game Audio, all taught by award-winning instructors who have excelled in their individual fields. CRAS’ structured programs, and highly qualified teaching staff, provide a professional and supportive atmosphere, which is complemented by its small class sizes allowing for individual instruction and assistance for students in engineering audio recordings. CRAS has been providing quality vocational training in Audio Recording for more than three decades. The curriculum and equipment are constantly being updated to keep pace with the rapid advancements in the music and sound recording industries. CRAS’ course offerings and subject matter have always centered around the skills and knowledge necessary for students’ success in the Audio Recording industries.

The 11-month program is designed to allow every student access to learn and train in all of the Conservatory’s studios which are comprised with state-of-the-art audio recording and mixing gear, the same equipment used in today’s finest studios and remote broadcast facilities, including Pro Tools 12, API Legacy consoles, SSL G+ and AWS consoles, Studer Vista consoles, and much more. All students must complete a 280-hour industry internship to graduate from the Master Recording Program II that may ultimately lead to industry employment.

“We want everyone to see, hear, and feel how our 11-month program focuses exclusively on what a student needs to know to begin living their passion in any one of the many facets of the Recording Arts,” Hamm concluded.

For more information on the Conservatory of Recording Arts & Sciences, please visit www.cras.edu, contact Kirt Hamm, administrator, at 1-800-562-6383, or email to info@cras.edu.

About The Conservatory of Recording Arts & Sciences

Based in the heart of The Valley of the Sun with two campuses in Gilbert and Tempe, Ariz., The Conservatory of Recording Arts & Sciences (CRAS) is one of the country’s premier institutions for audio education. The Conservatory has developed a unique and highly effective way to help the future audio professional launch their careers in the recording industry and other related professional audio categories.

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Author: Charles Leib
Posted: September 24, 2018, 5:27 pm
Singapore - September 24, 2018 – Blackmagic Design’s DaVinci Resolve 15 was used to color grade 63 commercials in one month with the help of DaVinci Resolve 15’s collaboration workflow by RengeDragon Studio, an Indian boutique studio. As part of the 63 commercials, RengeDragon used DaVinci Resolve ...

Blackmagic Design’s DaVinci Resolve 15 was used to color grade 63 commercials in one month with the help of DaVinci Resolve 15’s collaboration workflow by RengeDragon Studio, an Indian boutique studio.

Singapore - September 24, 2018 – Blackmagic Design’s DaVinci Resolve 15 was used to color grade 63 commercials in one month with the help of DaVinci Resolve 15’s collaboration workflow by RengeDragon Studio, an Indian boutique studio. As part of the 63 commercials, RengeDragon used DaVinci Resolve 15, along with DaVinci Resolve Micro Panel, for color grading the new Vaseline Sun & Pollution Protection commercial campaign.

DaVinci Resolve 15 was introduced at NAB 2018 in April and began shipping in August, 2018. The DaVinci Resolve 15 collaborative workflow dramatically speeds up post production because customers no longer need to import, export or translate projects between different software applications and work no longer needs to be conformed when changes are made.

“RengeDragon Studio was responsible for color grading all 63 commercials. As we were the only production house and not an outsourced vendor for the Vaseline commercial, we chose to edit, color grade, sound design, create visual effects/composites and finally deliver using DaVinci Resolve 15,” says Adolf Dsouza, Director, RengeDragon Studio.

“RengeDragon Studios has three senior colorists, two compositors, four junior colorist and finishing artists. With a staff strength of nine, every manhour needs to go into producing quality work. All projects enlist DaVinci Resolve 15’s collaboration workflow. Once the project has started on our office’s shared network, our visual effects artist, compositors and rotoscoping artist start working on the ungraded timeline with the reference LUT (that was prepared during presentation pitch phase) while the colorist works on color grading the footage in the timeline. They are all working on the RAW camera files in full 4K and there is no need to pull the shots separately for visual effects. Once the color grading is done, stills are sent to the visual effects and finishing department where they just apply them and deliver the final master. Since we are working with RAW files, the highest level of detailing remains with no data loss,” says Adolf Dsouza. He continues, “These highly creative processes often take the most manhours. However, when they are happening simultaneously, you save so much time!”

“Our client was very happy and impressed when they were giving us their feedback. As DaVinci Resolve 15 delivers looks fast, we were able to create many options with the DOP sitting in during an interactive client supervised session. Traditionally, a lot of time is wasted exporting and switching timelines in and out of different software. This often frustrates the client as waiting for changes to be made in order to compare options is a pain only people in post production are familiar with. With DaVinci Resolve 15, the changes are quick and comparing the effects in multiple screens is so easy that it really impresses our clients who have little to no background in post production,” says Adolf Dsouza, Director, RengeDragon Studio.

Pollution Protection Lotion’s commercial was also delivered using a Blackmagic Design DaVinci Resolve Micro Panel and DeckLink Mini Monitor.

“I enjoy using Blackmagic Design equipment for its reliability and cost effectiveness whilst delivering on high end post production standards. DaVinci Resolve 15 has made it possible for artists to now own the creative and deliver even better results in a totally cost effective way. Blackmagic Design has opened the doors to uncompromised post for a boutique studio like us who are now competing with giants operating on much bigger systems,” said Dsouza. He continues, “DaVinci Resolve 15 has amazing color grading and finishing tools which allows one to bend images without restrictions. The speed, accuracy, ease of use and flexibility that DaVinci Resolve 15 offers is exceptional, making it the best tool for productivity. We work on RAW 8K footage and the performance is just seamless.’’

DaVinci Resolve 15 has brilliant color management and color science. Footages from different cameras can be matched flawlessly now without much effort. The node based workflow allows one so much flexibility. The new 3D match moving tools allows us to track any complex shots. As a colorist from a strong finishing background, I can quickly do a lot of paint, tracking shapes, sky compositing, beautification and other compositing jobs while grading. Another thing I love is the range of options you can deliver to. It delivers instantly for YouTube, Vimeo, Broadcast, DCP and many other platforms,” he said.

“We are now even looking at providing remote grading as a service for our overseas supervised clients sessions. I’m very excited about the next stage of my business!”

Vaseline’s commercial is available at: https://www.youtube.com/watch?v=o_7hZEKDMQI&feature=youtu.be

Press Photography

Product photos of DaVinci Resolve, DeckLink Mini Monitor, DaVinci Resolve Micro Panels, and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Author: Wire Contributor
Posted: September 24, 2018, 4:59 pm
NBC won the Sunday ratings contest, with Sunday Night Football leading the network to a 5.1 score in viewers 18-49, per the Nielsen overnights, and a 20 share. In second was Fox, enjoying an NFL lead-in to prime and boisterous 9-1-1 premiere, and rating a 2.4/10. On NBC, Football Night in America ...

Big start for ‘9-1-1’ on Fox

NBC won the Sunday ratings contest, with Sunday Night Football leading the network to a 5.1 score in viewers 18-49, per the Nielsen overnights, and a 20 share. In second was Fox, enjoying an NFL lead-in to prime and boisterous 9-1-1 premiere, and rating a 2.4/10.

Pictured: Tom Brady, Eli Harold

On NBC, Football Night in America slipped 13% to 2.1 and the game, Patriots versus Lions, fell 8% from last week to 5.7. The Lions won.

Fox had The OT at 3.5 and the season premiere of hit drama 9-1-1 a 2.3. The series premiere in January did a 1.8. Repeated comedies followed.

CBS did a 0.8/3. A 60 Minutes repeat led into Big Brother, which was down 24% to 1.3, and followed by repeats of NCIS: Los Angeles and Madam Secretary.

ABC scored a 0.6/2. After an America’s Funniest Home Videos repeat, Celebrity Family Feud was off 33% to 0.6 and $100,000 Pyramid did a 0.6. The second half of a double run, the $100,000 Pyramid finale rated a 0.5. Last week’s $100,000 Pyramid scored a 0.7.

Univision scored a 0.5/2 and Telemundo a 0.4/2.

Author: Michael Malone
Posted: September 24, 2018, 4:25 pm
As its 25th anniversary approaches, Turner Classic Movies is returning to the high seas. The movie network, which last ran one of its cruises in 2016 said it want fans on board for another boat ride. The five-night TCM Classic Cruise will shove off Oct. 22 from New York to Bermuda on the Disney ...

Film fans can sail away

As its 25th anniversary approaches, Turner Classic Movies is returning to the high seas.

The movie network, which last ran one of its cruises in 2016 said it want fans on board for another boat ride.

The five-night TCM Classic Cruise will shove off Oct. 22 from New York to Bermuda on the Disney Magic.

Ben Mankiewicz will reprise his role as host for the voyage, which will feature appearances by classic film stars, screenings of films, interviews, Q-and-A sessions and trivia games.

“TCM has a passionate and devoted audience that is the driving force behind our success, and we wanted to do something special for our upcoming 25th anniversary to celebrate with our fans,” said Jennifer Dorian, general manager of TCM and executive VP of 360 Brand Strategy for Turner. “The TCM Classic Cruise has always been such a beloved fan experience that we felt this landmark anniversary was the perfect time to re-launch this immersive, curated and engaging fan experience.”

Author: Jon Lafayette
Posted: September 24, 2018, 4:00 pm
WASHINGTON, D.C.-- Actor, producer and director Robert De Niro will headline the Opening Keynote event on Wednesday, October 17 at NAB Show New York. In a Q&A with “Deadline Hollywood” Contributing Editor Dade Hayes, De Niro will discuss the future of film and entertainment, drawing on his four ...

Opening keynote set for Oct. 17 at Javits Center

WASHINGTON, D.C.-- Actor, producer and director Robert De Niro will headline the Opening Keynote event on Wednesday, October 17 at NAB Show New York. In a Q&A with “Deadline Hollywood” Contributing Editor Dade Hayes, De Niro will discuss the future of film and entertainment, drawing on his four decades in the entertainment business.

NAB Show New York is produced by the National Association of Broadcasters and will be held October 17-18 at the Javits Convention Center.

Robert De Niro launched his motion picture career in “The Wedding Party” in 1969. In 1974, he won the New York Film Critics Award for Best Supporting Actor in “Bang the Drum Slowly” and the Academy Award for Best Supporting Actor for “The Godfather, Part II.” In 1980 he won his second Oscar, as Best Actor, for “Raging Bull.” Additionally, De Niro has earned Academy Award nominations for his work in “Taxi Driver,” “The Deer Hunter,” “Awakenings,” the remake of “Cape Fear” and “Silver Linings Playbook.” He directed “A Bronx Tale” in 1993 and “The Good Shepherd” in 2006.

In 2009, De Niro received the Kennedy Center Honor for his distinguished acting and the Stanley Kubrick Award from the BAFTA Britannia Awards. He was honored with the Cecil B. DeMille Award at the 2011 Golden Globe Awards and served as the jury president of the 64th Cannes Film Festival.

“Robert De Niro is a legendary actor, producer and director whose work spans decades and genres,” said NAB Executive Vice President of Conventions and Business Operations Chris Brown. “We’re honored to welcome him to this year’s NAB Show New York as he shares his insight and distinguished experience with attendees.”

De Niro co-founded Tribeca Productions with Jane Rosenthal and Craig Hatkoff. Through the production company, De Niro develops projects on which he serves in a combination of capacities, including producer, director and actor. Some examples include "A Bronx Tale," "The Good Shepherd," "The Wizard of Lies" and "Thunderheart." Through the company, De Niro also co-founded the Tribeca Film Festival. The annual event brings together visionaries across industries and diverse audiences to celebrate the power of storytelling.

De Niro’s next projects include Martin Scorsese’s “The Irishman” for Netflix, in which he stars and is producing with Scorsese. De Niro also will co-star in Warner Bros. Pictures’ upcoming “Joker,” based on the DC Comics character. (Robert De Niro photo credit: copyright Brigitte Lacombe, provided by NAB.)

About NAB Show New York

Produced by the National Association of Broadcasters, NAB Show New York will be held October 17-18, 2018 at the Javits Convention Center. With more than 14,000 attendees and 300+ exhibitors, NAB Show New York showcases the best in next-generation technology for media, entertainment and telecom professionals with conferences and workshops focused on television, film, satellite, online video, live events, podcasting, advertising, corporate A/V, production and post.

About NAB

The National Association of Broadcasters is the premier advocacy association for America's broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age. Learn more at www.nab.org.

Author: B&C Staff
Posted: September 24, 2018, 3:57 pm
Ovation TV has reached an agreement with The Actors Studio to produce and air Inside The Actors Studio, which will premiere on Ovation in the fall of 2019. Hosted by James Lipton, the series debuted on Bravo in 1994. Lipton will pass on hosting duties to rotating guest hosts being considered by the ...

James Lipton passes the mike to guest hosts

Ovation TV has reached an agreement with The Actors Studio to produce and air Inside The Actors Studio, which will premiere on Ovation in the fall of 2019. Hosted by James Lipton, the series debuted on Bravo in 1994. Lipton will pass on hosting duties to rotating guest hosts being considered by the network and the Actors Studio.

“Ovation is dedicated to supporting The Actors Studio’s commitment to providing the best educational resources for its students. In so doing, we will uphold the high standard set by James Lipton for excellence in producing programming that is multicultural, informational, enlightening and entertaining,” said Scott Woodward, executive VP of programming and production, Ovation TV. “We look forward to introducing a whole new generation to the craft of acting through vibrant new hosts and guests that we will begin to announce in the coming months.”

Ovation TV will curate content from the series’ library for additional episodes.

“It’s very gratifying to see the legacy of Inside The Actors Studio being carried forward for a new generation to appreciate and enjoy,” said Lipton. “I made a vow early on that we would not deal in gossip — only in craft, and Ovation, as a network dedicated to the arts, will continue that tradition with the next seasons of the series. I’m excited to see the new hosts engage with the guests and students and continue to entertain viewers in the U.S. and around the world.”

The show is shot for students of The Actors Studio MFA program at Pace University in New York. It is filmed at the Michael Schimmel Center for the Arts at Pace University’s New York City campus. Ovation will continue filming at this venue.

Paul Newman, Sally Field, Alec Baldwin, Brad Pitt, Julia Roberts, Clint Eastwood, Al Pacino and Jessica Lange are among the past guests.

Inside The Actors Studio is a series that fits perfectly with Ovation’s mission to provide viewers with diverse arts programming, and we’re doing it from the heart of New York City with the support of our partners at AT&T/DIRECTV, Comcast, Charter, Verizon FiOS and independent cable operators across the country,” said Charles Segars, CEO, Ovation.

Bravo saluted Inside the Actors Studio's 24 years on its air. "Inside the Actors Studio was Bravo’s first original series, getting 19 Emmy nominations and an Emmy win over the last 24 years, and it will always be a part our family. We’ve had a legendary run with Jim and we’ve all enjoyed his unique interview style, comprehensive research, intimate conversations and his impact on pop culture. With Jim at the helm, the series became a must stop for A-List Hollywood and creative talent. Now that there will be a new host, we felt it was time to close this chapter and pass the baton.”

Author: Michael Malone
Posted: September 24, 2018, 3:55 pm
The Free State Foundation is hailing the FCC's planned Sept. 26 vote on an item regarding local franchising authorities (LFAs) as important and appropriate pushback on localities trying to re-regulate internet access. In an online post, Free State Foundation senior fellow Seth Cooper called the ...

Says Congress meant to prevent localities from regulating 'net

The Free State Foundation is hailing the FCC's planned Sept. 26 vote on an item regarding local franchising authorities (LFAs) as important and appropriate pushback on localities trying to re-regulate internet access.

In an online post, Free State Foundation senior fellow Seth Cooper called the proposal, which is teed up for a vote at the FCC's monthly public meeting, "legally solid" and said it would "protect Internet services from regulatory overreach" by "keeping local regulators in check consistent with the Communications Act."

Following the FCC's decision last fall to reclassify ISPs as information services and eliminate the rules against blocking, throttling or paid prioritization of internet access, various states and localities have been trying to restore the rules for their own state's internet customers, including through state laws and executive orders. That comes despite the FCC's assertion that states are preempted from trying to undo that deregulation by regulating the internet.

Local franchising authorities trying to tie broadband regs to traditional video service franchises is another potential flashpoint the FCC move would try to head off with the vote.

The FCC is proposing that a federal courts "mixed-use network ruling should be applied to prohibit LFAs from using their video franchising authority to regulate non-cable services offered over cable systems by incumbent cable operators." A court has remanded the FCC's earlier establishing that prohibition, so the current FCC is telling the court the FCC was right the first time, as is Cooper, who says this time around, the FCC has made a persuasive case for that Congress "intended to bar LFAs from regulating information services.”

"Rightly, the Commission’s proposal recognizes that LFA regulation of broadband services “would frustrate the light-touch information service framework established by Congress that the Commission previously has found necessary to promote investment and innovation," says Cooper.

The item, which is essentially the FCC's answer to the court remand of the earlier FCC ruling on LFA authority, also concludes that in-kind contributions LFA's secure as part of franchise agreements count toward the cap on franchise fees--excluding capital costs for public, educational and government (PEG) channels.

Author: John Eggerton
Posted: September 24, 2018, 3:29 pm
WideOrbit has hired two new executives as it works to test new advanced advertising systems that comply with the TIP Initiative started by leading local TV station groups. Tim Swift, formerly director of business systems & analytics at Bonneville International, leads WideOrbit’s integration ...

Company successfully tested new API with Nexstar

WideOrbit has hired two new executives as it works to test new advanced advertising systems that comply with the TIP Initiative started by leading local TV station groups.

(l-r) Toufic Mourbarak and Tim Swift

Tim Swift, formerly director of business systems & analytics at Bonneville International, leads WideOrbit’s integration initiatives as VP, platform services, a new position.

Toufic Mourbarak, previously chief technology officer at SintecMedia, was named VP, advanced TV. His portfolio includes development for ATSC 3.0, over-the-top and the TIP Initiative.

WideOrbit said it developed a Data API that enables data to be imported and exported in accordance with TIP’s draft interface framework, which is designed to streamline transactions for local TV stations and media agencies.

TIP--Television Interface Practices--is a consortium that includes Hearst Television, Nexstar Media Group, Raycom Media, Sinclair Broadcast Group, Tegna and Tribune Media.

WideOrbit said it has developed an API for importing and exporting data between the WideOrbit trafficking system used by many stations and other systems.

The company said it recently collaborated with Nexstar on a successful test of the API.

“WideOrbit has been an active and aggressive supporter of the TIP Initiative from day one,” said Brett Jenkins, executive VP & chief technology officer at Nexstar Media Group, one of the founding members of the TIP Initiative.

“WideOrbit’s Data API development is exactly what the TIP Initiative was hoping to see in the marketplace. We believe it will greatly accelerate interoperability and innovation across our industry and we urge other industry participants to build further collaboration from system providers, buyers and sellers. The opportunity for our industry, agencies, brands and software providers is enormous and untapped,” Jenkins said.

“We understand that it’s vitally important for station groups to embrace flexible business models and systems to remain competitive against other media in the battle for ad dollars,” said Eric Mathewson, founder and CEO of WideOrbit. “That’s why we are delighted to work with the TIP Initiative and its member companies on solutions that will help them improve workflows and capture revenue from new channels and advertising partners.”

Author: Jon Lafayette
Posted: September 24, 2018, 3:00 pm
HBO and Netflix were the big Winners among programmers at the 70th Annual Primetime Emmy Awards, with both garnering 23 Emmy wins across the Sept. 16 primetime telecast and the Sept. 8-9 Creative Arts Emmys ceremonies. Streaming services performed particularly well, with Amazon’s Prime Video ...

HBO, Netflix led the pack on a big night for streaming services

HBO and Netflix were the big Winners among programmers at the 70th Annual Primetime Emmy Awards, with both garnering 23 Emmy wins across the Sept. 16 primetime telecast and the Sept. 8-9 Creative Arts Emmys ceremonies. Streaming services performed particularly well, with Amazon’s Prime Video winning eight Emmy awards and Hulu taking home four statuettes. The broadcast networks however, did not fare as well, with NBC, Fox, ABC, PBS and CBS generating a combined 23 Emmy wins.

Author: R. Thomas Umstead
Posted: September 24, 2018, 2:57 pm
Fox Television stations has made a serious investment in local news. In 2018, the 28-station group that Jack Abernethy oversees is producing 970 combined hours of local news per week. That’s up from 925.5 hours last year and 839.5 hours in 2014. Some stories within the Fox group stand out for ...

Fox Television Stations has mad a serious investment in local news

Fox Television stations has made a serious investment in local news. In 2018, the 28-station group that Jack Abernethy oversees is producing 970 combined hours of local news per week. That’s up from 925.5 hours last year and 839.5 hours in 2014.

Some stories within the Fox group stand out for impacting their market. Last month, WTTG Washington’s Tom Fitzgerald sat with Cardinal Donald Wuerl, archbishop of Washington, to discuss a grand jury report that alleges the cardinal covered up for priests who sexually abused children in Pennsylvania. “I think I did everything that I possibly could,” Wuerl told Fitzgerald.

Late last month, WFLD Chicago landed an interview with Jason Van Dyke, the Chicago police officer charged in the 2014 shooting death of teen Laquan McDonald. Dane Placko sat with Van Dyke days before his trial.

“It’s been very difficult just to be able to talk about this,” Van Dyke said. “I’ve been in a shell for a lot of it. It’s just been difficult to open up about it. There’s just been, in my opinion, so many negative stories that seem to have a false story line. I think I needed to right the wrong.”

Fox 5 Atlanta's Marissa Mitchell

In April, WAGA Atlanta broke the story that former Atlanta Mayor Kasim Reed had paid out more than a half million dollars in year-end bonuses and “Christmas party contest winnings” to dozens of employees just before he departed his post. The bonuses ranged from $5,000 to $15,000. The WAGA investigative team reported that $28,000 was paid out for a lip-sync contest and $2,100 for an ugly sweater contest.

WTVT Tampa, for its part, uncovered first responders who lost their jobs due to posttraumatic stress disorder. Following the station’s investigation, Florida passed a law granting paid leave to first responders suffering from PTSD.

And KMSP Minneapolis aired a 30-minute special on the murder of local business owner Amy Allwine in 2016. Her husband was found guilty, staging her death to look like a suicide. The special was called Web of Lies — The Murder of Amy Allwine.

In KMSP’s words, “This documentary follows how detectives, forensic specialists, and prosecutors untangled a web of lies surrounding the murder of Amy Allwine, and the secrets her husband had kept from everyone.”

Author: Michael Malone
Posted: September 24, 2018, 2:48 pm
Fish gotta swim, birds gotta fly, and retrans fees gotta go up if Gray Television is allowed to buy Raycom. That was the message from the American Cable Association to the FCC in comments on the proposed merger, though it was pleased with Gray's assertion it would not use station contract clauses ...

But is pleased with Gray assertion it won't trigger after acquired clauses for spin-offs

Fish gotta swim, birds gotta fly, and retrans fees gotta go up if Gray Television is allowed to buy Raycom.

That was the message from the American Cable Association to the FCC in comments on the proposed merger, though it was pleased with Gray's assertion it would not use station contract clauses to boost the retrans prices for some of the stations involved in the deal.

Gray in June struck a deal, subject to FCC approval, to buy Raycom for $3.6 billion.

ACA is already on the record wanting to make sure that Gray is not allowed to raise the retrans fees of stations before spinning them off to other buyers in its purchase of Raycom's TV stations.

It was concerned with so-called after-acquired clauses in TV station retrans agreements with cable operators. In such agreements, a broadcaster requires that if it buys a station getting lower retrans fees from the cable operator, its higher fees will apply. ACA wanted the FCC to make sure that for the stations that are being spun off to new owners, Gray does not structure the deal so that it briefly owns those stations and trigger the higher fee, which the new owner would then get.

Gray has since indicated to the FCC that it would not trigger any of those clauses, though ACA says the FCC needs to make that an official condition of the merger just in case, and in case it decides to approve it.

On the retrans issue broadly, in reply comments filed Sept. 21, ACA asked the FCC to ignore a couple of Gray's assertions about the deal: "One is Gray's contention it will retain every incentive to avoid imposing blackouts on MVPDs," said ACA. "Even if this dubious assertion were true, the mere fact that Gray could threaten blackouts involving more stations after the transaction would allow it to command higher prices. Another is Gray's contention that retransmission consent issues are more appropriately dealt with in a rulemaking. This conveniently ignores that specific harms caused by this specific transaction."

"Owning more stations in more markets allows a broadcaster to withhold programming from more stations if negotiations fail," says ACA president Matt Polka. "In such circumstances, all other things being equal, retransmission consent prices will rise. ACA urges the FCC to ignore Gray's distractions and keep its eye on the ball."

Author: John Eggerton
Posted: September 24, 2018, 2:44 pm
The fall season is here! Magnum P.I. starts on CBS Sept. 24. Stephen Hill plays T.C., and said he reached out to Roger E. Mosley, who played T.C. in the original series. He told Mosley he would “pay homage” when he could to Mosley’s helicopter-driving henchman. At Comic-Con, Hill wore a beret, as ...

Deputy editor Michael Malone's weekly look at the programming scene

The fall season is here! Magnum P.I. starts on CBS Sept. 24. Stephen Hill plays T.C., and said he reached out to Roger E. Mosley, who played T.C. in the original series.

He told Mosley he would “pay homage” when he could to Mosley’s helicopter-driving henchman. At Comic-Con, Hill wore a beret, as Mosley at times did on Magnum.

At the TCA Summer Press Tour last month, Hill mentioned how Mosley instructed him to make the character his own. “He said, ‘Don’t worry about me,’ ” Hill said. “ ‘Higgins is a woman now. They’re not trying to do the same show. Make it your own.’ ”

Magnum, of course, shoots in Hawaii. “It’s beautiful, but it can be lonely,” Hill said. “At this point in my life, I actually like the loneliness.”

Mr. Inbetween starts on FX Sept. 25. Australian Scott Ryan stars in this unique series. Ryan made the film The Magician, a mockumentary about a hit man, in Australia back in 2005. The series is based on the film. Ryan plays a criminal for hire who’s balancing the responsibilities of fatherhood. Nash Edgerton directs the series, which was shot in Australia.

The Magician was critically lauded, and commercially ignored. Ryan came to the States to do a new film, and it fell through. He delivered pizzas and drove a cab.

“I lost the desire to make anything,” he said during TCA. “I figured I’d get a 9 to 5, do what everybody else does.”

Then FX called.

Ryan said he made The Magician for $3,000. He wrote, produced, acted and provided the catering. It’s a different story with Mr. Inbetween. “It was great to have other people to help,” he said. “It made it a lot easier.”

And The Cool Kids starts on Fox Sept. 28, leading out of Last Man Standing. Martin Mull, David Alan Grier, Vicki Lawrence and Leslie Jordan play high-energy senior citizens in an old folks’ home.

Mull, who just turned 75, refers to the project as “my gold watch” after a long career in entertainment. “To work with David and Leslie and Vicki and Charlie [Day, executive producer] on a thing that’s 20 minutes from my house,” he said, “it’s my thank you note for doing this for 50 years.”

Mull credits Day, of It’s Always Sunny in Philadelphia, for having the knack “to find the right line to fit in the right place.”

Roles for guys his age, Mull said, are between him, Steve Martin and Chevy Chase. “Steve is busy playing his banjo and Chevy doesn’t want to do it,” Mull said. “So let’s get Martin Mull.” 

Author: Michael Malone
Posted: September 24, 2018, 2:41 pm
AT&T IS gathering some of the top people from the media world to christen its new advertising business and debate the state of TV advertising. The unit, headed by former GroupM executive Brian Lesser and originally called AT&T Advertising Analytics, will be rebranding this week at what the ...

Unit’s goal is to ‘make advertising matter’

AT&T IS gathering some of the top people from the media world to christen its new advertising business and debate the state of TV advertising.

The unit, headed by former GroupM executive Brian Lesser and originally called AT&T Advertising Analytics, will be rebranding this week at what the company is calling the Relevance Conference in Santa Barbara, Calif.

“We realized there isn’t advertising without analytics and data anymore,” Kirk McDonald, chief marketing officer for the unit, said. “It was a little like saying we were color TV. All TVs are in color.”

Making Ads Matter

At a time when many marketers are questioning the effectiveness of TV advertising and consumers are avoiding commercials on ad-free streaming services like Netflix, the AT&T unit’s ambition is to make advertising matter.

“While data and technology have sort of surfaced to enable our ability to get the right message to the right audiences at the right times, we’re still sort of driving it like a 16-year-old kid who borrowed their dad’s Chevy,” McDonald said. “It’s jerky and you can’t quite get first gear right.”

Advanced advertising today gets a lot of things right. Consumers get information about brands they’re interested in, but sometimes those viewers are over-targeted and continue to get ads for those same brands even after a purchase is completed.

“Consumers are voting with their time and attention, so how do we engage in better ways to allow brands to have the conversation they want and allow consumers to experience the content they want?” McDonald said.

“We think AT&T is really well-positioned, given this arc of change as we become a modern media company, to tackle that.”

About 200 people from media agencies, marketing companies, marketing tech and advertising tech companies and programmers will be able to demo some new AT&T ad products, but only a handful of the speakers at the three-day conference will be AT&T executives, including Lesser and AT&T chairman and CEO Randall Stephenson.

The bulk of the program will tackle industry-wide issues. Attendees will hear from former baseball star Derek Jeter, now a content maker as a founder of the Players Tribune; actress Issa Rae of HBO’s Insecure; basketball star-turned-sportscaster Grant Hill; soccer player-turned-influencer Abby Wambach; LeBron James business manager Maverick Carter; Arianna Huffington of The Huffington Post; and Jeffrey Katzenberg and Meg Whitman, who have raised $1 billion for a new mobile video streaming service.

AT&T will also be sharing the results of two new studies. One is the inaugural AT&T Relevancy Report, a survey of 3,000 consumers which found that 66% of consumers wish advertising was more relevant to their interests and lifestyle, while 57% said ads are not relevant to them. The other is more industry-focused, looking at the way advertising is bought and sold.

Fixing what’s wrong with TV advertising has been the theme of a number of gatherings recently. Linda Yaccarino, chairman of ad sales at NBCUniversal, held an industry-wide meeting on the future of advertising in New York last year, and Fox’s ad revenue president, Joe Marchese, brought executives to the company’s studio for a discussion earlier this year.

McDonald said AT&T Advertising expects to have this sort of conference annually.

“We don’t assume we’re the only solution,” he said. “We know there are other really smart ones.”

Open for Business

AT&T is building a platform it would like other companies to use. Executives from NBCUniversal, Fox, CBS and Viacom are expected to be in attendance.

“Our job is to build a new kind of advertising company, a marketplace for premium content,” McDonald said. “We want to make sure that the way we deal with inventory sources, even our owned-and-operated inventory sources, is done in a way that is in the best interest of the consumer and then the buyer. So to the degree that we can create technology that enables a more effective buy, a more efficient sell and a better experience for the consumer, that’s what we’re going to do.”

One of those owned inventory sources is Turner, acquired when AT&T bought Time Warner.

“Our visions are so aligned,” said Turner ad sales president Donna Speciale, who has been campaigning for more targeted advertising and creating a better experience for consumers. Turner has been among the leaders in introducing advanced advertising products that target specific audiences rather than demographic groups.

AT&T expects the data it is bringing to the platform to boost the effectiveness of Turner’s ad inventory, and raise the amount of money it generates.

“We’re in the process of doing a lot of testing right now with their data,” Speciale said. “I’m not going to bring anything out to market until we do the testing, so right now, fourth-quarter [2018] is all about beta-testing with our product. The goal in 2019 is to bring some examples and case studies to CES and then show how the data enhances our products.”

Author: Jon Lafayette
Posted: September 24, 2018, 2:37 pm
WHY THIS MATTERS: Networks are working hard to be more diverse with their series, and CBS’s fall rookies show the network is serious. It was a much-different look for CBS’s primetime when the network showed off new programs at the TCA Summer Press Tour last month. CBS has made a point of increasing ...

Programmer’s efforts to add diversity on display this fall

WHY THIS MATTERS: Networks are working hard to be more diverse with their series, and CBS’s fall rookies show the network is serious.

It was a much-different look for CBS’s primetime when the network showed off new programs at the TCA Summer Press Tour last month. CBS has made a point of increasing diversity on both sides of the camera, and shows such as the comedies Happy Together, God Friended Me and The Neighborhood all have African-Americans in the lead role, while drama Magnum P.I. features a Latino actor as the show’s namesake.

Contrast CBS’s summer TCA sessions with those two years before, when then-entertainment president Glenn Geller fielded a barrage of pointed queries from reporters asking why the network was so darn white. Geller pointed to minority cast additions and directors, but acknowledged that CBS needed to do more in terms of cast leads and showrunners. “We need to do better and we know it,” Geller said.

To be sure, it’s a difficult time for CBS. Leslie Moonves, chairman and CEO of CBS Corp., stepped down after reports of sexual wrongdoing. Jeff Fager, longtime executive producer of 60 Minutes, exited after threatening a CBS News reporter who was looking into allegations of harassment against Fager.

Outreach Pays Off

But the steps CBS has made in diversifying its prime are a source of pride. “Between our writers’ and directors’ programs, and actors’ showcase, we’re absolutely starting to see benefits from all that right now,” CBS entertainment president Kelly Kahl said.

Kahl said the diversity gains did not happen overnight. A couple of months after Geller was pilloried at TCA, CBS debuted a drama diversity casting initiative. Part of the CBS Diversity Institute, the program aims to reach untapped talent around the country, including areas “with limited access to industry professionals,” and steer them to a screen test in Los Angeles. The initiative targets underrepresented groups and individuals, CBS said.

Tiffany Smith-Anoa’i, CBS executive VP of entertainment diversity, inclusion & communications, said the writers, directors and actors programs offer “access to the pipeline” for minority aspirants. “We were intentional and we were very forthright,” she said. “Almost every pilot was inclusive from the jump this particular season.”

The percentage of inclusive series regulars on CBS’s scripted shows is up 6% this year, according to the network, and 19% over the last five years. (Inclusive counts women, people of color, LGBTQ actors and those with disabilities.) Inclusive writers are up 5% this year, and 9% over the last five years. SWAT, God Friended Me, The Neighborhood and The Red Line all have at least 50% people of color in their writers’ room.

Fully 43% of all CBS scripted episodes are directed by women or people of color, with God Friended Me leading with 85% and The Neighborhood at 67%.

Happy Together

The critics have noted the network’s diversity drive. “I think they are making efforts to have more diversity,” Pittsburgh Post-Gazette TV critic Rob Owen said.

Having more minority producers, Kahl noted, means more minority writers and producers get hired. He mentions Aaron Thomas, executive producer on SWAT, coming out of the diversity writers’ program, then hiring others out of the program. “We try to bake it into every step of the process,” Kahl said. “When we hear a pitch or read a script, we’re thinking about inclusion in front of and behind the camera.”

CBS debuts Magnum P.I., starring Jay Hernandez, on Sept. 24. God Friended Me, about an atheist who gets a social-media friend request from God, premieres Sept. 30. Brandon Micheal Hall stars. The Neighborhood, about an outgoing white family who moves into a traditionally African-American neighborhood in Los Angeles, debuts Oct. 1. Cedric the Entertainer has the lead. Happy Together, about an accountant and his wife who have a wildly famous pop star move into their house, starts Oct. 1. Damon Wayans plays the accountant.

Will Viewers Show Up?

Of course, the new series need substantial viewership to stay on the air and inspire a subsequent wave of minority talent to come on board. CBS had won the season-long total-viewers crown for nine years running, but it was NBC that took both adults 18-49 and total viewers from September 2017 to September 2018. “The real success is when we turn those shows into hits,” Kahl said.

That is more of an if than a when. “The $100,000 question is whether viewers will tune in,” Owen said.

CBS isn’t yet where it should be in terms of diversity in primetime, Kahl admitted. “We’re not patting ourselves on the back,” he said. “We still have a lot of work to do.”

Author: Michael Malone
Posted: September 24, 2018, 2:28 pm
WHY THIS MATTERS: The ability to integrate over-the-top apps is becoming a more crucial piece of pay TV service providers’ product mix. Losing ground across the globe to the Android TV platform, RDK Management announced a key initiative that will enable pay TV operators to more easily integrate ...

Will ease pay TV providers’ ability to offer popular online services

WHY THIS MATTERS: The ability to integrate over-the-top apps is becoming a more crucial piece of pay TV service providers’ product mix.

Losing ground across the globe to the Android TV platform, RDK Management announced a key initiative that will enable pay TV operators to more easily integrate popular over-the-top apps into their user interfaces.

The Reference Design Kit (RDK) is an open-source software stack designed for pay TV set-tops and jointly backed by Comcast, Charter Communications and Liberty Global. In addition to the JV partners, more than 25 pay TV operators around the world use it, including Cox Communications and Canada’s Rogers Communications, Shaw Communications and Vidéotron.

All told, the “RDK community” includes more than 350 companies, among them set-top box vendors, chipmakers and software developers.

Over the last 18 months, though, a number of operators have opted to use Google’s “Operator Tier” version of its Android TV platform to power their set-tops, which gives them the capability to easily offer customers access to popular OTT services including Netflix, Hulu and Amazon Prime Video through the Google Play Store.

Partnering with Netherlands-based technology company Metrological — which helped Comcast integrate Netflix into its X1 platform — RDK Management is now trying to make it easy for operators to deliver OTT apps, too, offering pay TV companies two different ways to do it.

The first approach involves the new RDK App Framework, which allows operators to create their own OTT apps using HTML5 and native applications using the “RDK Firebolt” software development kit.

The second option is more turnkey, allowing operators to simply provide their customers access to Metrological’s app store, which include more than 300 apps covering most of the popular OTT services.

RDK Management has also partnered with Metrological and set-top maker Arris to provide a new support tool and internet protocol set-top reference integration that allows operators to expedite application development, testing and deployment.

“This makes it much easier for operators to integrate multiple apps. The operators give us input on the roadmap, and we deliver,” RDK Management president and general manager Steve Heeb said, speaking to B&C from the IBC Show in Amsterdam, where the new app capabilities were announced.

Heeb demurred from a description of RDK as “middleware,” describing it as an “old-world” term. Indeed, Heeb and his team are working hard to dispel the notion that RDK is an old-world software environment, incapable to adapting to the rapid evolution of operator’s video user interfaces.

RDK could face difficulties in countering Android TV’s momentum. At IBC, for example, Espial — creator of the cloud-based IPTV platform known as “Elevate”— announced the launch of a managed TV-as-a service solution built around Android TV.

“Android TV has become a key platform for many service providers,” Espial VP of product management Michael McCluskey said. “By integrating Android TV into our Elevate cloud ecosystem, operators can bring Android TV services to market quickly and with low risk, while taking advantage of the latest innovations.”

Author: Daniel Frankel
Posted: September 24, 2018, 2:23 pm
Looking to spark customer growth in sluggish regions including The Netherlands, Switzerland and Belgium, Liberty Global has announced the deployment of its next-generation video platform, Horizon 4. The platform combines linear TV with cloud digital video recording, video-on-demand, voice remote ...

Platform combines linear TV with cloud digital video recording, video-on-demand, voice remote capabilities, mobile “go” features and integrated over-the-top apps

Looking to spark customer growth in sluggish regions including The Netherlands, Switzerland and Belgium, Liberty Global has announced the deployment of its next-generation video platform, Horizon 4.

The platform combines linear TV with cloud digital video recording, video-on-demand, voice remote capabilities, mobile “go” features and integrated over-the-top apps, including Netflix and YouTube. It’s already battle-tested, with Liberty deploying it across around 2 million homes in the United Kingdom, where it has been combined with Arris set-tops and TiVo software and marketed under the V6 brand. Liberty Media reported an uptick of 45,000 TV customers across Virgin Media system in the second quarter.

But CEO Mike Fries conceded Liberty Global faces “a pretty tough competitive environment” in places like Switzerland, where Liberty lost 54,000 customers in Q2, more than half of them in video.

Liberty — which announced the deployment at its “Tech Summit,” an event held within in conjunction with the IBC Show in Amsterdam — has tested the platform in 10,000 homes across multiple Euro systems.

The platform uses the Reference Design Kit, an open-source software for set-tops that has been jointly developed by Liberty, Comcast and Charter Communications.

Liberty said the hardware and user interfaces of the Horizon 4 product suite were developed in-house by teams based at Liberty Global’s tech campus in Schiphol-Rijk in The Netherlands, together with various teams in other countries and with external partners across Europe.

“Our teams develop a common set of products and services, which are then rolled out across our local operating companies,” said Enrique Rodriguez, the former TiVo CEO who is now Liberty Global’s executive vice president and chief technology officer, in a statement. “This allows us to achieve significant scale and operating synergies.”

Added Mark Giesbers, Liberty Global’s vice president of entertainment products: “We want to add value to customers’ lives and deliver on their expectation of ‘any content, any device, anywhere, anytime.’ That means aggregating all those TV channels, movies, series and apps into one easy-to-use, seamless viewing experience — and across multiple devices. The new Horizon 4 platform with its 4K set-top box, the remote with voice control and the improved mobile app allows us to do exactly that.”

Author: Daniel Frankel
Posted: September 24, 2018, 2:20 pm
WHY THIS MATTERS: By producing content with the mobile-first audience in mind, the ABC Owned Stations hope to draw in younger viewers. Facing a generation that’s cutting the cable cord but is glued to its iPhones, the ABC Owned Television Stations Group is creating a new brand designed to appeal to ...

Original shows to appear on multiple platforms

WHY THIS MATTERS: By producing content with the mobile-first audience in mind, the ABC Owned Stations hope to draw in younger viewers.

Facing a generation that’s cutting the cable cord but is glued to its iPhones, the ABC Owned Television Stations Group is creating a new brand designed to appeal to mobile millennials.

The new brand, dubbed “Localish,” focuses on hyper-local stories produced by the stations with a national appeal, distributed on digital and social platforms.

Like other traditional media organizations, the ABC stations are looking to remain relevant to younger, digital-native consumers.

“Localish is built around the idea of producing content for this mobile-first audience whose interests might be a bit different than what we produce day-to-day,” Wendy McMahon, president of ABC Owned Television Stations, said. “This is a new venture to create an environment where we can experiment with new kinds of storytelling and new kinds of distribution.”

In addition to being among the top-rated broadcasters in their markets, the eight ABC stations have a big digital presence and massive social footprints. That makes them well-equipped to serve what seems to be a demand for local programming and information.

Seeking Out Local Content

Nearly 50% of all Google searches have local intent, McMahon said, and there’s been a 900% increase in search inquiries using the words “near me.”

”We believe in the mission of the ABC Owned Television Stations, which is to inform and reflect and to serve our communities,” she said. “We have so many amazing people in each of our communities. These fantastic stories of either hope or things to do with your family and your friends on weekends, that’s every bit as important to our communities on a day-to-day basis as some of the harder news stories that we produce.”

The first series produced under the Localish brand is More in Common, a series about celebrating unexpected connections between people. The show has been appearing on Facebook Watch’s new news section and attracted more than 9 million video views and 95,000 followers.

With the official launch this week of Localish, three more series are being added:

Secretly Awesome, which introduces viewers to spots locals love;
My Go-To, which features local influencers bringing viewers into their favorite hangouts;
Worth the Wait, which tells whether it’s really worth standing in the long lines at some hot spots.

“We often say this brand is very much created by for and about millennials,” Jennifer Mitchell, senior VP of content development at ABC Owned Television Stations, said. “The content is produced in a way that is digital-, mobile- and video-first. There’s an addressable audience of about 63 million people. So there is a real need and intent for this type of content.”

ABC did some research and found that millennials feel better about their communities they live in than the world at large. “We are better-positioned to serve this need, given the deep connections that we have and have had for decades in our local communities,” Mitchell said.

Other shows due to launch in October are based on data that shows that certain categories are interesting to Localish’s target audience. They include Staycation, a travel series; Bite Sized, about food; and Pumped, a fitness series.

Cross-Platform Reach

The content can be found on the the ABC.com website, the network’s iOS and Android apps and its over-the-top platforms, including Roku, Apple TV and Amazon Fire TV. It will also be on Facebook Watch, Twitter, YouTube Instagram and syndicated via Oath and Apple News.

“We’re also thinking about a strategic play around over-the-top, meaning we may be thinking about popping up an OTT channel,” McMahon said.

Localish is looking to have a dual revenue stream. Some distributors, including Facebook Watch, are paying for content and negotiations are underway to get fees from other platforms. Localish will also have national and local advertising, with enhanced targeting available on the local front.

“We are in the branded content business,” McMahon added. “That’s an opportunity for a product that wants to be a part of this very advertiser-friendly brand.

The ABC stations will be promoting the new Localish content in their newscasts and other programming. Promotion and content will also appear on the stations’ digital sites, social handles and apps.

“In addition to being the market leaders in their respective DMAs, they’re also a tremendous megaphone,” McMahon said. “Because of the connection that we have with our communities, our audiences trust that when we invite them to participate and be a part of something, we tend to get support there.”

Localish will also be supported by other Disney properties, including ABC’s Good Morning America, World News Tonight, Nightline and the Disney Digital Network.

There will also be paid media supporting the launch, much of that on social platforms.

“We’re talking about holding events in some of our markets and inviting people and businesses that have been featured in some of the content to attend, along with some of the influencers we’re working with as part of these series,” Mitchell added.

Author: Jon Lafayette
Posted: September 24, 2018, 2:12 pm
Beasley Media Group has upped Buzz Knight to serve as executive vice president of strategy and innovation. In addition, Gregg Stiansen has been named national sales manager for Beasley Media Group New Jersey, and Kris Fisher has been named as the new brand manager at Las Vegas’ KOAS(FM) and ...

Also names NJ national sales manager, Vegas brand manager

Buzz Knight

Beasley Media Group has upped Buzz Knight to serve as executive vice president of strategy and innovation. In addition, Gregg Stiansen has been named national sales manager for Beasley Media Group New Jersey, and Kris Fisher has been named as the new brand manager at Las Vegas’ KOAS(FM) and KVGS(FM).

Knight most recently served as vice president of programming. He joined the company in November 2016, when Greater Media was sold to Beasley.

He is tasked with helping to diversify the company’s platform and executing and planning “strategic initiatives.”

Gregg Stiansen

“Since Buzz joined Beasley Media Group, he has been an integral part of our strategic direction and the brand management of the company,” said CEO Caroline Beasley. “His passion for innovation and new ideas will help lead us into the future.”

Gregg Stiansen most recently served as the general manager of Salem Media Group’s WFIL(AM) and WNTP(AM) in Philadelphia. He previously served as the vice president and general manager of WPST(FM), WTHK(FM), WHWH(AM), WTTM(AM) and WCHR(AM) as well as served as the senior vice president of Nassau Radio Network from 2001 to 2013.

“He is synonymous with New Jersey radio especially on the national front,” said Beasley Media Group Senior Vice President and Regional Market Manager Dan Finn.

Kris Fisher

Kris Fisher most recently served as the program director at Beasley Media Group’s WHHD(HD) and WCHZ(AM/FM) in Augusta, Ga.

“After a lengthy nationwide search it is especially gratifying to be able to promote someone from within our company,” said Vice President and Market Manager Dennis Gwiazdon.

Beasley Media Group is a subsidiary of Beasley Broadcast Group, which owns and operates 64 stations in 15 U.S. markets.

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Author: Emily M. Reigart
Posted: September 25, 2018, 6:07 pm
While the PIRATE Act waits to be debated by the Senate, the Federal Communications Commission is continuing its sweep for unlicensed operators on the East Coast by sending out Notices of Unlicensed Operation to individuals in New York and Connecticut. Alleged operators in three different New York ...

Individuals sent Notices of Unlicensed Operation in New York and Connecticut

While the PIRATE Act waits to be debated by the Senate, the Federal Communications Commission is continuing its sweep for unlicensed operators on the East Coast by sending out Notices of Unlicensed Operation to individuals in New York and Connecticut.

Alleged operators in three different New York boroughs were warned that operation of radio transmitting equipment without a valid license is a violation of federal laws. The ramifications include potential monetary fines, impounding of radio equipment and criminal sanctions.

[Read: Commissioner O’Rielly to Talk Policy at Radio Show]

Just such a notice was sent to an operator in Queens and one in Brooklyn. In July agents from the New York Enforcement Bureau office investigated an alleged unlicensed FM station that was allegedly operating on the frequency 106.5 MHz from a building on 5006 Avenue D in Brooklyn. Agents said Doron Walton was the operator.

That same day agents also sent a letter to 1249 Utica in Queens for allegedly operating a pirate radio station on the same frequency — 106.5 MHz — but in the Brooklyn area. Agents said that they confirmed by direction-finding techniques that those radio signals were emanating from the property owned by that company on 5006 Avenue D in Brooklyn.

Three operators in Connecticut were contacted in the same manner for alleged pirate operations on the same frequency in Bridgeport. William Cotter, Menylik Simmonds and David Glasford were sent a notice on Aug. 29 after agents confirmed that radio signals on frequency 104.7 MHz were allegedly emanating from a residential property on Putnam Street. Agents named Cotter and Simmonds as the alleged operator of the unlicensed radio station and Glasford as the owner of the property.

In each of these cases, agents said they measured the field strength of the signals and found they exceeded the maximum permitted level of 250 μV/m at 3 meters for nonlicensed devices. Each alleged operator has 10 days to respond with any evidence that they have authority to operate. From there, the FCC will take enforcement action to ensure compliance with FCC Rules.

In the meantime, the PIRATE Act waits to be considered by the Senate. In July, the U.S. House of Representatives unanimously passed the PIRATE Act (Preventing Illegal Use of Radio Through Enforcement Act), which proposes to hike the fine for violations to as much as $100,000 per day (up from the current maximum daily penalty of about $19,200) and impose a maximum fine of $2 million.

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Author: Susan Ashworth
Posted: September 25, 2018, 5:39 pm
The NAB has filed comments with the FCC regarding competition in the audio programming marketplace. It is part of the commission’s preparation of a congressionally-required communications marketplace report. The NAB describes the audio marketplace, from its perspective, as “dynamic” rather than ...

Files comments with FCC on audio marketplace competition

The NAB has filed comments with the FCC regarding competition in the audio programming marketplace. It is part of the commission’s preparation of a congressionally-required communications marketplace report.

The NAB describes the audio marketplace, from its perspective, as “dynamic” rather than challenging.

The comments state, “While today AM and FM radio still account for 50% of daily time spent listening to audio sources for those ages 13+, well ahead of any other single audio platform, total time spent listening to AM/FM radio on a weekly basis has been heading downward.”

[Read: NAB Pushes FCC to Revamp Ownership Rules]

Several additional statistics pointed to paint a less-than-bright picture: “Teens ages 12–17 spend much less total time than adults listening to AM/FM radio and their listening also fell from 2014–2017. Consumers under age 35 also are considerably less likely than older ones to own radios in their homes.”

Much of the commentary involves laying out the current audio marketplace, of which the NAB notes that “digital technologies have significantly expanded the number of audio content providers and the marketplace choices available to listeners.”

This expansion within the marketplace has led to changes in the marketplace for both listenership and advertising. The comments likewise note that the ad market has seen similar seismic shifts with advertisers taking advantage of an explosion in digital advertising options that did not exist a decade ago. This has come at the expense of radio and, especially, print media.

Local advertising market shares of radio and other media, 2008–2022.

It says, “The digital revolution has disrupted both the local and national advertising markets, as advertisers increasingly spend their dollars with online and mobile outlets rather than with traditional media outlets.”

And it adds, “AM stations face special challenges in attracting listeners and advertisers in markets of all sizes.”

A sobering takeaway is this statistic on scale: “… the local advertising revenues of a single digital company that just celebrated its 20th anniversary — Alphabet/Google — now exceeds the total local advertising generated by all commercial radio stations in the U.S. (and rivals the amount generated by all full-power commercial TV stations in the country).” Illustrating that weight, “Google alone earns close to 40% of all local digital ad revenues across all markets in the U.S., and Facebook and Google combined account for nearly 48% of all local digital advertising”

Concerning demographics, the comments say, “Local radio stations are facing real and growing challenges in attracting audiences in a fragmented listening market, especially among younger demographic groups.”

There is also an emphasis on streaming technology — both as a threat and an opportunity for individual radio stations and corporate groups. “Last year, Nielsen Music declared that streaming is ‘becoming a new norm.’ The numbers bear that claim out. An Edison Research survey conducted in early 2018 found that 57% of those ages 12+ (or 160 million people) listen weekly to online audio, up from only 2% in 2000. Weekly online listeners spend an average of 13 hours and 40 minutes per week listening to online audio, up from six hours and 13 minutes in 2008.”

It adds that the streaming trend is particularly strong with younger demographics. In addition, “While many more consumers still stream for free, the number of those willing to pay for music and other audio content from on-demand streaming or satellite services has grown quickly.” Plus, “SiriusXM is set to become a much more formidable competitor among streaming services with its proposed merger with Pandora … With the advent and expansion of streaming and satellite services, the audio marketplace has become more competitive and more fragmented.”

Though it shies away from making large-scale policy suggestions, there are some areas wherein the association urges that something be done. It points to traditional radio’s (and TV’s) community attachment: “Given the importance of OTA radio service in rural areas and small communities often lacking other media outlets, including locally-licensed TV stations, NAB and the radio industry are particularly concerned about the continuing competitive viability of small market radio stations.”

The full comments can be read here.

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Author: Brett Moss
Posted: September 25, 2018, 4:21 pm
The 2018 iHeartRadio Festival was held last weekend in Las Vegas. Here are a few photos that capture the spirit of this marquee, eighth annual event.

Event was held Sept. 21-22 in Las Vegas

The 2018 iHeartRadio Festival was held last weekend in Las Vegas. Here are a few photos that capture the spirit of this marquee, eighth annual event.

(L-R) John McVie, Stevie Nicks, Mick Fleetwood, and Neil Finn of Fleetwood Mac perform

View the 7 images of this gallery on the original article
Author: RW Staff
Posted: September 25, 2018, 4:12 pm
Industry-Leading Conference Phone Supports Natural, Clear Conversation Across 225 Zoom Rooms for Market-Leading Meeting, Event, and Hospitality Technology Leader SUDBURY, Mass. — Sept. 25, 2018 — Yamaha Unified Communications announced today that Cvent Inc., a market leader in meetings, events, ...

Industry-Leading Conference Phone Supports Natural, Clear Conversation Across 225 Zoom Rooms for Market-Leading Meeting, Event, and Hospitality Technology Leader

SUDBURY, Mass. — Sept. 25, 2018 — Yamaha Unified Communications announced today that Cvent Inc., a market leader in meetings, events, and hospitality technology, tested and hand-selected the Yamaha YVC-1000 as its conference phone of choice to support the audio for more than 225 video conference rooms the company has worldwide. The Yamaha YVC-1000 met Cvent’s stringent requirements for impeccable audio quality, ease of installation and operation, Zoom interoperability, and global scalability.

“When you communicate with team members all over the world like we do at Cvent, sound is the first priority. Out of all the brands we tested, Yamaha UC was the only company that made a product that went beyond a traditional speakerphone and felt natural in terms of the sound output into the room,” said Pradeep Mannakkara, chief information officer at Cvent.

Worldwide, Cvent has 17 offices, more than 3,500 employees, and hundreds of conference rooms, many of which previously featured Cvent has 17 offices, more than 3,500 employees, and hundreds of conference rooms around the world, many of which previously featured a sophisticated AV system that was challenging to install, riddled with poor audio fidelity, and complex to troubleshoot. Rather than continue to build out its conference rooms with that system, the company invested in Zoom rooms. Needing the best sound fidelity as well as an easy-to-install audio solution that would complement the new videoconference software, Cvent selected the Yamaha YVC-1000.

“We demoed just about every audio product out there, and when we ran our tests on the Yamaha YVC-1000, our team unanimously agreed that it sounded the best. It was hands-down the clear winner,” said JayJay Kim, senior AV systems engineer at Cvent.

Designed for medium to large conference spaces that call for flexible audio, web, or video conferencing, the YVC-1000 conference phone features a separate microphone and full-range speaker unit that can be placed close to the video display so audio and video from the remote location blend naturally. The flexible yet robust solution allowed Cvent to standardize on the YVC-1000 in all its medium and large meeting rooms and training rooms, as well as in executive offices. In the larger conference rooms, extension mics are daisy-chained together for clear communication by all meeting participants.

The YVC-1000’s plug-and-play simplicity also allowed participants to get started quickly. Users only had to connect the unit into a computer’s USB port and press the auto-tune button the first time it was used to optimize the audio to the room conditions, and the conference phone was ready to go. Because the unit learns from the environment, there was no additional programming required, eliminating the need for a specialist to set it up. Since deployment of the Yamaha YVC-1000, Cvent audio-related help desk tickets have almost been eliminated.

# # #

About Yamaha Unified Communications

Audio and video conferencing solutions from Yamaha streamline collaboration and boost productivity wherever people need to speak openly, share freely and create exceptional things. Yamaha’s considered approach to building enterprise-grade microphone systems, conference phones, and Video Sound Bars ensures exceptional audio quality, ease of connectivity and flexibility for meetings across the table or across the globe. Wired and wireless options complement today’s nuanced and hectic business systems. With core tenets of simplicity, clarity and efficiency, Yamaha brings to unified communications a passion for sound and performance that has been creating excitement and inspiration for more than 130 years.

More information can be found at uc.yamaha.com.

About Cvent, Inc.

Cvent, Inc. is a leading meetings, events, and hospitality management technology provider with more than 3,500 employees, 25,000 customers, and 300,000 users worldwide. The Cvent Event Cloud offers the solutions organizations need to automate and simplify the entire event planning process and maximize the impact of their meetings program including tools for online event registration, venue selection, event management, mobile apps for events, email marketing, attendee tracking, and customer feedback. The Cvent Hospitality Cloud partners with hotels and venues to help them drive group and corporate travel business. Hotels use the Cvent Hospitality Cloud’s digital marketing tools and software solutions to win business through Cvent’s sourcing platforms and to service their customers directly, efficiently and profitably – helping them grow and own their business. Cvent solutions optimize the entire event management value chain and have enabled clients around the world to manage hundreds of thousands of meetings and events. For more information, please visit Cvent.com, or connect with us on Facebook, Twitter or LinkedIn.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

PR Link: www.ingearpr.com/YamahaUC/180925YamahaUC.docx

Photo Link: www.ingearpr.com/YamahaUC/Yamaha_UC_Cvent_YVC-1000.jpg

Photo Caption: Cvent, Inc. has hand-selected the Yamaha YVC-1000 as the conference phone of choice to use in its 225 conference rooms worldwide.

Author: Dundee Hills Group
Posted: September 25, 2018, 2:14 pm
New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems WHITE PLAINS, N.Y. — Sept. 25, 2018 — SMPTE, the organization whose standards work has supported a century of advances in entertainment technology and whose membership ...

New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems

WHITE PLAINS, N.Y. Sept. 25, 2018 SMPTE, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced the publication of new SMPTE ST 2098 standards for immersive audio. The Society has published ST 2098-1:2018, Immersive Audio Metadata; ST 2098-2:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups.

“Immersive audio makes a significant impression on audiences, and because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,” said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment. “By supporting delivery of a standardized immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant Immersive sound systems.”

SMPTE ST 2098-1 establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items supported in immersive audio content and, when appropriate, the range of values, value precisions, and cardinal values. (The format of the metadata items when carried in a bitstream or file is provided in SMPTE ST 2098-2.)

SMPTE ST 2098-2 defines a coded representation (bitstream) that carries the audio essence and metadata necessary to reproduce a complete immersive audio program.

SMPTE ST 2098-5 defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This standard also provides guidance on typical locations of cinema loudspeakers used for immersive audio reproduction.

The new standards for immersive audio are available now in the SMPTE digital library hosted on the IEEE Xplore platform at https://ieeexplore.ieee.org/browse/standards/number/smpte/?queryText=immersive%20audio.

A podcast with Vessa as a guest, discussing the challenges in sound quality in the cinema is available at https://soundcloud.com/smpteconnect/cinema-sound. Further information about SMPTE and its standards work is available at smpte.org.

# # #

About SMPTE

For more than a century, the people of the Society of Motion Picture and Television Engineers, or SMPTE (pronounced “simp-tee”), have sorted out the details of many significant advances in media and entertainment technology, from the introduction of “talkies” and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, SMPTE has received an Oscar and multiple Emmy Awards for its work in advancing moving-imagery engineering across the industry. SMPTE has developed thousands of standards, recommended practices, and engineering guidelines, more than 800 of which are currently in force today. SMPTE Time Code™ and the ubiquitous SMPTE Color Bars™ are just two examples of SMPTE’s notable work. Now in its second century, SMPTE is shaping the next generation of standards and providing education for the industry to ensure interoperability as the industry evolves further into IT- and IP-based workflows.

SMPTE is a global professional association of technologists and creatives who drive the quality and evolution of motion imaging. Its membership today includes more than 7,000 individuals: motion-imaging executives, creatives, technologists, researchers, and students who volunteer their time and expertise to SMPTE’s standards development and educational initiatives. A partnership with the Hollywood Professional Association (HPA) connects SMPTE and its membership with the businesses and individuals who support the creation and finishing of media content. Information on joining SMPTE is available at smpte.org/join.

All trademarks appearing herein are the properties of their respective owners.

Link to Word Doc: www.wallstcom.com/SMPTE/180925SMPTE.docx

Photo Link: www.wallstcom.com/SMPTE/SMPTE_Brian-Vessa.jpg

Photo Caption: Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment

Author: Dundee Hills Group
Posted: September 25, 2018, 1:55 pm
AMSTERDAM — Digital audio consumption is increasing and the WorldDAB session at IBC2018 entitled “Radio’s Digital Strategy” provided a comprehensive focus on audio delivering platforms other than the traditional broadcast airwaves. During the conference, several delegates emphasized that radio has ...

The WorldDAB session at IBC2018 highlighted current trends in the digital radio market

AMSTERDAM — Digital audio consumption is increasing and the WorldDAB session at IBC2018 entitled “Radio’s Digital Strategy” provided a comprehensive focus on audio delivering platforms other than the traditional broadcast airwaves.

During the conference, several delegates emphasized that radio has to be easily available where the audience is looking for audio entertainment services. Graham Dixon, head of radio at the European Broadcasting Union, commented: “Twenty years ago, when the DAB standard appeared, we all welcomed it as a sort of ‘Sun God,’ the source of light capable to settle all radio broadcasting problems at once.”

Graham Dixon highlights the growth of digital radio stations during the WorldDAB conference at IBC2018.

EVOLUTION

Then, he continued, the internet became mass-available, and things went a different way: "the competition landscape dramatically changed, and several threats to radio listening arose." Last year however the number of DAB stations increased by 23.4 percent within the EBU region, scoring the overall figure of 1503 radio stations available on DAB/DAB+.

“Radio still is Europe’s most trusted media,” Dixon added. “It is no longer the Sun God, but we all have to strive in order to keep radio broadcasting among the Olympians.” He suggests splitting radio delivery activities into core processes (meaning to have the radio content available for fruition) and activation (i.e. driving listeners to listen to radio).

According to Dixon, the number of web-connected household appliances will soon drastically augment, and most of them will be voice-controlled. And he believes that radio has to be there, not just being available through voice-controlled devices, but also easily reachable and discoverable.

The mid-session panel during the WorldDAB conference. (L to R): Graham Dixon (EBU), Wim Moortgat (VRT) and Joan Warner (Commercial Radio Australia).

Also during the session, Joan Warner, CEO of Commercial Radio Australia, provided insight into the successful campaign they ran in Australia together with Amazon, in order to enhance Alexa-enabled devices’ capability to play the correct radio station when any listener prompted for “tuning” to a specific station.

Australia is a multi-ethnic country, with a number of regional accents and non-English station names, especially in rural areas. In her opinion, smart speakers are interesting but work still needs to be done. For example, she pointed out, when a listener prompts a speaker to listen to a specific radio station, smart devices often tune into a different station with a similar name, and after two or three failed attempts, that listener usually concludes that smart speakers aren’t useful for gathering radio content.

This could cause broadcasters lose potential audience, she warns. “We did a lot of testing. When prompting one of the most popular smart speaker in Australia for a top national station, it succeeded in tuning to the correct station just in 23 percent of all attempts," she said.

So, she explained that they entered into a long-run project together with Amazon in order to properly train their smart devices to deliver optimal performance when prompted with almost any ethnic accent in Australia, and with any station name, including local and community ones.

“This is something we have to address in Europe too,” added Dixon. “In Ireland, when you pick an Alexa device out of the box and prompt it to play Radio 1, it tunes to BBC Radio 1, and not to Ireland’s RTÉ Radio 1. That’s annoying!”

[Read: Next Radio Conference Finds Medium In Good Health]

In conclusion, Warner (on behalf of Patrick Hannon, WorldDAB president) summarized the good health of digital radio broadcasting. DAB/DAB+ is now an established standard in Norway (the first country to switch off FM signals), the United Kingdom, Germany, Denmark, Belgium, The Netherlands, Switzerland, Slovenia, Italy and Australia, while the pace is picking up France, Austria, the Czech Republic and Poland.

Trials are going on in Africa, the Middle East and the Far East. In terms of advertising revenue, in 2018 U.K. radio is the fastest growing medium (faster than online). This is also thanks to the growth of national commercial stations (Source: Radiocentre, Ofcom, RAJAR).

Author: Davide Moro
Posted: September 25, 2018, 8:24 am
image caption: Maverick Turner - Broadcast Audio Engineer; 2013 GRAS graduate; currently working for ESPN as an A1 Audio Operator. Gilbert, Ariz., Sept. 24, 2018 - The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the premier institution for audio engineering education, will ...

image caption: Maverick Turner - Broadcast Audio Engineer; 2013 GRAS graduate; currently working for ESPN as an A1 Audio Operator.

Gilbert, Ariz., Sept. 24, 2018 - The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the premier institution for audio engineering education, will be opening the doors to its Gilbert, Ariz. campus (1205 N. Fiesta Blvd.) to prospective students, parents, and the media on Saturday, Sept. 29 from 10am – 4pm. Three CRAS graduates with careers in the broadcast, video game, and music recording industries will be on hand for the Open House, and they will also be part of an Open Panel Forum held for current CRAS students the evening of Sept. 27.

“There are a host of opportunities for our students once they graduate, and we want to give them an idea of what’s out there first hand for them once they enter the open market,” said Kirt Hamm, CRAS administrator. “Besides our mandatory internship program, getting our students in touch with our graduates who either are working for others, or who have made the leap into self employment, is huge. That’s what this grad panel is about in our upcoming Open House. Continued education, networking, and learning what it takes for going out on one’s own by those who have done it already is of enormous value for any student.”

Hamm continued, “We also want prospective students and their parents to discover everything there is to know about a CRAS education, and with hard work and dedication just how successful they can be. For instance, every year, CRAS graduates populate, in great numbers, Grammy nominations for the year. Most recently, seven of our graduates worked on multiple 2018 Grammy Award-winning projects by numerous artists. In total, 28 CRAS graduates worked on 26 Grammy-nominated albums and songs across 28 categories this past year.”

Members of the September Open House Grad Panel include:

Maverick Turner - Broadcast Audio Engineer; 2013 GRAS graduate; currently working for ESPN as an A1 Audio Operator. Turner has worked for client(s) and companies such as: ESPN, House of Blues [Dallas], Carnival Cruise, Dallas Opera, Six Flags Over Texas, Undermain Theatre [Dallas, Texas], Northstar Baptist Church, and more. Along with being an operator, Maverick also has had music placement(s) on American Idol, FOX Sports and Comcast Television. He also recorded six albums as a hip-hop artist and has shared the same stage with major artist(s) such as Nipsey Hussle, Lil Scrappy, Young Joc & Bone Thugs N' Harmony.

Maverick often credits to his teachers, staff and his great experience while attending CRAS as a major route to his success.

Martin Gray - freelance engineer/studio manager; formerly of Westlake now with Alliance Music; 2015 CRAS graduate.

After graduation, Gray moved to Los Angeles and started climbing the studio ladder where he became a freelance engineer and was given the opportunity to also get involved in studio management. Gray’s credits include The Chainsmokers, Demi Lovato & Camila Cabello’s hit song “Havana”.

Cesar Marenco - Game Audio Dialogue Editor, Formosa Group; 2010 CRAS graduate.

Marenco applied his internship at Blindlight, where he earned his first credit, The Elder Scrolls V: Skyrim as a dialogue editor. Marenco then moved to Boston to attend Berklee College of Music, where he eventually graduated in 2017 in Electronic Production and Design with minors in “Acoustics and Electronics” and “Audio Design for Video Games”. He then interned at Igloo Music. He now works as a full-time dialogue editor at at Formosa Group - Interactive.

At the September Open House, guests will be able to interact with CRAS faculty and get a taste of the curriculum and the state-or-the-art audio gear spread throughout its numerous classrooms as well as its 42-foot Mobile Broadcast Unit. They will also be able to participate in live demonstrations in many of these real world audio recording studios, live sound venue, and labs.

The Conservatory of Recording Arts & Sciences is composed of two nearby campuses in Gilbert and Tempe, Ariz. A CRAS education includes Broadcast Audio, Live Sound, Audio Post for Film and TV, Music Production, Commercial Production and Video Game Audio, all taught by award-winning instructors who have excelled in their individual fields. CRAS’ structured programs, and highly qualified teaching staff, provide a professional and supportive atmosphere, which is complemented by its small class sizes allowing for individual instruction and assistance for students in engineering audio recordings. CRAS has been providing quality vocational training in Audio Recording for more than three decades. The curriculum and equipment are constantly being updated to keep pace with the rapid advancements in the music and sound recording industries. CRAS’ course offerings and subject matter have always centered around the skills and knowledge necessary for students’ success in the Audio Recording industries.

The 11-month program is designed to allow every student access to learn and train in all of the Conservatory’s studios which are comprised with state-of-the-art audio recording and mixing gear, the same equipment used in today’s finest studios and remote broadcast facilities, including Pro Tools 12, API Legacy consoles, SSL G+ and AWS consoles, Studer Vista consoles, and much more. All students must complete a 280-hour industry internship to graduate from the Master Recording Program II that may ultimately lead to industry employment.

“We want everyone to see, hear, and feel how our 11-month program focuses exclusively on what a student needs to know to begin living their passion in any one of the many facets of the Recording Arts,” Hamm concluded.

For more information on the Conservatory of Recording Arts & Sciences, please visit www.cras.edu, contact Kirt Hamm, administrator, at 1-800-562-6383, or email to info@cras.edu.

About The Conservatory of Recording Arts & Sciences

Based in the heart of The Valley of the Sun with two campuses in Gilbert and Tempe, Ariz., The Conservatory of Recording Arts & Sciences (CRAS) is one of the country’s premier institutions for audio education. The Conservatory has developed a unique and highly effective way to help the future audio professional launch their careers in the recording industry and other related professional audio categories.

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Author: CRL Public Relations
Posted: September 24, 2018, 6:34 pm
SiriusXM has gone all in on Pandora. In a notable business deal in the digital audio market, the satcaster announced it will “acquire Pandora in an all-stock transaction valued at approximately $3.5 billion,” pending approval by the streamer’s stockholders and the SEC. This move confirms an old ...

The satcaster spent $480M propping up the streamer in 2017

SiriusXM has gone all in on Pandora. In a notable business deal in the digital audio market, the satcaster announced it will “acquire Pandora in an all-stock transaction valued at approximately $3.5 billion,” pending approval by the streamer’s stockholders and the SEC.

This move confirms an old rumor that the audio companies would join forces, one that had been swirling since SiriusXM invested $480 million in the streamer in June 2017. The deal required SiriusXM to wait 18 months before purchasing any more of Pandora, so this transaction is right on time if the deal closes as expected at the beginning of next year.

[Read: SiriusXM Invests $480M in Pandora]

The deal makes sense for both companies, as Pandora struggles to get a foothold in the car and SiriusXM seeks to have a greater presence in the home and mobile environments. In the announcement, SiriusXM CEO Jim Meyer said the merger is “an exciting next step in our efforts to expand our reach out of the car even further."

The release cautions, however, that “there will be no immediate change in listener offerings.”

For Pandora’s part, the satcaster’s content and subscriptions also made it an attractive partner, according to Pandora CEO Roger Lynch.

And although Pandora does offer an ad-free subscription option, the streaming service is also ad-supported, which helps to diversify “SiriusXM's revenue streams,” according to Meyer. He had explained the 2017 investment was because Pandora represents “the ad-supported digital radio business, a space where SiriusXM does not play today.”

According to the announcement, the combined SiriusXM and Pandora is positioning itself as “the world's largest audio entertainment company” and projecting 2018 revenue as $7 billion. Additionally, SiriusXM says it has 36 million North American subscribers, plus trial listeners, and Pandora cites 70 million monthly active users.

Pandora shareholders will trade their P shares for SIRI at a rate of 1.44 to 1, which the press release says means Pandora stock is worth about about $10.14 per share. Sirius already owns about 15% of the company’s convertible preferred stock.

Pandora’s board of directors unanimously approved the idea, but the agreement isn’t yet final and includes a provision that allows the board to seek out other proposals before they sign on the dotted line.

Allen & Company LLC and BofA Merrill Lynch are serving as financial advisors to SiriusXM; and Baker Botts LLP and Simpson Thacher & Bartlett LLP are serving as its legal counsel. Centerview Partners LLC, LionTree Advisors LLC and Morgan Stanley & Co. LLC are serving as financial advisors to Pandora; and Sidley Austin LLP is acting as legal counsel.

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Author: Emily M. Reigart
Posted: September 24, 2018, 6:18 pm
HONG KONG, Sept. 21, 2018 – miniDSP (www.miniDSP.com), a market leading designer and manufacturer of digital signal processing platforms and solutions for a wide range of applications, is proud to announce it has been awarded distribution rights to the Avermetrics line of audio analyzers in the ...

HONG KONG, Sept. 21, 2018 – miniDSP (www.miniDSP.com), a market leading designer and manufacturer of digital signal processing platforms and solutions for a wide range of applications, is proud to announce it has been awarded distribution rights to the Avermetrics line of audio analyzers in the Hong Kong/China market.

miniDSP is also proud to announce that the Avermetrics AverLAB portable high performance audio analyzer is also now available on the miniDSP website worldwide (MSRP: $3,000.00 USD).

“We are very excited to support Avermetrics distribution in Hong Kong and China as well as have its product available through our website,” said Tony Rouget, miniDSP CEO. “Much like miniDSP, Avermetrics is an innovative company with an impressive product line and so we believe it to be the ideal partnership.”

Avermetrics is a manufacturer of test and measurement equipment targeted at benchtop and factory production line electronic test solutions. Its innovative and modular solutions can scale to more than 250 simultaneous and independent analog channels and more than 1,000 digital channels while still providing test times the user is accustomed to for 2-channel operation. It supports both Mac and PC control via Ethernet connectivity and a wide range of process and test fixture connectivity.

“Now available through the miniDSP website, AverLAB is Avermetrics’ portable, 1RU high performance audio analyzer that makes audio testing affordable,” explained Rouget. “AverLAB is software controlled via Ethernet, expandable, has an external GPIO and control interface, and is Win/OSx compliant.”

With fanless, silent operation and cigar-box size, AverLAB fits perfectly on even the most crowded benches. Run tests and adjust parameters using front panel controls without having to clutter your bench with a keyboard and mouse. And AverLAB’s performance and features help you get your day-to-day work done without compromise.

“Unlike other portable analyzers, AverLAB is expandable,” Rouget continued. “The AverLink port lets you add more than 100 AverLine rack test modules of analog, digital, and general purpose I/O. The built-in I2S interface‡ offers I2C, SPI, and parallel control lines for controlling your digital audio circuits or other outboard gear. AverLAB works where you do. The light (under six pounds) unit fits neatly into most standard 15-inch laptop bags. And, with no USB tether dictating where to work, you are free to access AverLAB from your workbench, desk, during a meeting, even from home.”

AverLAB features and specifications include:

· Assignable front panel controls

· Ethernet connectivity, supports DHCP, Static IP, AutoIP

· Windows/OSx compliant

· Quiet fan-less design

· Expandable via AverLink

· 8 lines of general purpose IO

· I2S, SPI and I2C interfaces

· Front panel signal LEDs, always active

· 15W power dissipation, 40W/12V power supply

· Universal power supply, 100-240V, 47-63 Hz

For more information on Avermetrics, please visit www.avermetrics.com

For more information on AverLAB and miniDSP’s complete product line, please visit www.miniDSP.com

About miniDSP

Started back 2009 and based in Hong Kong, miniDSP and DSP4YOU are technology companies that focus on Digital Signal Processing platforms (DSP) for a wide range of applications. We're a group of passionate engineers who love electronics, building new ventures, and working hand-in-hand with the audio community. We care about our customers and how we can help solve their problems.

Just one hour away from Shenzhen, China's biggest electronic manufacturing hub, we have the advantages of being part of the “action.” Our passion for technology and our “Agile” product development philosophy are the key drivers of the growth of our company and in-house IP.

# # #

Author: CRL Public Relations
Posted: September 21, 2018, 6:56 pm
The following story is an excerpt of the Radio World eBook “AoIP for Radio 2018.” Read it for free at www.radioworld.com/resource-center. The ability to generate unique content for your radio station has probably never been as important. A simple way to do it is by taking live shots from a news or ...

The following story is an excerpt of the Radio World eBook “AoIP for Radio 2018.” Read it for free at www.radioworld.com/resource-center.

The ability to generate unique content for your radio station has probably never been as important.

Broadcast Bionics developed Skype TX for Radio in partnership with Microsoft.

A simple way to do it is by taking live shots from a news or sporting event or by hosting guests who reach the station by calling in in some fashion. Fortunately, stations no longer have to rely on POTS or 3G cellular phones as a way to connect to remote callers, because there is a (relatively) new use for IP codecs that I refer to as contribution audio.

Let’s consider three offerings available today.

Broadcast Bionics developed Skype TX for Radio in partnership with Microsoft, as a way for stations to receive high-quality audio “from anyone, anywhere,” whether it’s a remote host, guest, reporter, commentator or listener. It’s aimed at the workflows of radio broadcasters wishing to use Skype calls on air by connecting to Skype users by way of their mobile phones, web browser or desktop.

Skype TX for Radio gives you the scale and flexibility to deliver multi-line talk-show and contest formats via Skype with a PC. The company’s PhoneBOX4 integrates Skype calls alongside traditional phone lines, SMS and social media.

Skype TX for Radio is a Windows service that can run on your existing machine or hosted as a virtual machine. Up to 14 lines of Skype connectivity can be accommodated from one server.

Well known in the area of contribution audio is Comrex, whose lineup includes AoIP codecs and other telephone-related products. Opal is a new Comrex device that enables remote guests to connect to the studio by clicking on a link delivered in an email message originating from the station.

Opal works by activating the Opus encoder built into popular browsers.

Opal works by activating the Opus encoder built into popular browsers including Chrome, Firefox and Opera. (Support for Safari, on iPhones with iOS11, along with newer versions of the Mac OS, was added in early February.) As a result, the remote user can connect to Opal from any computer or mobile device with one of those browsers installed. Opus transmits high-fidelity, low-delay audio in both directions; all the remote guest needs to transmit audio is a browser and a microphone.

At the station, the half-rack-width Opal device makes the actual send and receive connections to the studio facility via balanced XLR connectors (analog or AES). Aside from its Ethernet connector, it has a nine-pin DIN for remote contact closures.

In order to use Opal you will need a static, public-facing IP address and a domain name associated with that IP. “In order to keep the web browsers from complaining, we need to provide SSL/TLS security. In order to have Opal provide this security, it needs a URL with a real Domain Name instead of an IP address,” the company states.

A remote control app lets the producer see who’s connected to QGoLive and manage who’s on the air. Connected users hear the reporter on-air. 

Another solution is QGoLive, a software-to-software offering that does not require purchase of hardware at the studio (receive) end. The transmit app runs on iOS or Android devices; the receiver application runs on PC or Mac. An Android-based hardware receiver, with balanced XLR inputs and outputs, can be used on the receive end so that there is no need to tie up a computer.

The primary purpose of QGoLive is to replace the live shots that are typically broadcast in phone quality when a reporter has just arrived on the scene and has not had an opportunity to set up equipment for of a broadcast-quality live shot.

QGoLive has three major functional aspects: Live, Playlist and Scripts. The “live” mode allows the user to connect to the receiver at the radio station after logging in. To connect, the user hits the “play” button in the center of the screen, which will send audio to the station receiver and send cue audio to the app. The app will run in the background so you can use other non-audio apps while broadcasting with QGoLive.

The “Playlist” function allows the user to play out cuts recorded and edited in external apps (such as Twisted Wave) or any audio program that can open its output (mp3) in another program (or a browser that can open downloaded files in another app).

QGoLive allows you to write or dictate scripts which the talent can read while live. The user can also insert edited audio directly into the script for playback during a live report. And imported cuts can be added to and played from the scripts tab.

What contribution systems have you used? What other offerings should readers know about? Email us at radioworld@futurenet.com.

Author: Doug Irwin
Posted: September 21, 2018, 4:42 pm
LONDON — The annual Next Radio event bills itself as “the radio ideas conference”, and the ideas, statistics and announcements come thick and fast in quick-fire nine or eighteen-minute sessions throughout the day. The conference, held in London’s historic Royal Institution, saw the launch of the ...

New cloud-based automation system launched by RCS at event

LONDON — The annual Next Radio event bills itself as “the radio ideas conference”, and the ideas, statistics and announcements come thick and fast in quick-fire nine or eighteen-minute sessions throughout the day.

The conference, held in London’s historic Royal Institution, saw the launch of the first professional cloud-based radio automation system, by RCS President and CEO, Philippe Generali. RCS says that the new system is the first of its kind to be able to import GSelector logs, the first to be able to integrate traffic, and the first to feature voice-tracking in the cloud.

View the 7 images of this gallery on the original article

Generali set out the top ten reasons why radio groups were considering cloud services instead of on-premises installations. As well as savings on traditional equipment, it would mean that radio groups could quickly create new channels, and customers would always be on the same product version. Generali added: “RCS believes that early adopters are expected to consider cloud-based playout for disaster recovery backup.”

Elsewhere at the conference, consultant Ande Macpherson demonstrated the use of chat bot surveys, such as Surveybot, on Facebook Messenger to test music for radio stations — he argued that only the best songs in the right order would nowadays compete against the likes of Spotify. He emphasized the importance of knowing your audience, your music and your data.

Speakers also covered the emergence of “event radio” — significant engaging features that worked across platforms including video and social media, as well as providing compelling audio. Ollie Wards highlighted the huge impact of the annual “Hottest 100” chart on ABC station triple j in Australia, with 30 per cent of 18-34 year-olds listening on the day. He said a sense of history, audience participation, conversation and transparency all helped build the event.

Meanwhile, Aled Haydn Jones from BBC Radio 1 said these events should be about “FOMO” — fear of missing out — and creating a shared experience across the audience. International consultant Valerie Geller echoed this, with her familiar advice of “Tell the truth, make it matter, and never be boring”, adding that there are no boring stories, just boring storytellers.

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The day confirmed the strength and endurance of radio. John Carroll, Global Director for Business Development and Media Measurement at GfK, argued that young people have not “fled” radio, with research showing radio still reaches 83 per cent of 13-14 year-olds in the United Kingdom each week, while 62 percent claimed to listen to downloaded or streamed music. Carroll said when you looked behind the numbers, it was clear that great engaging radio remains in good health.

Author: Will Jackson
Posted: September 21, 2018, 9:21 am
As they say, all good things must come to an end. After 15 years of outstanding sales and product performance, Tieline has decided to end production of its renowned Commander G3 Field and Rack Unit codecs. The main reason for this decision is that many components have gone end-of-life. As a ...

As they say, all good things must come to an end.

After 15 years of outstanding sales and product performance, Tieline has decided to end production of its renowned Commander G3 Field and Rack Unit codecs. The main reason for this decision is that many components have gone end-of-life. As a result, the last production run was completed in August, 2018.

Thousands of broadcasters around the world rely on Tieline to deliver reliable audio for their remote broadcasts, studio-to-transmitter-links, audio distribution and newsgathering every day. Our customers expect the highest in quality, reliability and value and the Commander range has certainly delivered this over many years.

Commander G3 codecs have been replaced by the G5 range of codecs, which includes ViA, Merlin, Merlin PLUS, Genie STL and Genie Distribution. These codecs include all the functionality of the Commander range, with significantly enhanced feature-sets.

The Tieline i-Mix G3 will still be available, however Commander G3 Field and Rack unit codecs, and G3 accessories, will no longer be available once the last of these items have been sold. Tieline will continue to support and service the Tieline G3 range of products for as long as possible while parts are still available.

We are grateful for the support and loyalty of our customers and look forward to that continuing in the future.

Contact Tieline

  1. For Australia and International: info@tieline.com
  2. For USA, Canada & Latin America contact: sales@tieline.com

Or contact your favorite dealer for more information about Tieline codecs.

Author: Glenn Davies
Posted: September 21, 2018, 4:22 am
Marketron Broadcast Solutions has named two new leaders and promoted a third. The company has tapped Mike Jackson to serve as senior vice president of engineering and named Mark Weidel as regional director for digital solutions. Marketron also promoted Todd Kalman to senior vice president of sales. ...

Jackson and Weidel join the team while Kalman gets a new role

Mike Jackson

Marketron Broadcast Solutions has named two new leaders and promoted a third. The company has tapped Mike Jackson to serve as senior vice president of engineering and named Mark Weidel as regional director for digital solutions. Marketron also promoted Todd Kalman to senior vice president of sales.

In his new role, Jackson will be based out of the company’s office in Denver. Prior to joining Marketron, Jackson was VP of software engineering at learning technology company Pearson. Earlier in his career, he worked for Oracle and JD Edwards in software leadership roles.

Mark Weidel

At Marketron, Mark Weidel will work through Marketron’s Pitch platform and other digital products and services. Weidel most recently served as general manager of digital solutions at Steinman Enterprises. He also had a stint as general manager of the interactive division at Delmarva Broadcasting Co.

Todd Kalman

For more than three years, Todd Kalman has served as Marketron VP of sales. He has more than two decades of’ experience in senior radio sales leadership logged with iHeartMedia and CBS Radio. He will report to CEO Michael Collins and will work with SVP of Strategic Accounts Deb Esayian, the company’s former chief revenue officer.

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Author: Emily M. Reigart
Posted: September 20, 2018, 8:50 pm
VANCOUVER, Wash., Sept. 20, 2018 - 64 Audio, the leader in custom and universal fit in-ear monitors, is proud to announce its collaboration with Grammy-nominated Nathan East and the launch of the special edition N8 customizable in-ear monitor. N8 (pronounced “Nate”) is targeted towards musicians ...

VANCOUVER, Wash., Sept. 20, 2018 - 64 Audio, the leader in custom and universal fit in-ear monitors, is proud to announce its collaboration with Grammy-nominated Nathan East and the launch of the special edition N8 customizable in-ear monitor. N8 (pronounced “Nate”) is targeted towards musicians and discerning audiophiles who are looking for a sonic signature that delivers amazing clarity across all frequencies with abundant headroom available in the lower end of the audible spectrum. N8 is now available at 64audio.com and authorized retailers, with an MSRP of $1,699.00.

“It was truly a pleasure and a privilege to work with Nathan on this project,” said Vitaliy Belonozhko, 64 Audio founder and chief sound designer. “He’s an exceptional artist with a unique style that comes through in all of his albums. It was an exciting challenge to achieve the sound signature we had targeted and it pushed us to develop something new together. That’s what this is all about…working hand-in-hand with musicians to push our very own boundaries and deliver something special to our customers.”

To achieve the necessary sound flavor, 64 Audio opted for a hybrid design utilizing a 9mm dynamic driver for the lows and eight balanced armature drivers for the midrange and highs. The result is an incredibly intimate and smooth sound with punchy lows, luscious mids, and a silky treble with an analog sensation. The N8 also features 64 Audio’s patent-pending technologies, including tia, apex and LID.

“Collaborations have been a big part of my career,” said East, a world-renowned recording artist with more than two thousand credits as a bass player alone. “I’ve had the opportunity to work with so many talented and creative people. That’s what gets me excited about making music. From the moment I first tried a pair of 64 Audio in-ears, I knew they were doing something special. I’m very proud of what we came up with. The N8s are the perfect complement to my touring world and definitely music to my ears.”

Some of East’s most recent notable credits include songs and albums by Phil Collins, Eric Clapton, Michael Jackson, Stevie Wonder, Daft Punk, Toto, Anita Baker, Beyoncé and contemporary jazz supergroup Fourplay.

Like all 64 Audio Custom IEMs, the N8 monitors are customizable and are hand-built from each uniquely shaped ear impression. They are inherently noise isolating and are designed to work with a wide range of personal audio devices as well as all hard-wired and wireless monitor systems. N8 accessories include 64 Audio personalized protective case, dehumidifier, cleaning tool, shirt clip, 48- or 64-inch detachable professional cable, m15 or m20 apex modules, round sticker, 2-year warranty.

tia, apex, and 3D Fit

64 Audio’s patent-pending tia (Tubeless In-ear Audio) Technology does away with traditional tubes and dampers to eliminate resonances and deliver an incredibly smooth and musical frequency response. apex (Air Pressure Exchange) Technology is a pneumatically interactive vent that dramatically reduces listening fatigue by releasing sound pressure that is inherent in other earphone designs. 3D Fit is 64 Audio’s proprietary 3D shell printing process that results in a personalized fit not found in any other Custom IEM.

For details about the N8, please visit:

https://www.64audio.com/product/N8-Custom-In-Ear-Monitor

Watch the N8 film here: https://youtu.be/XqKxRCWDPKE

Learn more about tia here: www.64audio.com/technology/tia

Learn more about apex here: www.64audio.com/technology

Learn more about Nathan East here: www.nathaneast.com

About 64 Audio

64 Audio was founded by Vitaliy Belonozhko, a sound engineer who has been working with musicians and production companies for over a decade. He discovered the advantages of IEMs over traditional floor “wedges” and recognized that a better solution to in-ear monitoring was needed. Today, with a staff of over 70 people and a team of some of the best minds, 64 Audio has become the most innovative in-ear monitor manufacturer in the industry, supplying products worldwide and to some of the best-known bands and engineers in the world. With new and unrivaled technologies such as apex, LID, and tia, 64 Audio excels in challenging traditional earphone designs to bring-to-market unique and innovative audio products.

# # #

Author: CRL Public Relations
Posted: September 20, 2018, 7:58 pm
Gregory Dean, founder of a company that pioneered in the areas of radio traffic and billing and automation, died Sept. 11 in Overland Park, Kan., at age 72, the Kansas City Star reports. “Greg Dean was a true pioneer, inventing many of the tools that radio stations have taken for granted for ...

Dave Scott remembers a pioneer who was a competitor and, later, a business partner

Greg Dean, left, is one of a crew installing an Epicenter at Cox station WMMO(FM) in Orlando, Fla. 

Gregory Dean, founder of a company that pioneered in the areas of radio traffic and billing and automation, died Sept. 11 in Overland Park, Kan., at age 72, the Kansas City Star reports.

“Greg Dean was a true pioneer, inventing many of the tools that radio stations have taken for granted for decades,” UncompressedMusic.com CEO and Scott Studios founder Dave Scott wrote in an email to Radio World.

Dean and his wife Vicki founded Computer Concepts Corp. in 1974 in Lenexa, Kan. He discovered a talent for computers after using a Wang 2200 computer to create accounting software for his five Dunkin’ Donuts franchises — stores that he acquired as part of a plan to become a radio station owner.

Dean had attained his FCC first-class amateur radio license and built a radio transmitter at age 16, then turned his interest into a job at Austin, Texas, station KNOW(AM) while he was a student at the University of Texas. He later moved to Wichita, Kan., where he had stints as on-air talent for KLEO(AM) and KEYN(FM).

With his radio background, it’s not surprising that Dean realized his accounting “software could be adapted into a turnkey broadcast-scheduling system,” according to his obituary.

Scott recalls that Dean put a pilot’s license, earned at age 16, to good use during the 1970s and ‘80s. The company owned a small airplane, which Dean and field techs who were also pilots used to “provide quick on-site service to radio stations if needed in the era of mainframe computers.”

During Computer Concepts early days, Scott remembers, “We exhibited across the aisle from each other at most trade shows” when Scott ran Century 21 Programming from 1973 to 1992.

Dean went on to expand CCC’s portfolio to include other applications, and the company eventually grew to 110 employees and had clients on five continents, according to his obituary.

Among other innovations, Dean and his team developed Visual Traffic in the early ‘90s — “the early days of Windows and graphical user interface,” Scott said.

According to Scott, Computer Concepts in 1990 developed the Digital Commercial System radio automation for satellite formats, which he called an industry standard. Scott noted Dean also co-owned “a patent on the first ‘2+1’ digital audio card that could play back with overlap of two recordings while recording something else at the same time.”

Later in the decade, the company developed Epicenter, an audio-over-IP super-switcher, but CCC soon after encountered financial challenges.

In 2000, Computer Concepts merged with Scott Studios, which had entered the market as a competitor in 1992. Computer Concepts Corp. became a wholly owned subsidiary of Scott Studios; the Deans owned 20% of Scott Studios as part of the deal. Scott was also made CEO of CCC, but Dean remained on as vice president and also held a seat on the board of directors for a brief time.

The Maestro and Visual Traffic products retained the Computer Concepts branding until Visual Traffic was sold to Wicks (now Marketron) in 2001. Scott said that Wicks traded its “Digital Universe automation product to Scott Studios in exchange for Computer Concepts' Visual Traffic and a very large cash payment.”

In 2004, dMarc Broadcasting acquired both Computer Concepts and Scott Studios, which then sold them to Google a year later. WideOrbit then purchased the companies in 2009.

Dean continued his pioneering work until his 2013 retirement, when he began to suffer from symptoms of Lewy Body Dementia, according to his obituary.

Read his full obituary online at Legacy.com.

Author: Emily M. Reigart
Posted: September 20, 2018, 5:56 pm
Our Radio World colleague Cris Alexander is, by day, Crawford Broadcasting director of engineering. He encourages his group’s engineers to share tips that have made their work lives easier and more efficient; over the years we’ve included several in this column. At KCBC(AM) in Modesto, Calif., ...

Add this inexpensive temperature sensor to your remote control

Our Radio World colleague Cris Alexander is, by day, Crawford Broadcasting director of engineering. He encourages his group’s engineers to share tips that have made their work lives easier and more efficient; over the years we’ve included several in this column.

At KCBC(AM) in Modesto, Calif., Chief Engineer Steve Minshall writes about the familiar task of monitoring transmitter parameters, antenna parameters and tower lighting via remote control systems. One item easy to overlook is the measurement of temperatures in the building.

Fig. 1 provides a simple, inexpensive way to monitor temperatures. Simply take 5 volts, usually available from the remote control system, and connect it to a thermistor. The other end of the thermistor connects to a metering channel on the remote control system.

Fig. 1: A simple thermistor circuit can provide temperature monitoring for your remote control.

The correct thermistor must be chosen, and it needs to have a negative temperature coefficient. This means that the resistance of the thermistor decreases with increases in temperature. As can be seen from Fig. 1, the thermistor and the internal load resistor of the remote control system create a voltage divider. When the temperature increases, the voltage applied to the remote control metering circuit also increases.

Steve chose a thermistor from Mouser. It’s their part number 527-NK123C5R2. Using this device along with the assumed 10K ohm internal load resistance of the remote control metering circuit (use an ohmmeter to check the input resistance of your remote control channel), one can expect acceptable performance for the purposes needed.

If the remote control system is calibrated at 88 degrees Fahrenheit with this thermistor, you can expect the temperature reading to indicate 36 degrees for an actual temperature of 32, and an indicated 116 degrees for an actual temperature of 120. This is plenty accurate for what we normally need when monitoring building temperature. If your remote control system permits an upper limit alarm, so much the better — you’ve got a warning of fan or air conditioner cooling failure.

For the purist, a 47K resistor can be placed across the input of the metering channel (assuming an internal load resistance of 10K ohms), which will bring the temperature error at the above extremes to within one degree. The target load resistance for this thermistor is about 8,000 ohms.

The thermistor is so small that it can be placed directly onto a 37-pin sub-miniature D connector, or placed on a terminal strip. The thermistor costs about a dollar. At this price, several could be placed at different locations in the building such as the transmitter exhaust air outlet, air conditioner ductwork, and even the outside of the stucture, though Steve has found that one for the building is sufficient. Steve has installed these at every site that he takes care of, and they have been 100-percent reliable. On a number of occasions, these little devices have given Steve early warning of temperature excursions, which could have caused major problems.

For those who like to do their own research and experimentation, Steve suggests a couple of websites: www.electronics-tutorials.ws/io/thermistors.html as well as www.electro-tech-online.com/tools/thermistor-resistance-calculator.php.

***

 

So much good information can be gleaned from attending Society of Broadcast Engineers meetings. However, many engineers say they are just too busy to attend. If you’re a ham, you might want to consider checking out the SBE VHF/UHF Chapter 73 of the Air HAMnet, coordinated by Jack Roland.

Usually scheduled every Monday at 9 p.m. Eastern, the SBE VHF/UHF HAMnet is based in Denver on 449.625, pl 141.3 and 449.450 pl 103.5. The chapter meeting is also found on the ALLSTAR node 46079 and connected to the world via ECHOLINK KD0WHB-L node 985839.

See the latest edition of “The KE0VH Hamshack” for more information at www.ke0vh.com.

***

 

Continuing our series exploring how engineers caught the radio bug: Allen Branch was 12 years old when he wanted to go see a radio station. When he called WKLS(FM) in Atlanta, the operator on duty encouraged Allen to come out. Allen’s aunt drove him out to a hill in Marietta, where there was a building housing the control room.

The control room featured tape machines and an automation system for the FM station, as well as a second automation set up for the background music SCA service.

What fascinated Allen the most was that everything was custom-built by the engineer. It was a sight to see, and led Allen to a career servicing radio stations, which he’s been doing since 1993.

***

 

With more and more electronic parts stores like Radio Shack closing, you may wonder where you can find those little connector adaptors and utility items like colorful electrical tape, hook and loop fasteners, or heat shrink tubing.

Enter American Recorder Technologies, sold through Broadcasters General Store.

BGS has a multi-page catalog chock full of the items you used to find at your local electronics store. Two pages of the catalog are shown in Fig. 2. Call BGS at (352) 622-7700 for your copy of this reference guide.

Fig. 2: An assortment of American Recorders adaptors as seen in the BGS catalog.

Contribute to Workbench. You’ll help fellow engineers and qualify for SBE recertification credit. Send Workbench tips and high-resolution photos to johnpbisset@gmail.com. Fax to (603) 472-4944.

Author John Bisset has spent 48 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He is SBE certified and is a past recipient of the SBE’s Educator of the Year Award.

Author: John Bisset
Posted: September 20, 2018, 4:44 pm
Getting face time with a U.S. president is always a feather in the cap. Buck Sexton got 45 minutes with Donald Trump in the Oval Office for his radio show earlier this week. That’s Sexton on the right. The Buck Sexton Show is syndicated by Premiere Networks. [Want more information like this? ...

Buck Sexton Show gets face time with president

Getting face time with a U.S. president is always a feather in the cap. Buck Sexton got 45 minutes with Donald Trump in the Oval Office for his radio show earlier this week. That’s Sexton on the right.

The Buck Sexton Show is syndicated by Premiere Networks.

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Author: RW Staff
Posted: September 20, 2018, 2:09 pm
ZYLIA ZM-1 Single-Mic Portable Recording Studio At AES New York 2018, Zylia will showcase the new ZYLIA ZM-1, an incredibly light, compact, and beautifully designed recording solution capable of delivering 48 kHz/24-bit resolution while capturing the full spatial sound scene. No matter where they ...

ZYLIA ZM-1 Single-Mic Portable Recording Studio

At AES New York 2018, Zylia will showcase the new ZYLIA ZM-1, an incredibly light, compact, and beautifully designed recording solution capable of delivering 48 kHz/24-bit resolution while capturing the full spatial sound scene. No matter where they are, users can simply connect the ZYLIA ZM-1 to a laptop via USB and begin recording.

The ZM-1 boasts 19 omnidirectional microphone capsules, which are distributed around a sphere measuring 4 inches in circumference and weighing just 16.6 ounces. A LED ring encircling the sphere gives off a gentle glow that indicates recording status. When using the ZM-1 in combination with ZYLIA Studio software, musicians can record their performances in a groundbreaking way — in both 3D/360-degree audio and traditional stereo.

Photo Link: www.wallstcom.com/Zylia/Zylia-ZM-1.png

Photo Caption: Zylia’s Innovative and Unique ZYLIA ZM-1 Microphone System

ZYLIA Studio PRO

ZYLIA Studio PRO is a (VST/AU) plug-in that brings spatial filtering and signal separation directly into the digital audio workstation (DAW). ZYLIA Studio PRO uses virtual microphone technology (software-defined microphones) on the 19-channel ZYLIA ZM-1 recording to separate sound sources and record them as individual tracks. The software also uses spatial filtering and blind sound-source separation to automatically detect the position of sound sources and separate them in real time. Users can set and monitor virtual microphones of multiple polar patterns or characteristics, both live and during postproduction. They can also take advantage of presets for surround or ambient recordings (5.1, 7.1, 5.4.1, 22.2, and more).

Photo Link: www.wallstcom.com/Zylia/Zylia_StudioPRO.png

Photo Caption: ZYLIA Studio PRO

ZYLIA Ambisonics Converter

The ZYLIA Ambisonics Converter converts multichannel recordings made with the ZYLIA ZM-1 microphone into Higher Order Ambisonics (HOA) full-sphere surround sound recordings. This software tool makes it easy for users to prepare 3D audio recordings for playback on the Facebook 360 and YouTube 360 platforms. The converter offers a B-format signal set that includes first-, second-, and third-order Ambisonics to bring added height and depth to surround sound. Users can choose between the FuMa and ACN component ordering formats, as required by the target platform, and between ambiX and TBE output formats. The converter also allows for quick correction of microphone orientation in postproduction.

Photo Link: www.wallstcom.com/Zylia/Zylia_Ambisonics-Converter.png

Photo Caption: ZYLIA Ambisonics Converter

Zylia Workshop: Spatial Audio-Video Creations for Music, Virtual Reality, and 3D Projectors — Case Studies

Wednesday, Oct. 17, 10:45 a.m. to 12:15 p.m.

Part of the AES New York 2018 conference’s Immersive & Spatial Audio Track, this session will cover spatial audio-video creations in practice. Professional audio engineers and musicians will talk about their 360-degree, 3D, and ambient productions combining sound and vision. The session will include an examination of “Unraveled,” a 360-degree spatial experience in which listeners find themselves in the middle of the recording. Furthermore, the speakers will discuss the process of making 3D audiovisual footage displayed in the 360-degree dome as well as spatial recordings of the concert music. The workshop will focus especially on the use of spherical microphone arrays, which make it possible to record an entire 3D sound scene. The separation of individual sound sources in postproduction, along with Ambisonics, gives creators unlimited possibilities to achieve unique audio effects. The moderator of the workshop will be Tomasz Zernicki, Zylia co-founder and chief technology officer. More information about the event is available at http://www.aes.org/events/145/spatialaudio/?ID=6328.

Company Quote:

“At this year’s AES Show, we’re introducing a series of technologies that together transform multitrack recording: the elegant design and exceptional performance of our innovative ZM-1 recording solution, the sophisticated processing capabilities of our ZYLIA Studio PRO plug-in, and the flexibility and simplicity of the ZYLIA Ambisonics Converter. All of these products open up a whole new world of possibility for musicians and audio creatives. We can’t wait to show AES attendees what Zylia solutions can do for them.”

Piotr Szczechowiak, Chief Operating Officer, Zylia

Company Profile:

Zylia develops innovative, world-class recording technologies and turns them into products that improve the lives of musicians and audio creatives. With a passionate and dedicated team of almost 20 experts in music production, audio research, software, business and product development, the company crafts and delivers products with the potential to redefine and revolutionize the way sound and musical performances are recorded and produced. Leveraging their personal experience as musicians and tech gurus, along with input from music and audio communities around the world, Zylia’s experts bring musicians agile recording tools that make it easy to be creative in any environment.

Author: Dundee Hills Group
Posted: September 20, 2018, 1:39 pm
The Wheatstone factory in New Bern, N.C., officially reopened Wednesday, a few days after Hurricane Florence tore through the region. “The factory is open, and our building and its contents weathered the storm completely unscathed,” Wheatstone Systems Engineer/Webmaster Scott Johnson reported via ...

Factory reopened Wednesday, many employees have returned to work

The Wheatstone factory in New Bern, N.C., officially reopened Wednesday, a few days after Hurricane Florence tore through the region.

“The factory is open, and our building and its contents weathered the storm completely unscathed,” Wheatstone Systems Engineer/Webmaster Scott Johnson reported via email. “As far as we can tell, the building never even lost power.”

He explained, “Our building is a high, reinforced concrete structure with a relatively new, well-maintained roof. it sits on a reinforced concrete foundation. Our power comes via an underground, redundant ‘loop feed’ to a padmount transformer, and that feed has been pretty rugged. Our Internet connectivity, which is via dark fiber to a communications nexus nearby, is also fully operational.”

[Read: Industry Groups Stations Prep for Storm]

Johnson estimates that 60% of the manufacturer’s staff also returned to work, with more expected to return Thursday. Some of the areas surrounding the factory are still experiencing flooding, and the rivers near New Bern are predicted to actually crest in the coming days, so some closed roads may continue to present problems. Additionally, some employees evacuated ahead of the storm but have been unable to return due to the closures.

Although the factory fared well, many in New Bern were not so lucky. The city and surrounding Craven County are still operating under emergency declarations, and the Federal Emergency Management Agency and the Red Cross are on site helping those affected by the storm and its aftermath.

View the 6 images of this gallery on the original article

Several Wheatstone employees have reported damage to their property — at least one house and one roof were lost to Hurricane Florence. Many others, including Johnson, were without power for days.

Johnson wrote Wednesday, “Most of the folks here have ridden out at least one hurricane since they’ve been here, and the message I’ve gotten from each of them is the same: They have never seen anything like this.”

In an earlier email to RW Editor in Chief Paul McLane, Johnson wrote, “We’re reeling here, but it’s a strong, resilient town, and we’ve got a great, can-do group of Wheaties. We’ll bounce back.”

Author: Emily M. Reigart
Posted: September 19, 2018, 8:34 pm
EDMONTON, Alberta, Canada, Sept. 19, 2018 – SKAA-enabled wireless high fidelity. Sexy design and feel. Ditch Bluetooth unreliability. Affordable. Seriously, what’s not to love? Eleven Engineering, Inc. (www.elevenengineering.com), a market leader in semiconductor products for wireless audio for ...

EDMONTON, Alberta, Canada, Sept. 19, 2018 – SKAA-enabled wireless high fidelity. Sexy design and feel. Ditch Bluetooth unreliability. Affordable. Seriously, what’s not to love?

Eleven Engineering, Inc. (www.elevenengineering.com), a market leader in semiconductor products for wireless audio for home theater, multi-room, portable, professional, 12 Volt (car, truck, motorcycle, power sports, marine) and gaming applications is proud to announce that its much anticipated SKAA-enabled Dillinger Labs Helix wireless headphones are now available for pre-order exclusively through the SKAA Store (MSRP: $189.99 USD / free shipping). The Helix headphones are scheduled to ship by November 1.

“We receive so many requests for wireless headphones that can be used in the studio, at home, in the car, on the plane, basically, anywhere,” explained Rex Whitehead, Eleven Engineering Executive Vice President – Sales & Marketing. “Well, one technology covers all these scenarios and we believe in maximizing use cases and not being forced to have different equipment for each and every application. The new SKAA-enabled Dillinger Labs Helix wireless headphones are ideal for any and all of these uses. If these are not the best sounding wireless headphones you’ve ever owned, return them for your money back with no questions asked.”

The new Helix wireless headphones are built for Dillinger Labs by a top Japanese brand. With a typical 10 hour battery life, they are ideal for long listening sessions such as in studio, live sound, as well as for flights, train, and car commutes, home theater and gaming scenarios, and more. They also come with an adjustable headband for listener comfort and its high-quality ear cups effectively keep out external noise.

“I spend a lot of time on planes, and I never fail to notice at least one couple on a flight using their tablet to watch a movie,” Whitehead said. “And they have one set of wired headphones leaning into each other with one using the left bud and the other using the right bud. Flying nowadays is miserable enough, why make it worse with only one channel of audio for the movie you are watching? With SKAA, up to four sets of headphones can be used at once.”

SKAA-enabled Dillinger Labs Helix wireless headphones features and specifications include:

· Volume control +/- buttons

· Track control: Play/Pause button

· SKAA Bond Button and Indicator

· Use up to four SKAA receivers (any combination of Helix headphones and any other SKAA receivers) at the same time with any one SKAA transmitter

· Remembers up to 10 of your favorite transmitters (and/or Nadja Hubs)

· No pairing —instead use Bond Button for easy transmitter selection

· 25 meter indoor range when used with Ursula, Akiko, Talisa transmitters as well as Nadja Hub sources

· 15 meter indoor range when used with Izabella, Diz, Gemma transmitters

· Low latency —great for watching movies, TV, playing games and even playing musical instruments (eg. Using apps such as GarageBand or AmpKit+)

· Automatically powers off when not in use to save battery

· Charge from any USB port (Type A)

· Includes USB type A to micro USB cable

· Includes universal charge adapter (wall power adapter for charging Helix’s batteries)

· Works with SKAA cmd (optional app) when used with Ursula, Diz, Izabella or Gemma transmitters

· Ships with SKAA OS 2.4 —works with all transmitters running SKAA OS 2.1 or newer (if you’re not sure what version you have, go to TLC, send us a note and just ask)

“Just an FYI,” Whitehead continued. “Your Bluetooth headphones are basically rendered useless for watching video because of Bluetooth’s latency issues, unless you like to see the explosion first and then hear it. Bluetooth also limits you to one user. And what about your WiFi headphones? Those don’t exist and even if they did, they would not be usable either if there is video content involved since the latency is far worse than Bluetooth and you still would be tethered ‘ball and chain’ to your WiFi network. Ever wonder why there aren’t any WiFi headphones? Many reasons, but the be all end all is that WiFi is just not built for mobility.”

Eleven Engineering breaks down the Seven Deadly Sins of WiFi Audio on its YouTube channel (https://www.youtube.com/watch?v=tw2iSCuT0x8) because “WiFi is more of a detriment rather than a benefit to those who value superior wireless audio in their everyday lives, as well as wireless audio product manufacturers who cater to and depend upon these customers,” Whitehead concluded. “Check out our Dillinger Labs Helix wireless headphones. You won’t be sorry.”

SKAA is the new wireless HiFi audio standard developed by Eleven Engineering, Inc. SKAA transmitters work with iOS & Android mobile devices, Mac & Windows computers, televisions, and just about any product with a line output or a headphone jack. SKAA is also available as a built-in technology not requiring an external transmitter in purpose-designed partner products, which are featured at SKAA.com. In environments laden with heavy Wi-Fi and Bluetooth traffic, SKAA navigates through these hostile environments with best-in-class reliability. SKAA also allows for uninterrupted audio signals that are delivered with the highest sound quality to all speakers without the latency that is inherent in other wireless solutions.

To order Dillinger Labs Helix wireless headphones, visit www.skaastore.com/dilinger-headphones/

For more on SKAA and the Seven Deadly Sins of WiFi Audio, please subscribe to https://www.youtube.com/user/SKAAwireless and visit SKAA.com.

For more information, contact Rex Whitehead at 480-650-3979 or email whitehead@eleveneng.com. For more information on Eleven Engineering, visit www.elevenengineering.com.

About Eleven Engineering, Inc.

Edmonton, Alberta, Canada-based Eleven Engineering, Inc. is a market leader in microprocessors SiPs (System in Package) and modules designed for wireless audio for Home Theater, Multi-Room, Portable, and Pro Audio products. Eleven's XInC2 multithreaded processor was designed specifically for digital wireless audio applications but is also well suited for other realtime intensive microprocessor applications.

Eleven's high-performance wireless audio semiconductors, equipped with XInC2 wireless processor cores, are complete solutions for high-quality digital wireless audio transport. WFD™, Eleven's proprietary wireless audio transport protocol, has a narrow footprint in the radio spectrum, delivering both best-in-class coexistence with WiFi / Bluetooth and unparalleled Quality of Service.

# # #

Author: CRL Public Relations
Posted: September 19, 2018, 7:15 pm
The 2018 Media Credit Seminar will be held on Thursday, October 25, at the offices of Lowenstein Sandler LLP, 1251 Ave of the Americas, in Midtown Manhattan. Organized by BCCA, the media industry’s credit association, and NMCP (National Media Credit Professionals), the full-day seminar ...

The 2018 Media Credit Seminar will be held on Thursday, October 25, at the offices of Lowenstein Sandler LLP1251 Ave of the Americas, in Midtown Manhattan.

Organized by BCCA, the media industry’s credit association, and NMCP (National Media Credit Professionals), the full-day seminar focuses on important credit-related issues for media credit professionals, including those serving its magazine, newspaper, television, radio, cable, out-of-home, interactive and digital media segments.

Details on the seminar’s sessions and expert presenters will be released in the coming weeks. In addition to the formal sessions, the event serves as an opportunity for media credit professionals and executives from across the country to come together to share ideas and best practices for the ever-changing media credit and collections function.

“BCCA’s annual Media Credit Seminar in New York serves as an industry-specific resource for ensuring media credit professionals are ready to address upcoming challenges and opportunities to improve the financial performance of their businesses,” said Mary M. Collins, President & CEO of BCCA and MFM, the Media Financial Management Association.

Added Collins, “We are grateful to the BCCA Committee under the leadership of Edward Mockus, Director of Credit to Cash for Discovery, who also serves as the association’s representative on MFM’s Board of Directors, as well as to NMCP, for their guidance and assistance in developing a lineup of experts to address the most pressing matters facing our credit and collections professionals.”

Following the formal presentations, the seminar will close with a roundtable session moderated by Dee Stevenson, Credit & Collections Manager for Gray Television, and Linda Powell, Director of Credit & Collections for Altice Media Solutions.

More information about the BCCA Media Credit Seminar may be found online at: https://www.mediafinance.org/media-credit-seminar-ny.

About MFM and BCCA:

Media Financial Management Association (MFM) is the premiere resource for financial professionals for media industry education, networking, and information sharing throughout the U.S. and Canada. More information about MFM is available on its website: http://www.mediafinance.org  and via its updates on Linkedin, Facebook and Twitter. Its BCCA subsidiary serves as the media industry’s credit association. BCCA’s revenue management services encompass a variety of credit reports on national and local media advertisers and agencies, including Media Whys, a credit report for media businesses which offers a credit score based on industry-specific aging combined with trade data from Experian or D+B. More information about BCCA is available at http://www.bccacredit.com as well as its updates on Linkedin, Facebook and Twitter.

Author: Media Financial Management Association
Posted: September 19, 2018, 6:56 pm
The Arizona Broadcasters Association has tapped Chris Kline to serve as president and CEO, beginning in mid-October, the trade association says. Current President/CEO Art Brooks announced his retirement plans in May. Kline will be the fourth person to hold this leadership position since the ...

He replaces longtime President/CEO Art Brooks

The Arizona Broadcasters Association has tapped Chris Kline to serve as president and CEO, beginning in mid-October, the trade association says.

Current President/CEO Art Brooks announced his retirement plans in May. Kline will be the fourth person to hold this leadership position since the association was founded in 1952.

In his new role Kline “will focus on helping member stations identify new business models, changing consumer habits and overall strategies to help the industry thrive,” according to the press release.

“Now is the time to embrace change together, identify new ways to drive revenue and grow our audience bases to take full advantage of our connected society,” Kline said in the announcement, also noting broadcast radio and television “touches more people in our local communities” than any other medium.

Kline most recently served as new and content director for Phoenix’s “ABC15” KNXV(TV). He has been with the station for the past 12 years and previously served as ABC15’s digital director. He also had stints at The Arizona Republic newspaper and CNN's “Crossfire” in Washington earlier in his career.

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Author: Emily M. Reigart
Posted: September 19, 2018, 4:49 pm
The Federal Communications Commission has slowly opened the door to indirect parent entity foreign ownership of broadcast station licenses. This gradual relaxation of longstanding U.S. federal policy has continued to the point where overseas communications and media companies may consider ownership ...

The rules began to relax in 2012, and policy seems unlikely to tighten soon

The Federal Communications Commission has slowly opened the door to indirect parent entity foreign ownership of broadcast station licenses. This gradual relaxation of longstanding U.S. federal policy has continued to the point where overseas communications and media companies may consider ownership of U.S. media facilities as a legitimate business opportunity.

The governing U.S. law, Section 310 of the Communications Act of 1934, as amended, prohibits foreign individuals, governments and corporations from directly owning more than 20 percent of the capital stock of a broadcast station licensee. This same law places a 25 percent benchmark for indirect non-U.S. stock ownership in a parent entity in U.S.-organized broadcast station entities. How is increased indirect foreign ownership of up to 100 percent now allowed?

FCC EASES UP

The change started in 2012, when the commission decided to “forbear” from applying the foreign ownership limits with respect to non-broadcast station common carrier licensees. This forbearance authority was codified a year later, but was not extended at that time to broadcast licensees. That same year, however, the FCC adopted its 2013 Broadcast Declaratory Ruling articulating and clarifying U.S. policies and procedures for evaluating potential broadcast station foreign investment.

In this 2013 ruling, the FCC stated it would conduct a fact-specific, case-by-case review of each application or petition for declaratory ruling involving non-U.S. broadcast station ownership exceeding the 25 percent benchmark.

Starting in 2013, the commission viewed non-U.S. ownership in a parent entity in excess of 25 percent as “a trigger” for the agency’s exercise of discretion. The FCC supported this change by recognizing that the U.S. media landscape and marketplace has changed significantly and that increased foreign investment could strengthen the broadcast industry.

In a significant extension of this shift, the FCC in 2016 adopted the Foreign Ownership Order, permitting broadcast station owners to request from the FCC:

1) the approval of up to and including 100-percent aggregate foreign ownership (voting and/or equity) by unnamed and future foreign investors in the controlling U.S. parent of a broadcast licensee (subject to certain conditions);
2) the approval for any named foreign investor that proposes to acquire a less than 100 percent controlling interest to increase the interest to 100 percent at some future time; and
3) the approval for any non-controlling named foreign investor to increase its voting and/or equity interest up to and including a non-controlling interest of 49.99 percent at some future time.

PROSPECTIVE FOREIGN OWNERS SEIZE OPENING

Since the 2016 Foreign Ownership Order was adopted, the FCC has, first in 2017 and again in 2018, approved station acquisitions involving foreign companies/individuals who, post-transaction, will fully control the parent entity holding the TV or radio licenses in question.

The first to test the FCC’s new openness were Richard and Sharon Burns, a husband and wife who were Australian citizens and long-time U.S. residents. The couple, who prior to the filing of the applications each owned a 10 percent direct interest in the parent company (i.e., 20 percent combined), desired to acquire full control of a broadcast station group consisting of seven AM radio stations, eight FM radio stations, 13 FM translators and one UHF translator.

The FCC’s Burns Order, approving the transfer of control to the Australian couple, noted that the Burns’ petition made mention of their long involvement in civic and commercial activities in Juneau, Alaska, where many of the broadcast stations were located, and also that Richard Burns had acted as CEO of several broadcast stations since 2006. Citing “the need to encourage new sources of investment in the broadband industry, including foreign investment,” the commission granted the Burns’ acquisition of 100 percent of the parent entity of the broadcast stations.

The commission revisited the issue in May 2018 when it adopted the Grupo Multimedia Order. In this case, two radio stations were controlled by a series of wholly-owned companies, with the ultimate parent company owned 75 percent by an American citizen and 25 percent by two Mexican citizens. The applications for transfer of control sought to have the two Mexican citizens assume 100 percent control of the shares of the ultimate parent company.

Just as in Burns, the commission in Grupo Multimedia found that granting the application would likely:

1) increase the likelihood of continued service to the broadcast stations’ communities by authorizing investment by individuals who are ready, willing and able to operate the facilities based on their current involvement and extensive broadcasting experience;
2) facilitate foreign investment in the U.S. broadcast radio market; and
3) encourage reciprocal investment opportunities for U.S. companies in Mexico.

As is customary, the FCC “consulted with the relevant executive branch agencies with expertise on issues related to national security, law enforcement, foreign policy and trade policy,” and the agencies responded “that they have no objection to grant of the requests and have not requested that [the FCC] impose any conditions on grant.”

What do the various FCC regulatory actions mean for non-U.S. citizens desiring to own and operate TV and radio stations in the United States? If the Burns and Grupo Multimedia approvals are any indication, it appears that the government is open to overseas acquisitions of U.S. broadcast stations, provided the investors pass the necessary background investigations — and open their wallets.

NEW CASES ON THE HORIZON

The FCC is considering at two more foreign ownership applications.

The first case involves four Italian citizens who wish to own several FM stations and translators, and the second case involves a British/Polish couple who wish to acquire a radio station in upstate New York. In the latter case, the U.S. Department of Justice “Team Telecom” released a notice on July 24, announcing it found no “potential national security, law enforcement and public safety issues” with 100 percent foreign ownership by the couple in question.

The two-step process required to obtain the FCC’s approval of foreign ownership of TV and radio stations in the United States involves both an FCC application filing and a petition for declaratory ruling. This is not a simple endeavor. However, for those individuals and companies outside of the U.S. with broadcasting experience and wish to invest in American broadcasting media, now is the time to consult with an attorney to take advantage of this recent change in policy on foreign broadcast station ownership.

The bottom line? Changes in FCC policies now make it easier for non-U.S. citizens to buy substantial ownership interests in U.S. commercial TV and radio stations.

Daryl Zakov is attorney at Womble Bond Dickinson LLP.

Author: Daryl Atley Zakov
Posted: September 19, 2018, 4:42 pm
The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com. This week, the National Federation of Community Broadcasters hosts its final Regional Summit for community radio in Santa Rosa, Calif. This ...

Fall means it’s time for year-end planning

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

This week, the National Federation of Community Broadcasters hosts its final Regional Summit for community radio in Santa Rosa, Calif. This gathering is thus far the largest for community radio this year. With sessions on programming, digital strategy and more, stations clearly have a hunger for the trends as well as for learning needed by all community media.

The appearance of legendary fundraiser Kim Klein, author of many books on nonprofit development, came before a packed room. Klein’s perspective is honed by decades of helping community radio and many other charities to connect with donors. Among her key points is plan ahead — and it is something stations should always bear in mind.

The end of the year feels far away, but the truth is that 2019 will be done before you know it. The fall is a perfect time for noncommercial radio to begin ramping up for that crucial task of Giving Tuesday and year-end fundraising.

[Read: Community Broadcaster — Up for Debate]

Why worry now about these periods, seemingly months away? The news cycle has only increased demands for nonprofit media. We are asked to do more and more by our audiences. They want us on social media, our websites, smart speakers and on the air with the programming they crave. Yet more and more beleaguered managers are contending with slim resources and must close the gap between maximizing all their opportunities without necessarily having the resources to do so.

Complicating these needs is a parallel pressure on community radio: increasing our visibility. Without awareness, these efforts can be for naught. What is more perplexing is that even our most loyal fans can easily be wooed by so many other options on countless channels. While brewing up great content and engagement, stations also need to be on the minds of their fans so to convert this appreciation into funds that sustain the work.

Klein is famously quoted as saying, “Our fantasy is that people who care about any given issue simply go on the internet to find great organizations who they decide to support with their donations — and there they find your organization! The fact is that people give when they are asked, and they don’t when they are not.” She’s right.

Community radio should be comfortable with and proud about asking for listener investment. An injection of donor support can add a needed hand to all of its obligations. Enter the important year-end stretch that starts just after Thanksgiving.

Giving Tuesday, the day after Black Friday and Cyber Monday designed to boost charitable giving, and the end of the year have traditionally been times when organizations like community radio appeal to the public. We make a case to audiences about our mission, service and impact. We do so to elicit their contributions. And the stakes are high; GivingTuesday.org claims almost $300 million was raised on last year on Giving Tuesday. That figure is up from almost $180 million the year before. Needless to say, stations stand to gain a lot.

However, as Klein and many fundraisers suggest, success cannot happen without adequate planning. The onus is on your community radio station to begin the process.

There are a variety of nonprofits that offer resources for organizations starting their year-end development map. Of interest, ProPublica just shared an extensive toolkit, featuring calendars and much more. Making the case early and often counts. “I lead with logic, and then when they want that sticker, want that tote bag, or are running out of time, they emotionally want to do it and then they have all these arguments we’ve been making forever at the ready,” ProPublica’s Director of Online Fundraising and Outreach Jill Shepherd told Solution Set. “Then they finally get up, go across the room, get their purse and make a donation. Half the battle is to pull their wallet out of their pocket. It’s not that difficult to get people to say in theory that they’re glad we exist, that we produce journalism, and that we’re funded by readers. One day they’ll definitely do it but getting them to pull their wallet out is tricky business. Because at the end of the day we’re a free product. So, come December, we throw out all of those persuasion triggers.”

In whatever fashion your community radio station makes its case to its audience, you will benefit by being ready for year-end fundraising. Your stories, graphics, video and other on-air spots may feel like a ton of work, but the rewards can be tremendous.

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Author: Ernesto Aguilar
Posted: September 19, 2018, 4:33 pm
The Recording Industry Association of America Tuesday (Sept. 18) praised Senate passage of the rechristened Orrin G. Hatch Music Modernization Act, a bill that it says creates a framework for better compensation of artists for digital plays of their music and makes it easier for music rights ...

Hatch Music Modernization Act streamlines digital reproduction right license regime

The Recording Industry Association of America Tuesday (Sept. 18) praised Senate passage of the rechristened Orrin G. Hatch Music Modernization Act, a bill that it says creates a framework for better compensation of artists for digital plays of their music and makes it easier for music rights organizations to collect those fees from distributors of streamed music as they do from traditional plays on TV and radio.

The bill passed the House in April, and the Senate Judiciary Committee in June, but must be revoted due to changes to the Senate version.

The legislation has been billed as the most significant change in music licensing laws in decades and has drawn praise from a chorus of stakeholders.

[Read: House Passes Digital Music Licensing Package]

It incorporates a trio of bills. The base Modernization Act creates a single licensing entity for reproduction rights for digital uses, like those of Spotify, Pandora, Google, Apple and Amazon. It also randomly assigns judges to preside over ASCAP and BMI rate-setting cases, according to the RIAA.

The package also includes The CLASSICS (Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society) Act, which compensates artists for pre-1972 recordings that had previously not been eligible for digital royalties.

Then there was the AMP (Allocation for Music Producer) Act, which allows for direct payment of royalties to music producers and engineers.

According to a source on background, there are a number of changes to the Senate version, but nothing that should hold up passage in the House since stakeholders have been closely monitoring the process.

Those include 1) changes to the notification obligation of the Department of Justice to confer with Congress about terminating consent decrees; 2) expansion of the pre-emption of state laws covering pre-1972 recordings to cover reproduction and distribution in addition to public performance by digital audio transmission; 3) a new rolling schedule for pre-1972 recordings to enter the public domain (the House bill had them all moving on that date, while the new bill has 2046 for music published in 1923-46, 2066 at the latest for music published in 1947-56, and post-1956 by Feb. 15, 2067; 4) changes to payments to artists under direct licenses for pre-1972 recordings of non-interactive streaming services — like Pandora; 5) limits to remedies related to fair use and the first sale doctrine have been expanded to any claims, rather than simply unauthorized performances; 6) exclusions for noncommercial uses of pre-1972 recordings; and 7) requiring labels to pay 50% of the royalties they collect from SiriusXM under existing pre-72 settlement agreements to SoundExchange.

“As legendary band the Grateful Dead once said in an iconic pre-1972 song, ‘what a long strange trip it’s been,'" said Mitch Glazier, RIAA president. "It’s been an epic odyssey, and we’re thrilled to almost be at our destination.

"For the modern U.S. Senate to unanimously pass a 185-page bill is a Herculean feat, only achievable because of the grit, determination and mobilization of thousands of music creators across the nation. The result is a bill that moves us toward a modern music licensing landscape better founded on fair market rates and fair pay for all. At long last, a brighter tomorrow for both past and future generations of music creators is nearly upon us. We are indebted to the leadership of Senators Hatch, Grassley, Feinstein, Alexander, Coons, Kennedy and Whitehouse for helping get us there.”

Hercules got a workout Tuesday.

“Today’s unanimous passage of the Music Modernization Act in the Senate represents a Herculean industry-wide effort to promote and celebrate songwriters and ensure their right to a sustainable livelihood," said ASCAP CEO Elizabeth Matthews. "We applaud Senators Hatch, Alexander, Grassley, Feinstein, Whitehouse, Coons and the entire Senate for recognizing the value music has in both society and our hearts.”

"After passing unanimously in the House of Representatives earlier this year, the musicFIRST Coalition is thrilled to see the Senate follow suit with unanimous passage of the Orrin G. Hatch Music Modernization Act," said musicFIRST Coalition executive director Chris Israel. "The [legislation] will bring music licensing laws into the 21st Century and cement the framework for a just relationship between music creators and the technology companies that benefit from their work, it is also important to note the impact it will have on legacy artists."

NAB President and CEO Gordon Smith said, "We are particularly supportive of a provision added to the Senate bill ensuring enhanced congressional review of any DOJ changes to ASCAP and BMI consent decrees. These decrees are essential to a functioning music marketplace, and any action to terminate them will now be preceded by appropriate Congressional oversight to protect the interests of songwriters, licensees, and consumers of music."

The Content Creators Coalition (c3) and MusicAnswers applauded the move and said they expected swift House reapproval.

“Our organizations have been pleased to join in the efforts of the music creator community in support of this bill," they said. "We also are gratified that our two organizations, in collaboration and independent of other groups, were able to make meaningful contributions to the final legislation, including comprehensive and publicly available audits of the MMA’s new Mechanical Licensing Collective and ensuring that the Collective uses best practices to find the owners of unclaimed royalties. We appreciate the receptivity of key legislators and their staffs to these fundamental notions of transparency and accountability."

“The MMA is a groundbreaking piece of legislation that will streamline royalty payments and bring some much-needed transparency to the system," said Chris Harrison, CEO of the Digital Media Association.

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Author: John Eggerton
Posted: September 19, 2018, 4:25 pm
The author is the acting Head of Radio for Norwegian public broadcaster, NRK.  Oct. 8 marked 300 days since national radio stations in Norway switched off their last FM signals. What have we learned so far? The market looks different, as we expected. Some towns have gone from as few as one or ...

The nation’s digital switchover offers lessons for other countries

The author is the acting Head of Radio for Norwegian public broadcaster, NRK. 

Oct. 8 marked 300 days since national radio stations in Norway switched off their last FM signals. What have we learned so far?

Jon Branaes

The market looks different, as we expected. Some towns have gone from as few as one or two FM stations — or maybe seven or eight in some cities — to approximately 30. Here at the public broadcaster NRK, we’re proud that all our 15 stations finally reach everyone in Norway!

DEMANDING

But the switchover is demanding, and far from over. Radio in Norway still has fewer listeners. A political debate about radio in Norway sprung to life last summer. The decline in daily reach after the switchover has energized lobbyists who are fighting digital broadcasting. Opponents of DAB+ in other countries are also cherry picking Norwegian listening figures to tell their own versions of our story.

But we know that listening is rising again in all age groups and regions. DAB+ is an investment for radio the next decades, not a quick fix for a declining analogue platform. Patience is key, even if it doesn’t make for good headlines.

The summer of 2018 was the first without FM radio for more than half the Norwegian population. When radio sank to its lowest figures in the summer, like every year, numbers were red.

But consider this: Since August 2017, when more than half of all Norwegians still had FM, there are 230,000 fewer daily listeners in a population of 5.5 million. Time spent listening in the population has only gone down from 78 to 75 minutes. Weekly reach has fallen less than daily reach: 95 percent of the listeners in August 2017 are still with us in August 2018.

Analysts at Kantar Media estimates that the number of radio sets in use in Norway has almost halved with the switchover! So far only three of five Norwegians have a DAB+ radio or adapter in their car. Adapters are still sold, but many listeners find them cumbersome, and some of the older models are frankly too poor to provide stable signals.

CORE STRENGTHS

Total listening is the lowest in our capital Oslo and the surrounding urban areas. There was always more to choose on FM there, and there is still commercial radio on FM in the city despite a lack of permit from the authorities. That’s why the switchover in Norway’s most populous areas is delayed.

But Norwegians still choose radio when they think it’s worth choosing. The traditional “Easter Labyrinth,” a show on our largest station NRK P1 every Easter since the 1980s, reached an all time high in daily reach this year, of all years! The Olympic Winter Games and the FIFA World Cup attracted so many listeners to our NRK Sport station that it rose from the usual share of one or two percent to more than 20 percent — Norway’s third largest station during the events. The digital listeners know where to tune in when they want to.

More than half of all listeners had already gone digital back in 2015, or we wouldn’t have switched off FM as early as last year. Radio has not lost our biggest fans but the more casual listeners. They haven’t necessarily abandoned radio, many settle for the FM signals of local stations that can remain analog for a few more years.

Some have replaced FM with internet radio. It has grown significantly since the FM switchoff, but we expect even more through smart speakers over the next few years. Web or app radio will go hand in hand with DAB+, but broadcasting is still bigger.

[Read: IBC Highlights Rise of AI and Spatial Audio]

Radio must be based on broadcasting to reach everyone. If the gatekeepers and third parties of the internet get to control people’s access to our content, we won’t only lose control of our distribution. Radio’s competitive edge is at stake: simple, free and independent of middlemen.

FM is not the future. Limited distribution of a limited content cannot compete when social media, YouTube, Spotify and other streaming services challenge radio. Radio must respond with its core strengths — being live and alive, useful and present in listener’s lives.

DAB+ can keep radio relevant in a digital future of endless choices. 

Author: Jon Branaes
Posted: September 19, 2018, 2:28 pm
Bluegrass Musicians Will Get Their First Chance to Record Using Brand-New ZYLIA ZM-1 for Single-Mic Recording and Sound-Source Separation POZNAN, Poland — Sept. 19, 2018 — Zylia, the Poland-based manufacturer of audio recording technologies, will host a pop-up recording studio at World of ...

Bluegrass Musicians Will Get Their First Chance to Record Using Brand-New ZYLIA ZM-1 for Single-Mic Recording and Sound-Source Separation

POZNAN, Poland — Sept. 19, 2018 — Zylia, the Poland-based manufacturer of audio recording technologies, will host a pop-up recording studio at World of Bluegrass, Sept. 25-29 at the Raleigh Convention Center in Raleigh, North Carolina. When musicians at the show bring their bandmates and instruments to the unique Zylia studio, they can record with the remarkable new ZYLIA ZM-1, an innovative new device for single-mic recording and sound-source separation.

Tomasz Żernicki, co-founder and chief technology officer of Zylia, will lead an IBMA World of Bluegrass conference seminar titled, “Audio Recording Techniques for Acoustic Musicians.” He will reveal secrets of audio recording that will help bluegrass musicians fully capture their passion and creativity, discussing topics including different types of recording microphones and their usage, various recording techniques, necessary equipment, the acoustics of rehearsal spaces, and innovative technologies available to musicians today. In exploring these options and tools, he will show attendees how to preserve moments of chemistry between musicians and record a great-sounding demo.

During the show, Zylia experts also will offer daily workshops on new 360 audio recording techniques with the ZYLIA ZM-1. This incredibly light, compact, and beautifully designed recording solution is capable of delivering 48 kilohertz/24 bit resolution while capturing the full spatial sound scene. It can record a 360-degree multisource sound scene and automatically separate individual audio tracks afterward. Musicians simply connect the ZYLIA ZM-1 to a laptop via USB, and they are ready to go.

World of Bluegrass attendees interested in trying the ZYLIA ZM-1 for themselves can book a 20-minute recording studio slot at www.zylia.co/worldofbluegrass.html.

“Musicians who try our brand-new ZM-1 at World of Bluegrass will be amazed by how easy it is to use and by how quickly they get a high-quality balanced recording,” said Żernicki. “Combined with Zylia audio-processing software, the ZM-1 offers musicians a complete and compact solution for multitrack recording, anytime and anywhere.”

World of Bluegrass events bring both professionals and fans together to connect, discover, and grow in bluegrass music. During the event, Zylia experts will be on hand at the company’s booth to discuss applications for the ZM-1 and other technologies, including the ZYLIA Studio PRO VST/AU plug-in and the ZYLIA Ambisonics Converter.

Schedule:

Zylia at the World of Bluegrass EXPO (Exhibit Hall, Booth 106):

Sept. 26-27: 1-5 p.m. (open to conference attendees only)

Sept. 28-29: 11 a.m.-6 p.m. (free to the public)

Zylia seminar “Audio Recording Techniques for Acoustic Musicians”:

Sept. 26 (Wednesday): 2:30-3:30 p.m., Room 306B

Zylia Pop-Up Recording Studio:

Sept. 25-29: 10 a.m.-5 p.m., the Glass Office (off the lobby area by the first set of stairs going toward the escalators on the right)

Slot booking: www.zylia.co/worldofbluegrass.html

Zylia Daily Workshop on 360 Audio Recording Techniques With the ZYLIA ZM-1:

Sept. 25: 1 p.m., the Glass Office

Sept. 26-29: 4 p.m., the Glass Office

More information about Zylia and its technologies is available at www.zylia.co.

More information about World of Bluegrass is available at https://worldofbluegrass.org/.

Visit Zylia at World of Bluegrass, Exhibit Hall Booth 106

# # #

About Zylia

Zylia develops innovative, world-class recording technologies and turns them into products that improve the lives of musicians and audio creatives. With a passionate and dedicated team of almost 20 experts in audio research, software, business, and product development, the company crafts and delivers products with the potential to redefine and revolutionize the way sound and musical performances are recorded. Leveraging their personal experience recording, writing, and producing, along with input from music and audio communities around the world, Zylia’s experts bring musicians agile recording tools that make it easy to be creative in any environment.

More information is available at www.zylia.co.

Link to Word Doc: www.wallstcom.com/Zylia/180919Zylia.docx

Photo Link: www.wallstcom.com/Zylia/Zylia-ZM-1.png

Photo Caption: Zylia’s Innovative and Unique ZYLIA ZM-1 Microphone System

Author: Dundee Hills Group
Posted: September 19, 2018, 1:56 pm
Audio accessories developer Blackloud says its SounDot AF1 FM headset for iOS Lightning devices is available. The SounDot combines a standard headset designed for smart devices with a built-in FM receiver for over-the-air radio reception. [Read: Headsets Deliver FM to Mobile Devices, No Chip or ...

AF1 headset is certified Apple MFiWRAP-RIGHT

The Blackloud SounDot AF1 app operating its FM receiver.

Audio accessories developer Blackloud says its SounDot AF1 FM headset for iOS Lightning devices is available.

The SounDot combines a standard headset designed for smart devices with a built-in FM receiver for over-the-air radio reception.

[Read: Headsets Deliver FM to Mobile Devices, No Chip or Internet Required]

On the component side each of the AF1’s ear buds features coaxial 15 mm woofers and 7 mm tweeters. Other features include a three-button in-line remote switches between phone or video calls, apps, the FM tuner and activates Siri; in-line microphone; plus, the SounDot app control center allows for tuning the FM receiver, setting of FM presets and processing the sound.

Audio processing includes a six-band EQ, 11 onboard acoustic space presets, surround sound presets for programs and movies and other audio presets. Connection is made via the iOS connector.

The AF1 has Apple MFi certification. Price: $79.89

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Author: Brett Moss
Posted: September 19, 2018, 1:11 pm
The Federal Emergency Management Agency and the Federal Communications Commission have postponed the nationwide test of the Emergency Alert System and Wireless Emergency Alerts system until Oct. 3 because of current efforts to respond to Hurricane Florence. The WEA test is now scheduled to begin at ...

Actual emergency bumps test of emergency system

The Federal Emergency Management Agency and the Federal Communications Commission have postponed the nationwide test of the Emergency Alert System and Wireless Emergency Alerts system until Oct. 3 because of current efforts to respond to Hurricane Florence.

The WEA test is now scheduled to begin at 2:18 p.m. (EDT), and the EAS test to begin at 2:20 p.m. (EDT).

[Read: New Changes in Store for EAS]

Originally, the nationwide test, which assesses the readiness of the infrastructure to distribute a nationwide message and to find areas needing improvement, was scheduled for Sept. 20.

The nationwide test will be the fourth for EAS and the first for WEA. Broadcast EAS participants, including radio, TV, cable TV, satellite TV and radio and wireline video providers, will receive and rebroadcast the test message, which lasts about one minute, FEMA said.

Cell towers will transmit the WEA test for about 30 minutes. WEA-compatible cell phones in range of a tower of a WEA participating provider will switch on and receive the WEA test message, FEMA said.

More information is available on the FEMA website.

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Author: Phil Kurz
Posted: September 18, 2018, 6:15 pm
The Audio Engineering Society has counted the ballots and announced the winners of the Board of Governors elections. In a twist this year, the members also passed a bylaws amendment that shifts board members’ terms to be effective Jan. 1, aligning the terms with the fiscal year. The society has ...

Elected Agnieszka Roginska as president-elect

Agnieszka Roginska

The Audio Engineering Society has counted the ballots and announced the winners of the Board of Governors elections. In a twist this year, the members also passed a bylaws amendment that shifts board members’ terms to be effective Jan. 1, aligning the terms with the fiscal year.

The society has elected Agnieszka Roginska as president-elect to follow in the footsteps of 2019 AES President Nadja Wallaszkovits, and current President David Scheirman, who will remain on the executive committee as immediate-past president. Current Past President Alex Case will transition to the role of governor for a two-year term.

[Read: AES Exec Director to Step Down; Interim Replacement Named]

Current Treasurer Garry Margolis will step down after his fifth consecutive term, and Treasurer-Elect Richard Wollrich will take over in 2019. Valerie Tyler was re-elected as secretary.

Also re-elected was Per Sjösten, who will serve another term as vice president of Europe’s Northern Region. Also beginning their second terms are European Central Region VP Thomas Görne; Latin American Region VP Cesar Lamschtein; Southern Europe/Middle East/Africa Region VP Ufuk Önen; USA/Canada Central Region VP Mike Porter; and Asia-Pacific Region VP Shusen Wang.

Joining the AES board of governors as vice president of U.S. & Canada’s Eastern Region is Gary Gottlieb, who will take over for two-term Vice President Anthony Schultz.

Covering the US and Canada’s West on the board will be Alex Kosiorek. He replaces current regional VP Leslie Gaston-Bird, who will serve as a newly-elected governor alongside Jessica Livingston and Piper Payne. Gaston-Bird, Livingston and Piper will replace Jim Anderson, Masataka Nakahara and Agnieszka Roginska on the board. Also serving his final terms as governor is John Krivit (past resident once removed).

Additionally, Christopher Freitag will step down after 22 years of overseeing elections as chair of the Tellers Committee (formerly known as the board of tellers). After the New York AES convention, Gary Louie will step into this role.

The society also ratified a second amendment clarifying that members in good standing can request life member status after turning 65 years old after 25 years of AES membership, and they must have been in the member class for the five years prior to their request.

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Author: Emily M. Reigart
Posted: September 18, 2018, 5:14 pm
Radio One is the largest radio group dedicated to serving primarily the African-American community. The Dallas cluster consists of two FM stations, KBFB and KZMJ. Reach Media, majority-owned by our parent company Urban One, produces syndicated radio programming including “The Tom Joyner Morning ...

Built around Raspberry Pi, this product can make your studio clock into more than a timepiece

Radio One is the largest radio group dedicated to serving primarily the African-American community. The Dallas cluster consists of two FM stations, KBFB and KZMJ. Reach Media, majority-owned by our parent company Urban One, produces syndicated radio programming including “The Tom Joyner Morning Show,” “The D. L. Hughley Show” and the Erica Campbell Morning Show (“Get Up! Mornings With Erica Campbell”).

The WallTime clock overlooks Tom Joyner’s studio at Reach Media in Dallas.

In December 2016, the Radio One Dallas engineering staff inherited engineering responsibilities for the Dallas Reach Media facility, which is in the same building as our radio stations. We decided to give the place a facelift.

Don Stevenson, our chief engineer, had come across a 2017 Radio World “Best of Show” award-winning product called WallTime, created by Paravel Systems, developer of the open source Rivendell radio automation system. WallTime is an ingenious device designed to do one thing: give your in-studio clock and notification system a facelift.

WallTime is built on the simple single-board Raspberry Pi platform and comes in a small box with power, Ethernet and HDMI connectors. The product’s creator and developer, Fred Gleason, said the idea was born out of the desire to fill a real-world need.

WallTime at KZMJ(FM)

“The origin was a discussion between myself and Rich McFadden of the Radio America network, who was looking for something to help keep his show hosts on time,” Gleason told me. The original solution was a Linux desktop applet, which eventually became WallTime.

SETTING IT UP

WallTime connects to any TV or monitor with at least 1080p resolution and outputs a very nice display with a large NTP-controlled analog or digital clock and various user-programmable notifications. The WallTime module even comes with a length of heavy-duty Velcro that we used to attach the device to the back of our displays.

Upon connecting network and power, the device came up with a default IP address of 192.168.21.100. The first task was to give it an appropriate static IP for our network, one that would reside on the same subnet as our Axia GPIO Node and could talk to our WheatNet blades.

WallTime’s main menu

Once that was done, the remainder of the configuration was pretty straightforward. The home screen has numerous options that you can set up, and it was easy to get our desired features up and running.

For our radio stations, we wanted to use the “Analog Clock with Widgets Display Style.” This would allow us to garnish the clock display with the station’s logo, and would also give us space for the segment timer widget (dreaded by jocks but loved by program directors) and an area for notifications and alarms.

On the Widget Layout menu, we chose “Digital Clock w/Segment Timer” for the top section of the screen. This allowed us to include a smaller digital clock along with the large analog clock and the segment timer. For the bottom section we chose “Notifications.”

We wanted to use the notifications function of WallTime to make it easier to let our jocks and board ops know when something is going on that needs their attention. This included:

• Silence sense on either station (obtained via WheatNet SLIO)
• Analog or HD transmitter alarms for either station (obtained via WheatNet SLIO)
• Nielsen encoding issues for both stations (obtained via WheatNet SLIO)
•Hotline/Warm Line ringing indicator (obtained from our VX system via Livewire GPO)

We could pipe any kind of alarm or notification into the system that we can deliver via Livewire, WheatNet or Modbus. That’s a pretty wide range of options. A few more examples:

• EAS message pending
• Low signal on satellite receivers
• Power failure/generator online
• Security alarm
• Temperature too high at transmitter site
• Doorbell

There are options for setting the notifications to go full screen for a few seconds when first received. This helps get the attention of a preoccupied attendant.

The alert notifications page allows for numerous customization options.

We approached WallTime a bit differently in the Reach Media studio core. As these are syndicated shows, not radio stations, we had no need for alarms. We set the clocks and segment timer up the same way, but used the lower right segment of the screen for an on-air light. Displays were placed where both board-ops and talent could see them and it’s a classy look.

All in all, our WallTime experience has been a good one. We have eight of these in use between the two facilities and it is among the most noticed and talked about features of our plant.

Here are a few other features of WallTime that we didn’t use but are worth mentioning:

• Can display multiple clocks with different time zones
• Segment timer can be controlled by a schedule rather than Mic Tally or other logic condition
• Can display audio meters in Livewire systems
• Can display text sent via HTTP PUT commands

The WallTime unit itself lists for $295. We used 32-inch TVs in all locations. These were running about $119 each when we purchased them. This size turned out to be perfect for our application.

Steve Walker is assistant chief engineer for Radio One Dallas.

Product Capsule

Paravel Systems
WallTime Studio Clock

Thumbs Up
+ Scalable screen with flexible GUI
+ Handles notifications and some alerts
+ Can add station logos
+ Livewire. Modbus, Wheatnet-compatible

Thumbs Down
– Requires screen, which can limit placement

Price: $295
Info: Paravel Systems at 1-877-447-2728 or www.paravelsystems.com

Author: Steve Walker
Posted: September 18, 2018, 4:44 pm
It’s time for the fall Radio Show in Orlando. Here are highlights and a session sampler. Several sessions feature musical performances as part of the BMI Songwriters Spotlight Series. Next year’s show will be in Dallas. For the full program see www.radioshowweb.com. TUESDAY SEPT. 25 Student ...

Fall conference explores impact of voice AI, data trends, podcasting and dashboard apps

It’s time for the fall Radio Show in Orlando. Here are highlights and a session sampler. Several sessions feature musical performances as part of the BMI Songwriters Spotlight Series. Next year’s show will be in Dallas.

For the full program see www.radioshowweb.com.

TUESDAY SEPT. 25

Student Scholars Kickoff Featuring Kevin Harlan (1:30 p.m.) — The Student Scholars Program offers college undergraduate and grad students registration scholarships to attend the Career Fair and a Student Scholars Orientation. They’ll get to meet with Westwood One’s Kevin Harlan, voice of “Monday Night Football.”

Suddenly Silent — Now What? (1:30 p.m.) — If your facility were to experience a catastrophic disruption, would you know what to do? Is there a plan for “a sudden loss of key personnel, the immediate loss or impairment of your facilities and production capability, a devastating reputational threat, the loss of a key partner or supplier?” Howard Price probably knows as much about emergency planning for broadcasters than anyone in the industry; he is principal of MediaDisasterPrep.com.

Welcome and Orientation for First-Time Attendees (3 p.m.)

“Data U — A 101 on Data and What’s Ahead for Radio” (4 p.m.) — We noted earlier this year that the topic of data and analytics seems to have leapt suddenly into the consciousness of many radio executives. This is a two-part session during which show organizers promise to “take some of the mystery out of the term ‘data,’ demonstrate what tools are available for you and your stations and reveal the vast opportunities for radio and its clients.” RAB’s Erica Farber and NAB’s Steve Newberry will explore opportunities in analytics. The second part of the session will feature a discussion with CEOs Bob Pittman of iHeartMedia and David Field of Entercom, moderated by Stephanie Ruhle, NBC News correspondent. Entertainment by recording artist Cassadee Pope.

Opening Reception (5:15 p.m.) — Entertainment by the country group Soul Circus Cowboys.

WEDNESDAY SEPT. 26

Pillsbury’s Broadcast Finance 2018 (8:30 a.m.) — This session has the subtitle “Radio’s Debt Cloud Finally Lifts.” Scott Flick, a partner at Pillsbury, leads about radio’s economic outlook including prospects for media ownership deregulation and the extent to which debt reductions by major groups may affect investor interest. Speakers include Caroline Beasley of Beasley Media Group, Ginny Morris of Hubbard Radio, Dhruv Prasad of Townsquare Media and Marci Ryvicker of Wells Fargo Securities.

Coffee Break in the Marketplace (10 a.m.)

Exploring Radio’s Evolution to an All-Digital Technology (10:45 a.m.) — What role might all-digital FM HD Radio play in U.S. radio’s future? What lessons are being learned in the experimental operation of all-digital AM radio WWFD in Frederick, Md.? David Layer of NAB presents.

Radio Show Luncheon (11:45 a.m.) — Including the presentation of the NAB Radio Award to John David, and music by Lance Carpenter.

Discover How Voice AI Will Boost Your Revenue (1:30 p.m.) — Stas Tushinsky of Instreamatic says conversational computing has the potential to open up market opportunities where listeners can engage and interact with brands and products.

Andrew Barrett learns about the Logitek Helix at last year’s event.

Enable Office Translator: Improving Your Intergenerational Communications (1:30 p.m.) — John Dimick, VP of Cumulus Media programming operations, moderates a panel that features a pair of multi-generational manager/employee tandems talking about interaction styles.

Reduce Radio Distribution Costs: Leverage Your IP Network (2:30 p.m.) — Speakers from NPR and GatesAir talk about how IP codec technology helped NPR’s Distribution Services create a reliable “first-mile” solution for radio distribution. “This session will cover the overall network topology with special focus on the technology that allowed this solution to leverage public IP networks to transport main and HD Radio signals along with associated meta-data and triggers.”

Paul Brenner of NextRadio makes a point during the 2017 Radio Show.

The Podcast Boom (4 p.m.) — Man, doesn’t it seem like every company suddenly has 15 podcasts? Of course the popular audio format is well into the second chapter of a story that dates back at least 15 years; but its proponents believe podcasting’s best days are still ahead of it. Norm Pattiz, chairman/CEO of PodcastOne, will moderate a panel with speakers from his company as well as iHeartMedia, Westwood One and Premiere Networks. Entertainment by recording artist Terry Sylvester.

THURSDAY SEPT. 27

Advertiser Breakfast (7:30 a.m) — Featuring Futurist and Chief Growth Officer of Publicis Groupe Rishad Tobaccowala.

Disney’s Animal Kingdom theme park nearby is the topic of a conference session on Friday. Aella, a Masai giraffe calf, made her debut with mother Lily last summer.

Bringing Radio to Apps in the Car (9:45 a.m.) — Pilot has been exploring the possibilities of auto apps by participating in auto app hackathons and investigating a more in-depth development approach, “in part to make sure that these auto app spaces are as radio-friendly as possible.” This session talks about how apps work in the car and what broadcasters need to know. John Clark of Pilot and David Layer of NAB.

Will the Connected Car Revolutionize Radio? (10:30 a.m.) — By 2025, all new cars will be connected to the internet. Show organizers say the radio industry has a huge opportunity to transform itself and reinforce radio’s position as the most listened to format in the car. Speakers are from iHeartMedia, Ford and Gracenote in a conversation led by Radio World Managing Director of Content Paul McLane.

Disney’s Hollywood Studios includes Toy Story Land, where visitors enter Andy’s backyard.

Career Fair (Noon to 3 p.m.) — Job seekers can register at www.nabef.org/careerCenter/registration.asp using code “CF18” to obtain free entry to the Career Fair and Radio Show Exhibit Hall. Recruiters can obtain a booth for $200 by completing an online recruiter registration form. Recruiters receive EEO credit for participation.

Everything You Need to Know When Switching to a Station Automation System (1:30 p.m.) — WideOrbit’s William “Dub” Irvin says that with the end of the main studio rule, many stations and groups are thinking about upgrading or replacing their station automation software. What do you need to know?

NAB’s Alison Neplokh led a discussion about the impact of the TV repack last year with Dave Siegler of Cox Media Group and Jim Stenberg of American Tower Corp.

FCC Commissioner Michael O’Rielly Discusses Radio Policy (1:30 p.m.) — As NAB describes it, “O’Rielly has worked tirelessly during his five years at the FCC to ensure that radio and other industries are not saddled with needless regulation and that the FCC decision-making processes are transparent.” Media ownership and pirate radio are likely to come up.

Alexa Let’s Listen to the Radio: Best Practices for Smart Speakers (3:15 p.m.) — In this session, several smart speakers — from NAB, Jacobs Media, Westwood One and Hubbard Interactive — explore what the power of voice is doing to the tech world.

Marketplace Happy Hour (4 to 5 p.m.)

Past Marconi Award recipients

NAB Marconi Radio Awards, Dinner & Show (7 p.m.) — Established in 1989, the awards are named after Nobel Prize winner and “Father of Wireless Telegraphy” Guglielmo Marconi. 

FRIDAY SEPT. 28

Making Magic for Consumers — How Disney’s Animal Kingdom Does It and You Can, Too (8:30 a.m.) — Produced by ABC Radio, this panel features several representatives of Disney who will talk about its Animal Kingdom theme park “to illustrate how ideas are conceived, designed, developed and delivered” and share lessons learned in their work that can apply to radio.

Wednesday night will feature an informal “Snacks, Suds and Stories” session at 9 p.m. on the Hilton Bonnet Creek and Waldorf Astoria lawn. Shown, a similar gathering at the 2016 Radio Show.

IF YOU GO

Where: Orlando, Fla.

When: Sept. 25–28

Who: Produced by the National Association of Broadcasters and Radio Advertising Bureau. “This year’s show brings radio broadcasters and industry colleagues together to share knowledge, discover the latest innovations, network with industry leaders and explore creative business strategies for the digital age.”

How: www.radioshowweb.com

How Much: Members $499, others $824 for advance registration; see website for on-site rates and for discounts for groups, spouses, students and young professionals

Exhibit Hours: Wednesday 10 to 7, Thursday 9 to 5

Author: Paul McLane
Posted: September 17, 2018, 5:03 pm
AMSTERDAM — The statistics for the annual IBC Show in Amsterdam are always impressive: organizers claim over 57,000 visitors to the RAI Convention Center’s 15 halls, which feature over 1,700 companies across 50,000 square meters of exhibition space, meaning sore feet are almost inevitable after a ...

Over 50,000 attendees in Amsterdam for latest broadcast technology

AMSTERDAM — The statistics for the annual IBC Show in Amsterdam are always impressive: organizers claim over 57,000 visitors to the RAI Convention Center’s 15 halls, which feature over 1,700 companies across 50,000 square meters of exhibition space, meaning sore feet are almost inevitable after a visit. IBC is described as “the world's most influential media, entertainment and technology show.”

Across the busy arenas, the growing presence of companies such as Google, Facebook and Amazon is noticeable. However there remains a thriving section of radio exhibitors, centered on Hall 8, with established and newer companies demonstrating every aspect of radio station technology, from microphones and playout systems, to broadcast monitoring and transmission.

Arqiva’s Simon Mason spoke at IBC on 4G vs DAB radio.

View the 7 images of this gallery on the original article

Both in the IBC Exhibition’s Future Zone — which showcases new ideas and concept technologies from innovators such as Japan’s NHK and BBC R&D from the United Kingdom — and elsewhere, key themes included the growth of object-based broadcasting, and increased use of Artificial Intelligence (AI). Claiming the first use of AI in FM radio broadcasting, WorldCast Systems launched SmartFM at this year’s show, which uses the technology to reduce energy costs and CO2 emissions arising from transmission.

Spatial Audio was also popular for both video and pure audio use, with Zoom launching its new H3-VR virtual reality audio recorder, described as the only recorder that can capture and decode spatial audio in one device. The unit includes a four-capsule Ambisonics mic and onboard A/B decoder, allowing it to capture four channels of spatial audio, which can then be automatically converted to be compatible with 360-video.

Leading industry organizations were also well-represented. The EBU stand showcased innovative technologies developed by broadcasters for broadcasters, including 5G distribution systems, and UHD content with Next Generation Audio (NGA) produced at the European Championships.

On the Nautel booth, Digital Radio Mondiale’s chair, Ruxandra Obreja, provided an update on digital roll-out in India. It’s reported that the country's public broadcaster, AIR, has announced its support for the deployment of DRM in VHF Band II. The government's decision regarding the digitization of Band II is forthcoming.

Meanwhile, at the IBC Conference, WorldDAB — the global industry forum for DAB digital radio — led a session on “Radio's Digital Strategy,” exploring how radio can deliver new content to the listener, in today’s new landscape that includes Google, Amazon, Sonos and Apple Music.

Graham Dixon, head of Radio for the EBU, discussed how smart speakers can offer broadcasters the opportunity to bring radio back into the heart of the home, and in the car’s digital dashboard. A global panel session featured Wim Moortgat, manager Audio Technology for Belgian public broadcaster VRT and Joan Warner, CEO, Commercial Radio Australia, who discussed how radio is incorporating new technology into its business model — online, via apps, and on digital via DAB+.

Also at the WorldDAB session, Simon Mason — head of Broadcast Radio Technology from transmission providers Arqiva — presented the findings of a recent survey measuring the quality of radio signal over 4G compared to DAB, within selected urban environments and motorways around the U.K., and across peak listening times in selected regions. Mason set out that while mobile is able to provide a complementary service to broadcast radio, to deliver a comparable service over a wide area would require massive investment, and he argued that there was no business case for mobile operators or broadcasters to fund this. 

Author: Will Jackson
Posted: September 17, 2018, 4:39 pm
The recipients of the Best of Show at IBC2018 Awards have been announced. The following products won for Radio World International. Watch for the Best of Show Program Guide, including pictures and text about all the nominees, which covers products nominated to Radio World International, TVB Europe ...

Here are the Radio World winners

The recipients of the Best of Show at IBC2018 Awards have been announced.

The following products won for Radio World International. Watch for the Best of Show Program Guide, including pictures and text about all the nominees, which covers products nominated to Radio World International, TVB Europe and PSN Europe.

Radio World International Best of Show at IBC2018 Awards:

  • GatesAir Intraplex IP Link 200A IP link codec
  • Inovonics INOmini 660 DAB/DAB+ confidence monitor 
  • On-Hertz LUMO virtualized radio studio
  • RFE Broadcast DS2000 2-kW FM transmitter 
  • Telos VX Enterprise VoIP phone system
  • Worldcast Systems Smart FM Artificial Intelligence FM broadcasting system 
  • Wheatstone VoxPro 7.1
  • WaveArt IsoWave FM isofrequency digital solution 
Author: RW Staff
Posted: September 17, 2018, 3:40 pm
Studer will give IBC2018 attendees a preview of a major upgrade to the software for0 the company’s Micro Series. Planned introductions include ducking and an automatic mixing feature called VoiceMix. Effects will be assignable and there will be a modification of user access privileges. Plus several ...

Version 2.0 includes ducking and automix features

Studer will give IBC2018 attendees a preview of a major upgrade to the software for0 the company’s Micro Series.

Planned introductions include ducking and an automatic mixing feature called VoiceMix. Effects will be assignable and there will be a modification of user access privileges. Plus several bugs are to be fixed.

Harman Professional Solutions Director of Sales Broadcast Mark Hosking said, “Studer Micro Series V2.0 software streamlines and improves mixing workflows and provides the versatile capabilities that broadcast facilities need for dynamic live-to-air and off-air production environments.”

The Version 2.0 upgrade is planned for a January 2019 release.

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Author: Brett Moss
Posted: September 17, 2018, 2:00 pm
ALC NetworX GmbH says eight partners are launching new products featuring the Ravenna audio transport technology standard at IBC2018. Here are some that should be of interest to Radio World readers. Lawo is showing the A_WAN Series of WAN-capable AoIP nodes for high quality mic/line/AES3 and ...

IBC2018: Check Out These New Ravenna-Compatible Products

ALC NetworX GmbH says eight partners are launching new products featuring the Ravenna audio transport technology standard at IBC2018. Here are some that should be of interest to Radio World readers.

Lawo is showing the A_WAN Series of WAN-capable AoIP nodes for high quality mic/line/AES3 and dual-redundant MADI interfacing at stand 8.B50. In addition to SMPTE 2110-30/31, AES67 and Ravenna support, the devices also offer SMPTE 2022-7 class C streaming redundancy and PTP/Wordclock sync, the company says. It’s also housed in a 1U from factor with fanless, low-noise and dual redundant power.

At stand 8.E61, Sonifex introduces the AVN Portal range of multi-channel AES67 audio interface mix engines. The company also says it’s bringing two talkback intercoms that link devices over a standard Ethernet network using AES67 for installation and browser configuration, part of the AVN series.

Ward-Beck Systems is displaying the PreMo-222 at stand 8.F57. The fully AES67- and ST2110-compliant dual mic preamp and dual stereo headset driver also features PoE plus redundant local power supply.

Then at stand 8.E85, DirectOut is debuting the PRODIGY-MC modular audio converter and router that can route up to 320 inputs and 324 outputs. It has eight converter slots for AD/DA, mic-pre and AES3 plus MADI and network audio option boards. Redundant streaming is provided by its Ravenna module, which supports AES67/ST2110 and ST2022-7. The device is controlled via browser-based GUI and touch display globcon.

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The GatesAir Intraplex IP Link 200A is on display at stand 8.D60. This codec provides two full duplex stereo channels with Ravenna/AES67 compatibility, as well as supports AES3/Analog channel for mix-mode operation. It features three network interfaces with patented Dynamic Stream Splicing and SynchroCast technologies for transport reliability and SFN application.

DHD Audio presents the RX2 mixing console at stand 8.B31. The RX2 is Ravenna/AES67-compliant, and it features integrated touch screens for fader modules (from six to 60 faders) and central modules in a tabletop form factor.

Author: Emily M. Reigart
Posted: September 16, 2018, 8:00 pm
HD Radio parent company Xperi says it will demo the DTS Connected Radio ecosystem at IBC2018. DTS Connected Radio is what the company describes as “a global hybrid radio solution” for automobiles. It uses an in-vehicle IP connection to deliver DAB, HD Radio and FM broadcasts paired with IP ...

DTS Connected Radio ecosystem adds metadata and IP content to in-vehicle broadcasts

HD Radio parent company Xperi says it will demo the DTS Connected Radio ecosystem at IBC2018.

DTS Connected Radio is what the company describes as “a global hybrid radio solution” for automobiles. It uses an in-vehicle IP connection to deliver DAB, HD Radio and FM broadcasts paired with IP content. The complementary content includes metadata like programming and on-air talent information, as well as artist and song information or station contact details.

IBC Stand: 14.A41

Website: www.xperi.com 

Author: Emily M. Reigart
Posted: September 16, 2018, 3:00 pm
StreamGuys is offering IBC2018 attendees a technology preview of new network DVR-like (nDVR) functionality for live radio streams. The company says SGrewind technology lets broadcasters automatically retain a rolling window of content from their live stream, giving their audience the ability to ...

Lets broadcasters automatically retain a rolling window of content from their live stream

StreamGuys is offering IBC2018 attendees a technology preview of new network DVR-like (nDVR) functionality for live radio streams. The company says SGrewind technology lets broadcasters automatically retain a rolling window of content from their live stream, giving their audience the ability to rewind, pause, or restart a stream from the beginning of a program.

SGrewind will be a feature of StreamGuys’ cloud-based SGrecast live stream repurposing and workflow management system, which the company describes as “a platform for recording live streams and transforming them into revenue-expanding side channels and podcasts.”

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According to StreamGuys, co-exhibiting with ENCO, the new feature gives listeners more control of their live streaming experiences by letting them pause and resume streams without missing any content; rewinding for a fixed time period; or starting the stream at a specific segment, similar to a television electronic program guide (EPG).

IBC Stand: 8.A59

Info: www.streamguys.com

Author: Marguerite Clark
Posted: September 16, 2018, 1:00 pm
Telos Alliance companies 25-Seven, Axia Audio, Linear Acoustic, Minnetonka Software, Omnia and Telos, are demonstrating their IP chops at the IBC IP Showcase (Rooms E106 and E107). Equipment on display for the group will include Axia RAQ AoIP Console, Axia QOR.32 Integrated Console Engine, and ...

AoIP interoperability a key goal

Telos Alliance companies 25-Seven, Axia Audio, Linear Acoustic, Minnetonka Software, Omnia and Telos, are demonstrating their IP chops at the IBC IP Showcase (Rooms E106 and E107). Equipment on display for the group will include Axia RAQ AoIP Console, Axia QOR.32 Integrated Console Engine, and Telos Alliance xNode Audio Interfaces.

[Read: IBC EXHIBITOR VIEWPOINT: Tom Swidarski, The Telos Alliance]

VP of Sales, Support, and Marketing for the Telos Alliance Marty Sacks said of the showcase, “Seeing is believing! With gear from 50 manufacturers interconnected with AES67, broadcasters and creators of media content can see how AoIP is ready for daily use in their facilities. Come see that AoIP interoperability is not a science experiment. It is real and practical to implement today.”

The IP Showcase is supported by equipment manufacturers and several industry groups — Audio Engineering Society (AES), Alliance for IP Media Solutions (AIMS), Advanced Media Workflow Association (AMWA), European Broadcasting Union (EBU), Society of Motion Picture and Television Engineers (SMPTE), and Video Services Forum (VSF).

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Author: Radio World Staff
Posted: September 16, 2018, 10:00 am
IBC show attendees are getting a first look at tweaks to Inovonics’ INOmini 662 DAB+ SiteStreamer. Of key interest will be the just installed ability to view remotely the MOT visual slide shows. The 662 DAB+ SiteStreamer lets users remotely monitor up to 30 sources of DAB+ programming over the ...

MOT slide show viewing added

IBC show attendees are getting a first look at tweaks to Inovonics’ INOmini 662 DAB+ SiteStreamer.

Of key interest will be the just installed ability to view remotely the MOT visual slide shows.

The 662 DAB+ SiteStreamer lets users remotely monitor up to 30 sources of DAB+ programming over the internet. Tune-in, switch modes, listen remotely via streamed audio, and receive email or text alarms for various reception problems.

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The 1/3 RU 662 also has Inovonics’ StationRotation for “round robin” monitoring of preset channels/groups.

IBC Stand 8.C98

Info: www.inovonicsbroadcast.com

Author: Brett Moss
Posted: September 15, 2018, 6:00 pm
2wcom is highlighting its FlexNsert+ and FlexXtract+ solutions for DAB and DAB+ over satellite at IBC2018. Already in operation at national broadcasters in Norway, Germany and the Netherlands, 2wcom says that when FlexNsert+ and FlexXtract+ are integrated into the DAB/DAB+ transmission chain, ...

Lets users distribute DAB and DAB+ via satellite

2wcom is highlighting its FlexNsert+ and FlexXtract+ solutions for DAB and DAB+ over satellite at IBC2018.

Already in operation at national broadcasters in Norway, Germany and the Netherlands, 2wcom says that when FlexNsert+ and FlexXtract+ are integrated into the DAB/DAB+ transmission chain, broadcasters can use existing legacy (ETI) as well as IP-capable transmitters (EDI).

The systems permits users to distribute DAB signals via satellite for remote and rural areas not served by IP landlines or direct beam connections. Synchronous playout is possible due to the time stamp contained in the DAB+ signal. Both devices can be used as a complete DAB over SAT backup to ensure signal distribution in case the DAB transmission is interrupted.

At the uplink site the FlexNsert+ DAB+ receives a DAB ETI data system (according to EN 300799), converts it into a standard MPEG2-TS signal and outputs the signal via its transport stream interfaces (IP and ASI). In addition, says 2wcom, by activating 2wcom’s advanced function “FlexOptimized Bandwidth Saving Technology” users can save up to 45 percent of the bandwidth.

At the downlink site, the FlexXtract+ demodulates incoming EDI data via IP, ASI (MPE) or from a DVB-S or DVB-S2 signal (MPE or GSE) and converts the incoming DAB data stream (EDI) into a standard ETI signal (according to EN 300799) or forwards the EDI IP stream (according to TS 102 693) to the DAB transmitters.

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If the input signal is coming from an FlexNsert+ and contains a bandwidth optimized ETI encapsulated into MPEG TS stream, the FlexXtract+ can also convert the ETI signal into an EDI stream for added flexibility between older supply chains and newer transmission sites. Feeds via E1 and satellite, which are used in parallel in one system, can be processed and synchronized for playout by FlexXtract.

IBC Stand: 8.E78

Info: www.2wcom.com

Author: Marguerite Clark
Posted: September 15, 2018, 4:00 pm
Spanish manufacturer AEQ is bringing its Dante-based IP audio routing system to Amsterdam for IBC2018. The system consists of the NetBox RTC application, NetBox 32 AD MX audio router with mixing capabilities and NetBox DSP audio router and processor. NetBox RTC enables allows NetBox 32 AD MX and ...

Consists of NetBox RTC application, NetBox 32 AD MX router with mixing capabilities and NetBox DSP router/processor

Spanish manufacturer AEQ is bringing its Dante-based IP audio routing system to Amsterdam for IBC2018.

The system consists of the NetBox RTC application, NetBox 32 AD MX audio router with mixing capabilities and NetBox DSP audio router and processor.

NetBox RTC enables allows NetBox 32 AD MX and NetBox DSP devices to operate as autonomous audio routers with analog, digital and up to 160 AoIP Dante/AES67 inputs and outputs, the company says. The application enable users to mix and distribute audio and create switching basing on macros and salvos, which can be triggered by responding to external commands or automatic scheduling. Control can be distributed among several users and workstations.

NetBox DSP is an audio router and processor with mixing capabilities. It is able to receive audio from the Dante network and return it processed and mixed to be used in other devices. It can process up to 64 audio channels, inlcuding low-pass and high-pass filters, four-band parametric equalizer, compressor, limiter, expander, noise gate and delay. It can also mix and route between 64 and 160 channels.

NetBox 32 AD MX is an audio router with mixing capabilities, AEQ says. It features 16 analog inputs and outputs, eight AES3 dual/stereo and 32 Dante-protocol IP inputs and outputs.

NetBox DSP and NetBox 32 AD MX both feature 16 GPI and 16 GPO that can be transported to other devices through the Dante network.

Additionally, AEQ will show its Systelset+ control terminal for Systel IP and Systel IP16 VoIP phone system engine with Dante connectivity as part of the redesigned Systel IP Talkshow system.

IBC Stand: 8C55

Info: www.aeq.eu

Author: Emily M. Reigart
Posted: September 15, 2018, 1:00 pm
Broadcast equipment manufacturer AVT has announced the integration of AES67 digital audio to the Magic TH2plus and TH6 hybrids. The feature expansion is made possible via a software update. The company says that most TH2plus and TH6 hybrids, including VoIP and POTS systems, are eligible for ...

Also provides Magic multiplexer to Hessen Digital Radio

Broadcast equipment manufacturer AVT has announced the integration of AES67 digital audio to the Magic TH2plus and TH6 hybrids.

The feature expansion is made possible via a software update. The company says that most TH2plus and TH6 hybrids, including VoIP and POTS systems, are eligible for upgrade but that models using ISDN are not. After upgrading, the TH2plus will offer four channels while the TH6 will have eight channels.

AVT has also announced a recent sale of a Magic DABMux multiplexer to Hessen Digital Radio in Germany. The programmable petite box utilizes software for processing and an HTML5 browser as a GUI. It can integrated PA and NPAD plus provides GPS synchronization and RF modulation as options.

In addition, a companion Magic AE1 DAB+ Go audio encoder was installed at a program provider for Hessen to facilitate operation.

Show attendees will also get their first look at the Magic DABMux at IBC.

IBC Stand: 8.E76

Info: www.avt-nbg.de

Author: Brett Moss
Posted: September 15, 2018, 8:00 am
WUPPERTAL, Germany/AMSTERDAM — Sept. 14, 2018 — Riedel Communications’ Bolero wireless intercom and Artist digital matrix intercom system are playing a unique role in BBC Radio’s coverage of a global, open-wheel auto racing series. Taking advantage of Bolero’s high audio quality, on-location ...

WUPPERTAL, Germany/AMSTERDAM Sept. 14, 2018 — Riedel Communications’ Bolero wireless intercom and Artist digital matrix intercom system are playing a unique role in BBC Radio’s coverage of a global, open-wheel auto racing series. Taking advantage of Bolero’s high audio quality, on-location production crew members for USP Content use the beltpack with an external mic to transmit live, on-air audio for the radio broadcasts of races throughout Europe and beyond.

The auto racing series covers a significant part of the calendar year and moves back and forth across the globe between the series start in Australia and its finish in Abu Dhabi. USP Content, a multiplatform production company based in London, latched onto the use of Bolero as a cost-effective means of delivering each race to BBC Radio listeners without having to deploy extensive technical and production staff at each location and without having to sacrifice audio quality.

For races in Europe, USP Content sends its presenters for BBC Radio to the track, where a Riedel Artist 64 digital matrix intercom frame connects via managed Multiprotocol Label Switching (MPLS) circuits to Frankfurt and then via VPN on to another Artist frame in London. The presenters use Bolero for remote interviews on pit row and elsewhere around the circuit. For race events beyond Europe, the presenters stay at home in London and only the Bolero equipment and a few staff make the longer journeys.

“Dispatching a technical crew to cover all of the events of the racing series would present a daunting cost to even large radio broadcasters such as the BBC,” said Chessie Bent, Field Producer, USP Content. “We were looking for a more efficient and cost-effective way to cover the entire race circuit, but remote broadcasting was too challenging using equipment from several vendors and sources. Now, Riedel’s Bolero has completely changed the way we work — no more worries about complex cabling, buying licenses, carrying antennas, or painful frequency coordination. Plus, the amazing sound quality of the Bolero system ensures clear, broadcast-quality audio at all times.”

Use of the Bolero intercom has made a marked improvement for the USP Content crew. Bent and her presenter, Jennie Gow, previously relied on a multi-vendor, high-powered RF wireless system with a cumbersome antenna that had to be physically carried around along with the other gear. Since one Bolero antenna can cover the entire pit and backstage area of a race, Bent and Gow are free to roam around and grab interviews with drivers and celebrities at will. Equipped with a Bolero beltpack and noise-isolating MAX headset, Gow simply presses the ON button to begin an interview. The beltpack is fitted with a Y-cord that enables the use of a high-quality interview mic; at the same time, Gow is able to use the MAX headset to take direction from Bent.

“This clever and innovative use of Bolero is a great demonstration of its built-in flexibility to support any workflow,” said Jakob Stellbrinck, Motorsports Solutions Specialist at Riedel. “Bolero’s ease of use, simplicity of setup, and light weight have made it a game-changer for USP Content’s remote reporting for BBC Radio. Bolero has more than met USP Content’s expectations by delivering outstanding sound quality and ensuring smooth and agile productions in the highly demanding racing environment.”

Further information about Riedel and the company’s products is available at www.riedel.net.

# # #

About Riedel Communications

Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Riedel is headquartered in Wuppertal, Germany, and employs over 500 people in 19 locations throughout Europe, Australia, Asia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.wallstcom.com/Riedel/180914-Bolero.docx

Link to Photo: www.wallstcom.com/Riedel/Riedel-USPContent_Bolero.jpg

Photo Caption: Riedel’s Bolero and Artist play a unique role in BBC Radio’s coverage of a global auto racing series.

Author: Dundee Hills Group
Posted: September 14, 2018, 5:13 pm
WUPPERTAL, Germany/AMSTERDAM — Sept. 14, 2018 — The French National Assembly has installed a comprehensive, all-fiber signal distribution and communications backbone based on Riedel Communications solutions. The French National Assembly is at the heart of the country’s democracy, representing the ...

WUPPERTAL, Germany/AMSTERDAM Sept. 14, 2018 — The French National Assembly has installed a comprehensive, all-fiber signal distribution and communications backbone based on Riedel Communications solutions. The French National Assembly is at the heart of the country’s democracy, representing the people, making laws, and controlling government actions.

Riedel’s MediorNet real-time media network provides redundant and decentralized signal routing and transport throughout the French National Assembly’s Paris facilities. Tightly integrated with MediorNet, Riedel’s Artist digital matrix intercom system and Bolero wireless intercom provide crystal-clear and reliable communications for the French National Assembly staff.

“Riedel’s MediorNet is a radical departure from the traditional approach to signal transport, which is built around a central router and third-party transport and processing devices. Instead, the decentralized approach of MediorNet provides massive benefits including redundancy, flexibility, and the ability to scale the system as our needs dictate,” said Christian Castelli, Audiovisual System Engineer at the French National Assembly. “For those reasons, MediorNet was the perfect choice to meet our complex media distribution and communications requirements.”

The deployment of this agile infrastructure was a core component in the complete upgrade of the audio/visual master control room at the French National Assembly, including connectivity with audio/visual terminals located everywhere in and outside the buildings. This backbone keeps evolving with the expansion of a new multi-position video control room and the connection of further satellite commission rooms. The Riedel MediorNet backbone consists of four MetroN core routers, three MediorNet Modular mainframes, more than 30 MicroN high-density media distribution network devices, and 25 Compact stageboxes. Deployed in a decentralized configuration, the MediorNet components ensure fully redundant distribution of all audio/video and communications signals throughout the buildings.

The robust intercom system consists of an Artist 128 mainframe with control provided by Riedel RSP-2318 SmartPanel multifunctional user interfaces. The Artist mainframe also provides access points to all Bolero wireless belt packs.

“It’s an honor to welcome a customer as prestigious as the French National Assembly to our roster of high-profile deployments,” said Franck Berger, General Manager for France and Africa at Riedel Communications. “This installation is a tremendous use case for Riedel that highlights perfectly the benefits of our MediorNet decentralized approach. We’re proud of the key role Riedel and MediorNet are playing to handle all of the French National Assembly’s transport, routing, processing, and communications requirements, all on a single infrastructure.”

Further information about Riedel and the company’s products is available at www.riedel.net.

# # #

About Riedel Communications

Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Riedel is headquartered in Wuppertal, Germany, and employs over 500 people in 19 locations throughout Europe, Australia, Asia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.wallstcom.com/Riedel/180914-FrenchNationalAssembly.docx

Link to Photos: www.wallstcom.com/Riedel/Riedel-FrenchNationalAssembly.zip

Description of Photos: The French National Assembly has installed a comprehensive, all-fiber signal distribution and communications backbone based on Riedel Communications solutions.

Author: Dundee Hills Group
Posted: September 14, 2018, 4:55 pm
Dateline 2014 — At the time, the “digital universe” was growing at a phenomenal 40% annually and expected to continue “on into the next decade.” At the time, that growth rate reflected conglomerate sets of data that not only included people and enterprise, but included the relatively new term ...

The Internet of Things has propelled storage demands and solutions (including the object store) into the next universe

Dateline 2014 — At the time, the “digital universe” was growing at a phenomenal 40% annually and expected to continue “on into the next decade.” At the time, that growth rate reflected conglomerate sets of data that not only included people and enterprise, but included the relatively new term “Internet of Things (IoT).”

To a broadcast engineer, the term IoT used to mean “inductive output tube” — an alternative to the klystron, and both referencing transmitting tubes used in high-power TV transmitters, the latter in analog television and the former a most cost-effective device, which emerged full strength during the ATSC transition.

[Read: Reaching for 24G Storage]

The modern day IoT may have equally as broad an impact for society as it did for the digital TV broadcast marketplace. The Internet of Things has propelled storage demands and solutions (including the object store) into the next universe, aiding and changing the perspective and dimensions of “big data” forever.

COMPREHENDING THE ZETTABYTE ERA

When the IDC conducted its study in 2014, they predicted the volume of unstructured data created and copied all over the world would reach 44 zettabytes (1 zettabyte = 2 to the 70th power bytes), i.e., 44 trillion gigabytes, annually, by 2020. By perspective, just a year before that 2014 IDC prognostication, the amount of data created and stored in 2013 sat at a mere 4.4 trillion GB per year. If correct, the amount of data growth is outpacing Moore’s Law, and will increase tenfold in six years.

Ironically, according to that IDC report, the amount of useful data (if tagged and analyzed) grew by a much lesser amount. In 2013, only 22% of the data accumulated in the digital universe was considered “useful” — that is, it was relevant because it was meaningfully tagged or categorized and was searchable and retrievable.

By the year 2020, the IDC prediction reported in April 2014 stated that only 37% of the data collected will be useful because of that same criteria.

USELESS DATA RETENTION

So why do we continue to store data that isn’t useful? The simple answer: “Because we can.”

Irrespective of how, where, when or why we create this mass of data, we find that most companies, enterprises or individuals collect and save literally everything because, fundamentally, there isn’t the time to sort, catalog or even physically hit the delete key once the data is collected. On the personal level, think of how many VHS tapes or compact discs or DVDs you still have in boxes or on shelves in the basement or the attic.

Putting those collections into today’s perspective, all those memories are essentially just another set of data. If we digitized all those analog VHS tapes into compressed ones and zeros, we’d still have enormous sets of data that would likely remain unmanageable, ignored and probably lost in the digital quagmire of Never-Never Land.

At least while in a tape format there was a storage container (the wrapper), information about the content (the metadata) and an easy methodology to catalog the content by orderly arrangements on shelves, boxes or with a 3 x 5 card catalog or even a digital picture of the box.

EXPONENTIAL EXPANSION

Production companies, news organizations, broadcasters all generate enormous amounts of data. The volumes continue to expand exponentially and will likely end up in the “no-where’s-land” of the digital landfill. For today, this enterprise digital repository is now an ambiguous, unknown depot that might be one of many ubiquitous “clouds” — some on premises, some in that atomic number 26 mountain place, some in a public cloud, and a lot more of it ending up in privately managed datacenters scattered around the globe.

For how long and what purpose do organizations intend to keep that data? It’s relatively inexpensive to hide those bits in a cloud and nearly zero cost to keep it there — until you want to retrieve it. However, to get meaningful use out of those bits, you needed to catalog it. Otherwise, you must pull it all down from the cloud, store it again (locally) and then search through it to find something usable.

For an enterprise of any size, this takes labor — which costs money. And that’s a resource that doesn’t grow automatically, like the data you and your friends and their friends are generating every second of the day.

INTELLIGENT DATA STORAGE

When you consider the daily couple of billion pieces of data “about” you, your friends and their friends, too, you can see the storage challenges which entities like Facebook, Google, Amazon, and the other social media or shopping platforms have on their hands. The difference is these companies have figured out how to intelligently collect the data, identifying each piece using artificial intelligence algorithms that are, incidentally, developed either by their own organization or acquired by buying another company with that expertise. Across each social group, they will cross-relationship every piece of their data and then store it in one-to-many of their “private” clouds — which are liberally dispersed data centers interconnected by networks based upon volumetric accessibility per region.

Their data is never stored just once. Instead, it is replicated multiple times for accessibility, protection and resiliency. How each organization diagnostically and dynamically protects that information and makes it nearly instantly retrievable is their secret sauce.

Yet today, some of the concepts and principles which social media companies have developed for their own applications are now becoming available to individuals and organizations. The goal in these products is to start diminishing the “uselessness” of the data by applying intelligent metadata that can then utilize more conventional search engine approaches for cataloging and retrieving those assets. These new AI-based approaches now differentiate the future from the more traditional legacy media asset management methodologies.

STRUCTURING THE UNSTRUCTURED

What we’ve learned by collecting huge sets of information about known places around the world is now supporting machine learning techniques that create accurate metadata tagged not just to a single image, but to an entire generation of data sets grouped as objects. Such information may use the angle of a shadow which then identifies a time of day, which, when coupled to a geographic (GPS) location, gives more information about the season or the atmospheric conditions. People in images can now be related to their siblings or parents, based upon data sets generated from favorites or albums. Road signs, window lettering on buildings, and other distinguishing characteristics add to the databases about the actual surroundings where that image, and those of others, were collected. What was heretofore considered useless information is now branded and repurposed by machines which “look” for this data and then catalog it without any direct human intervention.

Using these new autonomous techniques, every time a new piece of content (still image, sound or video) enters a system equipped with these technologies, the system turns that previously “unstructured” data into “structured” data that is then cataloged not just as a single image, but as collections of data sets bound into a global storage platform.

These are the roots of where we’re headed as the future of storage becomes an indirect, unsuspecting model that makes potentially useless data valuable again, for all.

Karl Paulsen is CTO at Diversified (www.diversifiedus.com) and a SMPTE Fellow. Read more about this and other storage topics in his book “Moving Media Storage Technologies.” Contact Karl at kpaulsen@diversifiedus.com.

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Author: Karl Paulsen
Posted: September 14, 2018, 4:54 pm
If you’ll allow me a moment for a personal note: Today I salute my friend John Casey and thank him for his decades of service to Radio World. John recently moved on to his next professional chapter after many years of guiding RW’s advertising sales efforts. For much of that time he held the title ...

If you’ll allow me a moment for a personal note: Today I salute my friend John Casey and thank him for his decades of service to Radio World.

John recently moved on to his next professional chapter after many years of guiding RW’s advertising sales efforts. For much of that time he held the title of publisher, but the word fails to capture everything John brought to our pages — his understanding of our marketplace, his technology foresight and creative eye for visual design, his ethics and fundamental sense of business decency.

Whatever our respective job titles have been over time, he and I treated one another like co-pilots, even though it’s my name and face that readers usually know. We worked together to conceive eBooks, webinars, show coverage, supplements; we co-created Radio World Engineering Extra and the Radio World Excellence in Engineering Awards and worked on special projects too numerous to count. The relationship has been one of the most gratifying parts of my own 22 years here.

Now he’s back in the supply side of our industry as the new director of sales for ENCO Systems. He leaves a great team in place and departs on the best of terms, but he’ll be missed and will always be part of this publication’s proud history. Thanks, JC!

John Casey on the spring show floor in 2013.

View the 8 images of this gallery on the original article
Author: Paul McLane
Posted: September 14, 2018, 4:44 pm
WUPPERTAL, Germany/AMSTERDAM — Sept. 14, 2018 — Riedel Communications today announced the appointment of Jan Eveleens as Director of Business Development for video networking solutions. Reporting directly to the company’s CEO and founder, Thomas Riedel, Eveleens will help drive Riedel ...

WUPPERTAL, Germany/AMSTERDAM Sept. 14, 2018 — Riedel Communications today announced the appointment of Jan Eveleens as Director of Business Development for video networking solutions. Reporting directly to the company’s CEO and founder, Thomas Riedel, Eveleens will help drive Riedel Communications’ IP and video networking business efforts supporting product management, sales, and marketing. He will focus particularly on the further expansion of opportunities for MediorNet, Riedel’s family of real-time signal transport, processing, and routing solutions.

Eveleens joins Riedel after almost a decade serving as CEO of AXON, a leading technology company in the field of broadcast network infrastructure. Prior to joining AXON, he held general manager positions in the Netherlands over a 20-year period for leading video technology companies, serving first with Philips Electronics and then with Grass Valley, a Belden Brand. Eveleens has been involved in numerous industry associations including the IABM, for which he served as chairman of the board of directors for several years. He holds degrees in electronics and computer science from Delft University of Technology.

“Jan is an outstanding addition to our team. His broad and deep experience and expertise in the video and broadcast technology and international business will be a great asset. Plus, his leadership roles in organizations such as the IABM have earned him wide respect throughout the industry,” said Thomas Riedel. “We welcome Jan to Riedel Communications and look forward to working with him to expand our presence even further in the European marketplace.”

Further information about Riedel and the company’s products is available at www.riedel.net.

# # #

About Riedel Communications

Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Riedel is headquartered in Wuppertal, Germany, and employs over 500 people in 19 locations throughout Europe, Australia, Asia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.wallstcom.com/Riedel/180914Eveleens.docx

Link to Photo: www.wallstcom.com/Riedel/Riedel_Jan-Eveleens.jpeg

Photo Caption: Jan Eveleens joins Riedel Communications as Director of Business Development for video networking solutions.

Author: Dundee Hills Group
Posted: September 14, 2018, 4:36 pm
TV Technology Editor Tom Butts interviewed Wheatstone Director of Sales Jay Tyler on the floor at IBC2018 to find out how the manufacturer was preparing for Hurricane Florence back home in New Bern, N.C. Tyler was on his way to Amsterdam when the storm began to head toward the Carolinas, so he has ...

Wheatstone Director of Sales keeps an eye on home from Amsterdam

TV Technology Editor Tom Butts interviewed Wheatstone Director of Sales Jay Tyler on the floor at IBC2018 to find out how the manufacturer was preparing for Hurricane Florence back home in New Bern, N.C.

Tyler was on his way to Amsterdam when the storm began to head toward the Carolinas, so he has been anxiously waiting for word on how his home and his livelihood in New Bern, N.C. are faring.

Tyler’s home is located about 14 feet above sea level — or river level, in this case. He explained that “New Bern sits on the confluence of the Trent and the Neuse Rivers.” The Wheatstone facility is situated a bit more safely — approximately 20 to 25 feet above the floodplain, Tyler said.

As of Friday morning (Central European Summer Time), the factory had not lost power, Tyler reports; Wheatstone elected to preemptively close the facility ahead of Hurricane Florence’s arrival. Tyler said pre-storm preparations involved bringing things indoors and wrapping gear in plastic to prevent water damage — “boxes and boxes of plastic draped over everything.” Tyler said, “That’s normal protocol for us.”

About 100 employees work at the company’s headquarters, and power depending, Tyler said the facility will reopen Monday if one or two of them can make it to work. In the mean time, he said, Wheatstone’s toll free number and tech support will be primarily manned by employees in the California, Texas and Syracuse, N.Y., offices.

Tyler’s own home lost power at 10 p.m. (EST). He also noted that local news reports indicated more than 150 people in New Bern were rescued by first responders in the early morning, and the town had experienced winds of about 90 mph and water levels reached about 10 feet above sea level. “Some of the photos that came back were pretty catastrophic,” he said.

Author: Emily M. Reigart
Posted: September 14, 2018, 4:31 pm