Radio World International 509 - May 2019

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May 2019 issue of

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INSIDE IN-CAR UX DESIGN GUIDELINES

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How Can Streaming Media Benefit Radio?

The format may be cutting into broadcast radio’s audience but it also presents an opportunity

BY JAMES CARELESS

LONDON — There is no shortage of news reports bemoaning broadcast radio’s demise at the hands of streaming media.

A case in point: “Since 2010, around

• Excerpts from WorldDAB’s report for automotive manufacturers and broadcasters — Page 4

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840,000 15 to 24-year-olds have switched off for good, according to research from Enders Analysis,” reported The Guardian newspaper in an article with the witty headline, “Is streaming killing the radio star?” “And among the 6.5 million or so who do still tune in, the amount

WorldDAB Automotive DAB ANALYSIS Digital Radio In Car User Experience Design Guidelines

of time they spend listening has plummeted 29% between 2010 and 2018. The problem is even more acute at the BBC, with total listening hours among 15 to 24-year-olds falling 40% over the same time period.”

This sense of doom and gloom was reflected by Bob Shennan, the BBC’s director of radio and music, in a May 15, 2018 speech to the Radio Academy. (continued on page 14)

Version 2 - February 2019

•D rive test studies the safeness of touchscreen car radios — Page 8

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INTERNATIONAL EDITION Vol. 43 No. 5

May 2019

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CONTENT Managing Director, Content Paul J. McLane, paul.mclane@futurenet.com Content Director Marguerite Clark, marguerite.clark@futurenet.com Senior Content Producer — Technology Brett Moss, brett.moss@futurenet.com Content Manager Emily Reigart, emily.reigart@futurenet.com Technical Advisers Thomas R. McGinley, Doug Irwin Technical Editor, RWEE W.C. “Cris” Alexander Contributors: Africa: Gregory Lagat, Lameck Masina, John Masuku; Asia: Md. Azizul Alam Al-Amin, Martyn Green, Frederick Noronha, Mark Timpany; Australia: James Cridland; Europe: Andy Bantock, Kevin Branigan, Giuseppe Camonita, Nuno de Sousa, Charles Flores, Blazo Guzina, Lawrie Hallett, Will Jackson, Hans K. Kristjansson, Drew Leifheit, Raúl Llarull, Urmas Loit, Marc Maes, Davide Moro, Emmanuelle Pautler, Panos Polyzoidis, Bernd Trutenau, Andreas Tzanakos, Thomas Völkner; Latin America: Jorge J. Basilago, Carlos Eduardo Behrensdorf, Juan G. Buenaventura; Eduardo Curuchet, Arturo Valentino; New Zealand: Nick Gerritsen; North America: John Bisset, James Careless, Scott Fybush, Randy J. Stine Production Managers Nicole Schilling Managing Design Director Nicole Cobban Senior Design Director Karen Lee ADVERTISING SALES Publisher, Radio World International Raffaella Calabrese, raffaella.calabrese@futurenet.com, +39-320-891-1938 Senior Business Director & Publisher, Radio World John Casey, john.casey@futurenet.com, +1-212-378-0400 x512 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.radioworld.com and click on About Us, email futureplc@computerfulfillment.com, call +1-888-266-5828, or write P.O. Box 282, Lowell, MA 01853.

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DBS 2019 LOOKS AT WHAT’S AHEAD FOR BROADCASTERS

and Amazon. “If we do not develop our own digital solutions and engage with our The ABU Digital Broadcasting Symposium 2019, audiences, someone which took place in Kuala Lumpur on 4–7 March, else is going to take showcased the latest digital technologies and our place. looked at the challenges facing broadcasters in an “That is why fellow increasingly competitive age. broadcasters from the This year’s event, which marked the symposium’s region need to make 15th anniversary welcomed 60 companies promotuse of such events ing their digital equipment and services during the and forums to learn three-day exhibition. from the experts Director General of Radio A conference highlight on the final day was and work together Televisyen Malaysia, Abdul a high-level debate on the way ahead for public to achieve these Muis Shefii broadcasters in the digital age. Senior broadcasters goals and not be left from Malaysia, Singapore, Japan, Korea, the U.K. behind.” and Germany looked at how broadcasters can best He also spoke of the need for greater security meet the challenge from online competitors. and safety of online platforms, a subject later taken up in a session of the conference.

Speakers in the session identified ongoing staff training as one of the best ways for broadcasters to fight threats to their cybersecurity.

They noted that cyberthreats to broadcasters were continuing to grow, and ranged from hijacking of their on-air services and theft of information to content piracy.

“We are trophy targets,” Kathryn Brown of Commercial Radio Australia said. The risks needed to be assessed continually, along with regular staff training and collaboration with other essential services that faced similar threats.

The future of digital radio was Malaysia’s Communications and Multimedia Minister, Gobind Singh Deo, another important focus at the opened the exhibition and addressed the conference. symposium. Speakers said radio Among them was the new Director General was booming thanks to new digital audio technoloof Radio Televisyen Malaysia, Abdul Muis Shefii. gies such as DAB+ that allowed for more efficient He said terrestrial television remained popular use of spectrum, enabling broadcasters to expand in Malaysia but stressed RTM’s determination to their service cost effectively. improve its internet streaming services to attract Grant Blackley, CEO of Southern Cross Austereo, more viewers. an Australian FM broadcaster, said he believed funHe agreed with Augustine Hong of Korean public damentally that audio was in a boom period. broadcaster KBS, who said public broadcasters were Cath Dwyer, a senior executive with the still too focused on traditional media, and needed Australian Broadcasting Corporation, agreed. “It’s to offer more “anywhere, anytime” online services the golden age of radio,” she said. to stay relevant.

The CEO of Commercial Radio Australia, Joan Lindsey Cornell of the BBC outlined the range of Warner, gave the industry keynote as a representanew digital services the broadcaster was offering for tive of WorldDAB, the symposium’s principal sponsor. laptops and desktops, as well as apps for phones.

She said that in the digital age, audiences expect“There are a lot of new skills to learn when you’re ed more from broadcasters. dealing with social media.”

“We can use digital opportunities to deliver to He said broadcasters had a long tradition of the changing needs of the audience. Audiences understanding their audiences. This gave them an want our content, advertisers like our ability to advantage over big tech companies. “We have the reach customers and governments want our support ability to produce content that will work for our in delivering services. audiences,’ he said.

“There are multiple ways of accessing content.

Malaysia’s Communications and Multimedia Broadcast radio is the backbone of that.”

Minister Gobind Singh Deo, opened the exhibition The symposium ended with the Best Booth and addressed the conference. He said broadcastAward, chosen by participants. It went to a new ers and media organisations needed to implement exhibitor, IntegritiPadu Sdn Bhd (IPSB) of Malaysia. digital solutions quickly and transform themselves Their prize is a free booth at DBS 2020, which takes to stay relevant and compete with giants like Netflix place on March 2–5.

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May 2019

Excerpts From WorldDAB’s UX Design Guidelines Here’s what you need to know

WorldDAB has released it latest version of the User Experience (UX) Design Guidelines for automotive manufacturers and broadcasters.

The document details how to deliver the “best possible digital radio user experience in the car� and is based on consumer research carried out in five different countries.

“These guidelines were developed to help broadcasters and automotive OEMs better understand what consumers want from their radio and how best to deliver it,� said Laurence Harrison, chair of the WorldDAB Automotive Group and Market Development Director of Digital Radio UK. “Over the last 12 months, WorldDAB has met with

1. Background Radio in-car 6

Consumers love radio in their cars: 6 Live broadcast radio is the most popular source for entertainment on the road* 6 82 ,$ -#,-)# 3,1)"+;0 15 ! . 3'0&,10 radio** 6 75% of all audio consumed in the car is live radio** 6 ,$ -#,-)# 8 )3 5/9 ,. 8*,/0)59 )'/0#+ 0, 0&# . "', ,+ #2#.5 journey**

6

Radio in-car is going digital***: 6 4.4 Million cars with DAB+ were sold in 2018, 7% more than in 2017 6 In Norway (98%), The UK (92%), Switzerland (85%), Australia (60%), Italy (46%), Germany (39%), Netherlands (38%), Belgium (30%), Denmark (24%) and France (20%) cars have DAB as standard 6

European Electronics Communications Code Directive mandates digital radio in new cars 6 Came in to force on 20 December 2018 6 Member States then have two years to transpose rules into national legislation 6 All new car radios sold or rented in the EU will need to have digital terrestrial radio by end 2020 6 See the WorldDAB fact sheet here + *EBU IN-car radio study Jan 2018 https://tech.ebu.ch **Radioplayer research 2016 http://www.radioplayer.co.uk/great-cars-need-great-radios need need-great-radios ***Source: WorldDAB, national industry associations, JATO

all the leading car manufacturers to discuss their implementation of the guidelines, and have begun what will be a longer term collaboration to ensure digital radio is a great user experience.�

The updated guidelines include: A clearer direction to implement hybrid radio for a great digital radio user experience in connected cars with DAB; sharper

5.2 I want to find DAB stations

Consumer problems and research references

6 Finding stations by multiplex can be difficult, co

6 An A-Z station list of DAB stations provides the

6 Consumers may value the ability to search for

Consumers want:

6 A quick, easy and safe way to search for and fi knowledge of the DAB broadcast network. Res provides this.

Consumer quote:

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*https://www.worlddab.o

May 2019

radioworld.com | RADIOWORLD

signposting to other research and guidance on features such as voice controls, logos, and DAB test routes; and the detail of the design guidance has been updated in several use cases to reflect feedback from car manufacturer partners.

Here are highlights from the guidelines. The full document is available for download at http:// tinyurl.com/WorldDAB-UX-2019.

easily

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specific stations via alphabetical characters

ind their DAB stations that does not require search shows that an A-Z station list

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6. Hybrid radio and voice Hybrid radio: Enables car manufacturers to meet the majority of the UX Guidelines 6 Hybrid radio seamlessly combines Broadcast radio and the Internet. Your broadcast signal (FM, HD, DAB, DAB+) continues to carry audio (and some data), but a radio with an Internet connection (WiFi, 3G, 4G, LTE) can seamlessly connect back to your station for multimedia and interactivity.

6 In the car, Hybrid radio offers: - Service following - The ability to seamlessly switch between broadcast platforms and IP, following the strongest signal - Great visuals - The matching of metadata over IP with the broadcast stream to provide station logos, artist information, news, weather and commercials - Interaction 7 Providing the listener with the ability to find out more about the content and offers the [potential for greater personalisation 6 World DAB supports open standards for Hybrid radio and for more information go to https://radiodns.org/

7. Performance of DAB in-car

org/technology-rollout/automotive/user-experience

,.)" ;/ In-car -car Performance Working Group is committed to collaborating with car manufacturers to help ensure DAB+ performance is as good as possible, a huge factor in a good digital radio user experience. The Group has been collating performance testing and benchmarking from different markets, conducting new research and collaborating with car manufacturers.

motive DAB WorldDAB Auto Car User Digital Radio In uidelines ign G Experience Des ary 2019

Version 2 - Febru

+ WorldDAB fact sheet: https://www.worlddab.org/system/news/ documents/000/010/783/original/EECC_ factsheet_updated_March_2019.pdf

++ D AB+ test routes: https://www.worlddab.org/technology-rollout/ automotive/dab-plus-test-routes

All the conditions are in place to offer great performance of DAB+ in-car:

6 DAB networks are maturing in many countries 6 Broadcasters utilize the DAB capabilities: more and unique content, audio and visuals 6 Latest DAB chips are lower cost with better performance and more features & functions However, the challenge to get good in-car DAB reception is increasing, driven by: 6 increased levels of radio interferences 6 non-rooftop antenna systems with lower sensitivity. The Group has conducted and collated research on antenna performance including highlighting the significant shortfalls in performance of some antenna configurations and the substantial benefits offered by others Car manufacturers have asked WorldDAB for DAB+ test routes in different markets to help development and performance measurement. WorldDAB has now published some DAB+ test routes in key European markets which can be found here ++

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May 2019

Finding Radio’s Balance in the Dashboard Initiatives to help stations meet auto manufacturers’ minimum requirements

◗COMMENTARY

BY NICK PIGGOTT

The author is project director for RadioDNS.

LONDON — RadioDNS Hybrid Radio exists because we think that the best experience of radio in the car dashboard is enabled by combining broadcast and IP together into one hybrid technology. We have a number of initiatives to enable widespread implementation of hybrid radio using our open standards.

The radio industry is characterized by its diversity, from stations that struggle to stay on-air to well-resourced stations with lots of content distributed over a diversity of platforms. There’s no consistent quality of metadata, and this frustrates car manufacturers who get consistency from services like Spotify, Pandora or iHeartRadio.

MEETING EXPECTATIONS This diversity is our most complex challenge — both for RadioDNS as an organization and radio as an industry.

Broadcasters are, rightly, anxious about a concentration of power to gatekeepers who can control metadata, potentially disintermediation and disconnecting them from their audiences.

But car manufacturers want to make sure that every station reaches certain minimum standards; a logo, a comprehensible station name, “now playing” information, album artwork. They are approached daily by companies offering to “repackage” radio to give it that consistency by “backfilling” the capabilities gap. To a car manufacturer, “gatekeeping radio” is initially a good thing.

RadioDNS’ technology standards prevent us from becoming an intermediary and no content flows through us.

We sell nothing. We are a not-for-profit organization, governed by statutes and financed and run by our members. For broadcasters wanting to secure their place in the dashboard, supporting

8,000+

THREE INITIATIVES Our service provider certification program acknowledges that every automotive manufacturer will work with a third-party technology supplier to enable hybrid radio. We encourage manufacturers to use RadioDNS Certified solutions, which guarantees that “backfilling” is only used if a radio station isn’t providing content using RadioDNS. Xperi’s Connected Radio platform was the first to become certified.

“Project Logo” is our initiative to get every radio station to meet the automotive industry’s basic expectations, and you’d gather correctly from the name,

will be presented to drivers.

Putting that in place protects the people with good intentions, and makes it easier to penalize those people with bad intent.

Our “Standard Terms of Use” is a document that we would like every radio station and manufacturer to use. A radio station will offer their content using our Standard Terms, and an auto manufacturer can use the content if they know they follow the terms. RadioDNS won’t be a party to the agreement, but we will keep a permanent reference version of it.

This approach is scalable, and avoids a concentration of power in one place. Each deal is effectively bilateral between the broadcaster and the manu-

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PARTNERS In the United States, we are working with the National Association of Broadcasters, one of our founding members, to help every U.S. radio station provide RadioDNS Project Logo, either directly or by working with a partners (listed at https://radiodns.org/partners).

The NAB has brought their member broadcasters and manufacturers like Audi together for discussions and to test implementations of RadioDNS in the North American market. Both RadioDNS and Audi were at this year’s NAB Show demonstrating RadioDNS in the dashboard of real vehicles. In Europe, we have a similar working relationship with the European Broadcasting Union, who are helping their

Audi development engineer Christian Winter explains the hybrid radio’s functionality and the resulting advantages for the listener to Audi blog author Andreas Wittke.

Hybrid radio in use in the new Audio A8.

AUI Tx Installed nautel.com

RadioDNS is the very lowest risk option.

But this fundamental “hands-off” approach to our technology design also means we can’t fix up inferior radio station metadata.

We have absolutely no way, either technically or within our structure, to do that. If you broke it, we can’t fix it for you. When we meet automotive companies, they love that our standards will function for decades (much as RDS has), but don’t like that we can’t guarantee how many stations will provide quality content.

We have three initiatives to try and bridge this expectation gap without compromising our “no gatekeeper” approach to hybrid radio.

terms to be universally used, we needed input from broadcasters and manufacturers, and we had a consultation running until April 12.

Photos courtesy of Audi

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the first expectation is a correct logo for every station.

Alongside the technical standards for getting a logo (and other content) from a broadcaster to a car, we identified that broadcasters and manufacturers want a common understanding of how content

facturer, but because it’s the same deal — the exact same words — there’s little legal effort involved with agreeing to it.

The broadcaster can choose to control to whom they’re providing data, and measure their usage.

For us to meet our ambition for the

members launch RadioDNS hybrid radio with their RadioManager platform, which can also provide metadata for voice assistants in smart speakers and in the dashboard.

The EBU also hosted a very engaging RadioDNS/WorldDAB workshop bringing together broadcasters and manufacturer to discuss their five most pressing issues in respect of radio in the car. In Australia we work with Commercial Radio Australia, and their RadioAPP platform now natively supports RadioDNS. These partnership initiatives, as well as working directly with broadcasters, mean that RadioDNS is available for more than 80% of radio listening in many European countries, and is rising in North America and Australia.

Over time, we want more radio stations and service providers to use our standards to provide their content to the dashboard. Certification, Project Logo and the Standard Terms of Use are key parts of that ambition.

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Are Touchscreen Car Radios Safe?

Drive test highlights everyday threats for drivers and suggests possible solutions

BY DAVIDE MORO

LONDON — Static tests in a parked

vehicle can tell just a part of the story.

Almost any contemporary car can be equipped with feature-full, eye-catching touchscreen displays, designed to control much of the car system, including radio.

But how do these colorful displays perform in real driving conditions? Do they really succeed in assisting contemporary, tech-savvy drivers?

REAL-LIFE TEST Digital Radio UK and Radioplayer, the U.K. nonprofit partnership between the BBC and commercial radio, whose aim is to keep radio listening simple, dug into this topic, comparing touchscreen experience to voice control “en roulant.”

To do so, Radioplayer recreated a realistic driving situation, using a car driving at an old World War II airbase on a farm in Cambridgeshire. It had serviceable roads but no other traffic.

For the test, they used a Volkswagen

car equipped with line-fit DAB receiver featuring a touchscreen display. In order to ensure a fair comparison between the in-car DAB touchscreen and the voice control, they used an Amazon Echo Dot integrated into the center console, and wired into the car’s media system.

A separate Wi-Fi hotspot in the rear of the car provided adequate internet connectivity on the move.

“We recruited nine local people as test drivers, achieving a reasonable mix across gender, age, radio listening habits, and prior experience of voice control,” said Michael Hill, Radioplayer managing director.” “We devised a 30-minute test plan which we repeated exactly for each driver, so that we could compare results.”

Two GoPro cameras and a highquality audio recorder equipped the car, to ensure a continuous record of how the drivers were speaking and where they were looking. During each run there were two facilitators in the back seat, one asking questions and the other taking notes.

LET’S DRIVE Each test session included the same four segments. These were a familiarization run, so drivers could get used to the car and the route; tuning to a national station on the DAB radio; finding local stations, tuning to the same stations using voice control; and exploring more advanced radio features using voice control such as find and play a specific podcast.

May 2019

interface, Figure 2 shows the number of times the test drivers successfully tuned into a station by means of either touchscreen DAB or Alexa. It should be noted that the drivers had no help or training on how to use the devices before the trial..

“At the end of each of the tests, we did an in-depth interview with the driver about their experience,” Hill explained. “The videos report on the feedback and include responses from John (https://www.youtube.com/watch? v=NES6nLABsn4&feature=youtu.be),

Figure 1: Average number of glances away from the road taken by test drivers when asked to tune to different stations.

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Figure 2: The number of times the test drivers successfully tuned into a station on both touchscreen DAB and Alexa.

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Figure 1 shows the drivers’ average number of glances away from the road when they tuned into different stations. The figures related to using the touchscreen interface are dramatically higher than the ones collected while performing the same actions using voice control: a minimum of 12 glancing away versus two. An excerpt from the test is available here. (https:// www.youtube.com/watch?v=B0zQ88G0ug&feature=youtu.be) As for the effectiveness of each user

Sarah (https://youtu.be/h2VgbEOvRdU and Olivia (https://www.youtube.com/ watch?v=76oHiiyFDzk).”

VOICE IS SAFER Drivers reported that voice control is safer than touchscreen controls when driving, that even if they had never used voice control before learned it very quickly. For “voice virgins,” the car felt like a comfortable environment to speak in. Most drivers felt they could explore (continued on page 10)

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TOUCHSCREEN (continued from page 8)

more live radio and podcasts through voice.

As for the factory-fit DAB radio, drivers reported that navigating by multiplex was universally problematic, while navigating by presets (logos) on the touchscreen was quite simple.

Some stations, particularly local stations, were harder to find than others through voice.

“Test drivers found voice control much easier and much safer than the standard touchscreen interface,” Hill explained.

“That road test has been the first step to prove that voice can work with radio. The second one will now be assessing how should voice work with radio.”

Michael Hill, managing director of Radioplayer, reviews the radio user interface in a Tesla.

May 2019

In his opinion, voice is coming into cars but car companies are doing this in a fragmented way. Putting “as is” Amazon Alexa or similar technology in the dashboard could be appealing to consumers, but this doesn’t result in the complete in-car integration. For example, drivers won’t have the ability to turn on the car’s air conditioning. And Hill believes the voice system should be able to control all of the things in the car, not just messaging and sound.

“The perfect car radio is a blend of broadcast digital radio, FM, internet, and voice, working seamlessly together,” Hill concluded. “All new cars now have a connection to internet according to EU legislation. The radio industry should now study what it can leverage that internet connection.”

The VW cup holder seems designed to fit an Amazon Echo Dot device.

◗NEWSWATCH 5TH DRM ENTERPRISE AWARD NOW OPEN FOR NOMINATIONS Digital Radio Mondiale has launched its 5th DRM Enterprise Award.

According to the consortium, the award honors an individual or organization that has “promoted DRM successfully, has convincingly explained how DRM can be applied innovatively and can be actively introduced.”

DRM explains that the winner will be a “true social media influencer, who has used for this purpose communications methods such as, though not exclusively, social media.” DRM adds that its objective in DRM 2018 Enterprise Award Winners. awarding this prize is to disseminate information about the DRM digital radio standard, stimulate interest provide further knowledge To qualify for the award, two credible endorsto new territories while consolidating interest in ers, ready to testify about the good work of the existing DRM countries. candidate, must nominate the individual or orga-

nization. In January DRM handed the last Enterprise Award, which focused on Southeast Asia to the DRM Stakeholders’ Group, led by the Indian network operator BECIL. An independent board of specialists, made up of DRM Consortium representatives, will select the victor, who will also receive a cash prize.

The deadline to enter is Sept. 15. DRM will announce the 2019 winner before the end of the year.

“The fifth enterprise award will recognize the efforts of one exceptional individual or organization prepared to explain simply and convincingly the many obvious benefits of Digital Radio Mondiale and digital radio,” said DRM Consortium Chair Ruxandra Obreja. “The attractive features of DRM like the many data services, its traffic information capability or the emergency warning functionality offer new opportunities and applications to meet real and urgent needs of people in many parts of the world.”

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May 2019

Australia Still Has Shortwave Voices There are a number of private shortwave broadcasters on the air from down under

The Inverted V is a popular antenna choice for private shortwave broadcasters in Australia.

Photos courtesy of Unique Radio’s Tim Gaylor

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BY HANS JOHNSON

SYDNEY — Radio Australia may be dead, but shortwave is alive and well on the continent.

Reach Beyond Australia is on shortwave, but with its Christian programming largely in foreign languages, it really isn’t seen as representing Australia on the shortwaves. But there are other private Australian stations that are broadcasting and more are planned.

And while these stations are not a replacement for Radio Australia’s international transmissions or the defunct (for the moment) Australian Broadcasting Corp. domestic service, they do have various goals and share certain characteristics.

Their transmitter power is typically around 1,000 W and the inverted V is a popular antenna choice. In addition, these stations are assigned frequencies in the 120-, 90- and 60-meter shortwave broadcasts bands, with their modulation either AM or single sideband, although some have expressed an interest in broadcasting in the Digital Radio Mondiale digital standard.

WHO ARE THEY? 4KZ is a shortwave relay of an Innisfail, Queensland, medium-wave station with the same call sign. It is part of the NQ Radio network. 4KZ plays a variety of music and is heavily involved in the community. The shortwave serves remote areas of north Queensland. “We are planning a 90-or 120-meter service for evenings local time, from station 4 a.m. in Mareeba,” explained Al Kirton, NQ Radio’s general manager.

Unique Radio has been on three years and currently broadcasts from Gunnedah in New South Wales. Its owner, Tim Gaylor, has a background in community radio. “We like a station to inform people about alternative subject matters not currently on mainstream media,” he said. Unique Radio also plans to add a night frequency in the 90-meter band.

There are also future stations in the works from New South Wales. Peter Tate’s Radio X Network consists of various internet music streams. He’s adding shortwave from Wee Waa, a town located in the New England region in New South Wales, with transmitters on the 120-, 90- and 60-meter bands. The same program will run on all three frequencies. “You pick the best one for reception,” he said. (continued on page 14)

Unique Radio’s transmitter broadcasts in SSB [single sideband] mode.

Unique Radio is using amateur radio equipment.

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STREAMING (continued from page 1)

“Streaming services are the new best friend to music. After all they have transformed the financial fortunes of a sector that was on its knees,” he said.

“But they have set their sights on radio.”

Worse yet, “Whereas in years gone by my predecessors would today be eyeballing their competition across the United Kingdom radio sector, our competition isn’t even based on this island,” said Shennan. “The new competitive set is global.”

NOT NECESSARILY THE BAD GUY Based on the warnings about streaming media such as those delivered above, it is easy to assume that listeners accessing audio content by the web is bad news for broadcasters.

But this isn’t actually the case, because streaming media is merely a delivery platform that is indifferent to the content is carries. In other words, streaming media itself is no more an enemy of broadcast radio than it is a friend: It all comes down to the specific content being streamed, and how that affects broadcast radio’s audience share.

This point is not lost on James Cridland, radio consultant.

“Are Spotify, Deezer, Pandora or other streaming music operators hurting radio? Yeah, of course they are — if your radio station just plays music,” Cridland told Radionet. “I can get a much better ‘Ten great songs in a row’ from Spotify than I ever could from your station — with the benefit of personalization and skipping songs I don’t like. The same goes for YouTube, which gives a pretty good music service these days too, and YouTube’s free.”

“If you are a radio station and you don’t offer anything beyond ‘10 great songs in a row,’ then the growth of these streaming services should concern you,” he noted. “They account for a significant chunk of at-work listening; including mine.”

CAPTURING APP MAGIC On the flip side, are TuneIn, Radioplayer, and other websites that aggregate and stream radio stations hurting broadcast radio? “Absolutely not,” replied Cridland.

“First, it’s another place for your

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radio station to be found. Second, aggregators like TuneIn or Radioplayer get your station into places that you, yourself, can find much harder to reach.

Everything from smart speakers to better experiences in the car are all enabled by aggregators like this.”

Kronehit, the Austrian radio station whose app matches Spotify on features.

Rüdiger Landgraf is Kronehit’s program director.

The takeaway: Streaming media can be a boon to broadcast radio if their stations are easily available on TuneIn, Radioplayer, and other aggregator sites; and made accessible online and via apps to people at their computers, in cars, and on their smartphones.

Radio apps are increasingly popular with listeners in general, and particularly the Millennials that broadcasters are so desperate to reach.

Don’t take our word for it; check out what’s happening in the U.K. according to RAJAR [Radio Joint Audience Research]; the country’s official radio audience measurement agency.

According to RAJAR’s Spring 2015 MIDAS [Measurement of Internet Delivered Audience Services] survey, 19 million people (35% of the U.K.’s population) had downloaded radio apps.

This included 4.1 million (49%) of 15–24-year-olds and 4.3 million (49%) of 25–34-year-olds.

AN APP MASTER Jump ahead three years to RAJAR’s Spring 2018 MIDAS: Now 28 million people (52%) of the U.K. population) had downloaded radio apps.

This total includes 5.1 million (64%) of 15–24-year-olds) and 6.2 million (69%) of 25–34-year-olds.

On the good side, radio apps (those delivering broadcast radio streams via the mobile internet), are gaining ground among U.K. listeners of all ages; including the much-sought-after Millennials.

On the bad side, listeners can also tune into streamed radio using “aggregator apps” offered by TuneIn and Radioplayer; apps that let people easily tune to other stations besides your own.

Kronehit

14

Don’t lose heart: “If you want your listeners to come to your station’s app, then they will,” said Cridland; “but only if you make your app better than the aggregator apps, and at least maintain ‘feature parity’ with them.” In other words, a broadcaster’s radio app has to offer “all the bells and whistles” that are in TuneIn’s app, he said. “Got Chromecast? Android Auto or Carplay functionality? Does it work with your watch? Listeners want all this stuff too.”

“Do your own apps hurt ‘radio’?” he queried. “Only if you believe radio is defined by having a transmitter in a field.”

Austrian Top 40 station Kronehit has embraced James Cridland’s approach and then some, by ensuring that its free Kronehit app is not only as better than TuneIn’s but also able to match the music selection features offered by Spotify and Pandora.

MAKE STREAMING YOUR FRIEND Specifically, Kronehit’s radio app allows listeners to skip songs they don’t like, just as they can with Spotify. When the replacement song has finished, Kro-

AUSTRALIA (continued from page 12)

Tate adds that while he definitely wants to get on shortwave it is “an extremely expensive and slow-going process.”

AV-Comm is planning a station at Gundary, also in New South Wales.

The company’s technical director, Garry Cratt, is also founder of Tecsun Radios Australia. “The shortwave service is still in the planning stage,” Cratt explains. He adds that he is looking for a transmitter.

In addition, another station is

nehit’s streaming feed automatically rejoins the show in progress; keeping listeners locked into Kronehit’s unique broadcast environment.

“We let people jump over the song, while remaining with the live feed,” said Rüdiger Landgraf, Kronehit’s program director. “In this way, they don’t lose out on our live weather and traffic information; something that makes broadcast radio so much better than automated streaming media. Live content like this is what makes broadcast radio so much better than music streaming. With the Kronehit app, our listeners get the best of both worlds.”

If there’s a moral to this tale, it is that streaming media can be broadcast radio’s salvation, rather than the cause of its demise.

The key to attaining this salvation is for broadcasters to go all-out in replicating the very best features that streaming media web sites and apps have to offer, and then topping them with the live information and personality-driven content that radio excels at.

James Careless reports on the industry for Radio World from Ontario. expected in the state of Victoria, where Gary Baker, owner of a solar energy company in Victoria, hopes to begin broadcasting later this year from the town of Numurkah. “The format will be partly Christian-based with some additional programming aimed specifically at outback Australia residents,” he explains.

Government services or not, Australia will continue to have voices on the shortwave bands.

Hans Johnson has worked in the shortwave broadcasting industry for over 20 years in broadcasts sales and frequency management.

16

BUYER’S GUIDE

Audio Processing

RADIOWORLD

May 2019

Hofstra Picks Wheatstone FM-55 Processor Academic David takes on commercial NYC Goliaths

◗USERREPORT

BY ANDY GLADDING Chief Engineer WRHU(FM)

HEMPSTEAD, New York — WRHU(FM)/88.7 MHz has been the voice of Hofstra University and the surrounding community for 60 years and is Long Island’s oldest noncommercial radio station. As chief engineer of WRHU, it is my responsibility to make sure that our 430-watt FM signal remains technically competitive in the New York City market.

Tasked with upgrading our aging air chain and transmission paths, I needed to find a processing solution that was superior to our competitors and also cost-effective while being capable of handling a variety of formats and styles with minimal supervision. After doing much research, discovery and listening trials, I felt that the Wheatstone FM-55 was the best tool to accomplish our goals.

The FM-55 is an easy product to install and configure and has a powerful GUI that provides access to all the advanced machine functions. We have found these features to be essential to competing in the New York City market.

WRHU, part of Hofstra’s Lawrence Herbert School of Communication, has a diverse staff of more than 230 students and community volunteers and is the only college station in the country contracted to produce, broadcast and distribute games for a national sports franchise, the New York Islanders. With the FM-55, our sound is now superior to our much larger peers in the NYC market and helps us maintain our edge and presence.

For information, contact Jay Tyler at Wheatstone in the United States at +1-252-638-7000 or visit www.wheatstone.com.

From left, Hofstra University’s Chief Video Engineer Joseph Valerio, WRHU Student Technical Engineer Jon Sanelli and WRHU Chief Engineer Andy Gladding

◗TECHUPDATES

THIMEO UPGRADES STEREO TOOL 9.30

DM BROADCAST VIBE PROVIDES FLEXIBILITY

UDEN, Netherlands — Thimeo

BOLOGNA, Italy — DM Broadcast describes its Vibe audio processor with built-in MPX and RDS encoder as providing a flexible alternative for radio broadcasters.

The three- or six-band Vibe FM is fed by a wideband AGC, while DSP manages the audio processing and RDS/MPX encoding.

The system, which DM Broadcast says, gives radio stations a natural and clear sound, allows users to implement new functions and upgrades through software updates.

In addition, an optional Ethernet streaming card lets users play MP3/AAC+ streams and files. It forms a complete stream to the MPX and RDS receiver for use as a spare audio source or STL network. In this configuration, the audio signal coming from the network is processed by the DSP and converted to analog through the MPX output, thus creating an entirely digital processing chain.

For information, contact DM Broadcast in Italy at +39-051817657 or visit www.dmbroadcast.it.

Audio Technology highlights new features and improvements in Stereo Tool 9.30, the latest version of its FM, AM, HD, DAB+ and streaming audio processor.

MicroMPX, a codec to stream a composite FM signal including pilot and RDS over an IP connection at lower bitrates, is now built into Stereo Tool, making it possible to stream directly from Stereo Tool to the transmitter. At the transmitter site, the firm explains, all that is needed is a decoder that feeds the transmitter.

Also, the company has improved the FM final clipper to make it sound fuller, louder and more transparent.

The company says other improvements produce a more consistent and natural sound in the dynamics section; and for tracks that lack mid-bass, there’s a new synthesizer that generates natural-sounding mid-bass to benefit listeners on small speakers.

Thimeo has added features to the RDS encoder, which now supports EON for large nationwide networks of FM stations, and ODA, used for example to send traffic information to navigation systems.

Also new, “The BIMP” is a built-in micro processor module that communicates with the rest of the processing to reduce total processing latency. Microphone and normal processing combined can be done in under 6 ms for the low-latency monitoring output.

For information, contact Thimeo Audio Technology in the Netherlands at mail@thimeo. com or visit www.stereotool.com.

18

RADIOWORLD |

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RadioWorldMagazine

BUYER’S GUIDE

Hearing It in the Air Tonight Audio Processing

Keeping the emotion in radio with Omnia.11

◗USERREPORT

BY CLAY WALKER Program Director/Director of Digital Integration WPAW(FM) Entercom Greensboro/ Winston-Salem/High Point

GREENSBORO, North C arolina — One of the most powerful stories

of music creation comes from 1981, when Phil Collins produced “In The Air Tonight.” The song was assembled during a dark time in Collins’ life, and he wasn’t afraid to show his feelings.

If you remember, the song’s foundation is an emotionless drum machine, and it’s layered with movements of great intensity, crescendos and decrescendos, leading up to the song’s climax and trademark drum solo. The emotions in each layered and reversed vocal, transient guitar riff, and synth is, to me, unlike any other song pressed to vinyl or compact disc.

For years however, I always thought this track sounded rough on FM radio.

It seemed most stations had to dance the loudness dance and leave musicality and emotion leaning against the wall like an awkward seventh grader at his first dance.

That’s one of the toughest parts about radio in general. It can be difficult to express emotion when we’re told we have to be the loudest station on the

dial — the station with the most bass, the station that doesn’t come up for air because we’re afraid someone’s going to punch over to a competitor. And, Lord, have mercy if you’re encoding for PPM. But isn’t music the ultimate expression of emotion? Lost love, party songs, pride about your home state (I’m looking at you, Skynyrd) — the list goes on, but the common thread remains … music is all about emotion!

Enter the Omnia.11 audio processor from Cornelius Gould and his merry band of processing gurus at the Telos

Our products perfectly support studio-to-studio as well as studio-to-transmitter links and broadcasters increasing cross-media tasks.

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Alliance. With the recent release of G.Force Version 3.5 software update, coupled with its optional Perfect Declipper software, there’s no longer a tradeoff between loudness and musicality. I can push a station’s Omnia.11 as hard as the market will tolerate, while at the same time allowing the processor to open up those transient details that come standard with “In The Air Tonight.”

A MATTER OF FEEL Modern songs that have been mastered for smartphone consumption

May 2019

(translation: clipped to death) are given a breath of fresh air that’s akin to early compact disc technology with incredible dynamic range, but at the same time maintaining the competitive punch, with loudness that doesn’t generate that ridiculous intermod distortion that traditional processing tends to generate. Sure, the .11 has been out for a number of years now — but I’m more than confident installing this processor in some of the most competitive stations in America.

Yes, the Omnia.11 can make your station loud — it’s great at helping your station jump off the dial and makes you as competitive as you want. As a program director, however, the real underthe-hood elements don’t matter as much as the results.

How does the listener feel when they hear the radio station? Are we taking them somewhere? Can they feel the despair in Phil’s heart when the first few beats of the drum machine arrive? Can they really feel the intensity of his pain when the infamous drum break finally kicks in? Are listeners hearing the subtle crackle and pops of a smoldering fire in Cam’s “Burning House?” How do your listeners feel when the beat drops in Maren Morris’ “The Middle?”

What makes the .11 my favorite tool in the processing arsenal is its unparalleled ability to handle both loudness and emotion. To me, it’s akin to seeing HDTV for the first time. You’ll hear songs that you’ve played countless times on the air come out of your speakers with an added dimension. I don’t know how they do it, but it sure is cool.

The fact of the matter for me is that songs are like bookmarks in the chapters of our lives and we deserve the chance to treat them like it. The Omnia.11 audio processor from the Telos Alliance gives us a chance to turn our radio stations away from being hype machines to being what we truly were designed to become — emotional companions for our fantastic listeners.

For information, contact Cam Eicher at The Telos Alliance in the United States at +1-216-241-7225 or visit www.telosalliance.com.

ABOUT BUYER’S GUIDE Radio World publishes User Reports on products in various equipment classes throughout the year to help potential buyers understand why colleagues chose the equipment they did. A User Report is an unpaid testimonial by a user who has already purchased the gear. A Radio World Product Evaluation, by contrast, is a freelance article by a paid reviewer who typically receives a demo loaner. Do you have a story to tell? Write to brett.moss@ futurenet.com.

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RadioWorldMagazine

May 2019

BUYER’S GUIDE Audio Processing

Sound Sweet Spot With Orban Optimods Relies on 96 Orban Optimods and 27 PC-based Opticodec cards across multiple locations in Malaysia

◗USERREPORT

BY JUDE DAWSON Senior Manager Broadcast Operations

To deliver steady high-fidelity audio over these platforms, we deployed Orban’s arsenal of digital audio processors.

KUALA LUMPUR, Malaysia —

Astro Radio, a commercial radio network based in Malaysia and owned by Astro Holdings Bhd., has been revolutionizing radio in Malaysia since its launch in 1996 when we introduced format-specific programming, i.e., format radio, to our listeners.

We began operations with five FM radio stations, eight satellite radio stations with 25 regional commercial splits with the (then-revolutionary and nowlegendary) Optimod-FM 8200 digital audio processor. Much has been said and written about this amazing piece of technology; it is sufficient for us to simply state it was the best decision we ever made to go with Orban.

The 8200 made our stations the consistently best-sounding radio network on the FM dial in Malaysia. We’re pleased to say that even after 20 years in the transmission chain, the Optimod FM 8200 still performs better than any competitor’s current products.

GOOD PERFORMANCE Today, Astro Radio operates 19 radio networks, which cater to a diverse range of musical tastes and demographics.

Our stations broadcast to our listeners on three primary delivery platforms: FM, satellite radio and online.

Our flagship brands hitz, My, Lite, Mix, Era, Sinar, Melody, Raaga, Gegar, Zayan and goXUAN reach 16.2 million radio listeners, 17.5 million social media followers and 56.3 million on Facebook.

To deliver steady high-fidelity audio over these platforms, we deployed Orban’s arsenal of digital audio processors with great success.

For FM broadcasts, we utilize the 8700i, 8600, 8500, 8500-FM and 5500

audio processors in tandem with the 5518 stereo encoders.

For satellite-radio audio processing we chose the 8685 (yes, the one that does surround sound). We also still use the 8200 to process audio for some of our satellite-radio stations!

To dominate and tame the online streaming platform, we use a combination of Optimod-PC 1211 cards as well as Optimod-PCn StreamS software.

Orban units at Astro Radio headquarters in Kuala Lumpur.

In total, we use 96 units of rackmount Orban Optimods as well as 27 PC-based Opticodec cards across multiple locations in Malaysia to deliver the sweetest, cleanest, distortion-free and regulatory-compliant sounds. We’re very pleased that our stations sound clean and loud but don’t distort.

We have been able to achieve and maintain these high standards simply because of excellent technical support and sound product advice over the years from many of the experienced, talented and knowledgeable people at Orban.

Simply put, Orban’s audio processor solutions just work beautifully for Astro Radio.

For information, contact Orban in Germany at +49-7141-2266-0 or visit www.orban.com.

◗TECHUPDATE DEVA DB6400 OFFERS HOST OF FEATURES BURGAS, Bulgaria — DEVA Broadcast says its DB6400 offers advanced processing and a range of functionalities.

According to the company, the unit features a “sophisticated processing structure and offers low latency and perfect clarity of sound, regardless of the source material.”

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Fitted with a silence detector and “reliable” fallback function with a built-in MP3 player and a multiformat IP audio player, the DB6400 also has a DSP-based dynamic RDS/RBDS encoder.

In addition, it comes with a set of factory presets as well as several customizable user presets. It can be accessed, set up and controlled through the front panel, remotely via TCP/IP or by the web interface.

For information, contact DEVA Broadcast in Bulgaria at +359-56-820027 or visit www.devabroadcast.com.

May 2019

radioworld.com | RADIOWORLD

◗MARKETPLACE Dante-Based IP Audio Routing System: Spanish manu-

facturer AEQ’s Dante-based IP audio routing 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

The One-Unit Radio Studio:

On-Hertz’ virtual radio studio, Lumo, runs on standard IT infrastructure and offers a web-based UI that is optimized for touchscreen interfaces.

The system integrates a playout solution into one unit and comprises a 10-channel mixing console and AoIP features, including a phone hybrid and a transmission codec.

Running on standard IT infrastructure, offering a web-based UI and optimized for touch interfaces, Lumo integrates a playout solution into one unit. It also comprises a 10-channel mixing console and AoIP features, including a phone hybrid and a transmission codec.

The Lumo radio studio, On-Hertz says, “boosts radio broadcasters’ production capabilities with mobility and enhanced workflows at a fraction of the cost of traditional equipment.”

With a scalable pricing structure, the system, unveiled at IBC2018 in Amsterdam, now features a redesigned user interface, a gain-sharing auto-mixer and enhanced DSP. Thanks to its modern APIs and various integration possibilities, Lumo can be integrated within an existing ecosystem of professional broadcasters.

From the show host’s couch at home to the basket of a hot-air balloon a thousand feet above the ground, or simply to create a more relaxed atmosphere in the main facility, On-Hertz points out that Lumo lets users focus on producing quality radio content.

Info: www.on-hertz.com

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.

Info: www.aeq.eu

EBOOKS: Tools for Strategic Technology Decision-Making

Radio World’s growing library of ebooks can assist you in maximizing your investment in an array of platforms and tools: licensed transmission, online streaming, mobile apps, multicasting, translators, podcasts, RDS, metadata and much more. The ebooks are a huge hit with readers. They help engineers, GMs, operations managers and other top radio executives — radio’s new breed of digital, cross-platform decision-makers — understand this new world and thrive in it.

Visit radioworld.com/ebooks

21

22

RADIOWORLD |

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RadioWorldMagazine

May 2019

◗MARKETPLACE Customizable Operation: Type R, from Calrec, is a modular, expandable, IP-based radio system, which utilizes standard networking technology and combines it with soft panels that can be tailored to operator needs. Type R’s physical control system consists of just three slimline panels: a fader panel, a large soft panel and a small soft panel. Each is compatible with COTS hardware and powered over Ethernet to keep cabling to a minimum.

Calrec says Type R has a simple 2U core at its heart with integrated I/O resources to get you up and running immediately. A single core can power up to three independent mixing environments, with no sharing of DSP resources.

The company explains that it has designed the touch-screen soft panels, which can be customized as multi-function panels, around simple and colorful control elements. Operators can use the soft panels in either landscape or portrait formats and is able to change functionality quickly from show-to-show using memory loads to fit the needs of the talent. In addition, says the firm, it’s possible to add or remove panels as simply as plugging or unplugging an Ethernet cable.

Info: https://calrec.com

BROADCAST EQUIPMENT EXCHANGE

RADIOWORLD

May 2019

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ADVERTISING CONTACTS EUROPE, MIDDLE EAST & AFRICA: RAFFAELLA CALABRESE +39-320-891-1938 Fax: +39-02-700-436-999 raffaella.calabrese@futurenet.com

THE AMERICAS: JOHN CASEY +1-212-378-0400 x512 Fax: +1-703-852-4583 john.casey@futurenet.com

This listing is provided for the convenience of our readers.

Radio World assumes no liability for inaccuracy.

page

advertiser

website /url

18

2wcom Systems

www.2wcom.com

8

AETA Audio Systems

www.aeta-audio.com

15

Axia - The Telos Alliance

www.axiaaudio.com

17 Calrec

www.calrec.com

1

DB Elettronica Telecom.

www.dbbroadcast.com

4

Deva Broadcast Ltd

www.devabroadcast.com

1

Elenos Group

www.elenosgroup.com

23

Inovonics Broadcast

www.inovonicsbroadcast.com

9

Lawo AG

www.lawo.com

6, 14, 20

Nautel

www.nautel.com

24 Orban

www.orban.com

19

Thimeo Audio Technology

www.stereotool.com/innovators

SEND MATERIALS TO:

7

Tieline Technology

www.tieline.com

NICOLE SCHILLING nicole.schilling@futurenet.com

2, 11, 13

Wheatstone

www.wheatstone.com

9000