Now playing:
Stereo 974, Melbourne
Visit Stereo 974 Homepage
Blog Archives

Fraunhofer, Panasonic Team with Aupeo for Streaming 5.1 Demo

Erlangen, Germainternet radio Fraunhofer, Panasonic Team with Aupeo for Streaming 5.1 Demony, and Las Vegas – Jan 5, 2012 – Fraunhofer IIS, personal music service provider Aupeo and Panasonic Automotive Systems Company of America (PASA) announced a collaboration to demonstrate the new Aupeo service at the 2012 CES in Las Vegas.

Aupeo uses Fraunhofer’s MPEG Surround audio codec to deliver . According to Fraunhofer, “the bit rate efficiency of the codec allows for streaming over 3G/4G or Wi-Fi networks.” Fraunhofer adds, “This high-quality surround codec provides a cost-efficient delivery of streaming surround audio at stereo bit rates as low as 64kb/s for 5.1-channels. MPEG Surround is compatible with existing stereo receivers and includes a binaural mode for playback of surround sound over common stereo headphones.”

Fraunhofer will demonstrate the Aupeo Surround service in a living room setting at its CES booth #20417, and Panasonic Automotive Systems Company of America will exhibit a car head unit with integrated Fraunhofer MPEG Surround decoder built on PASA’s Connected Infotainment Platform at the North American International Auto Show in Detroit.

Tagged with: , ,
Posted in All Posts, Radio

Fraunhofer IIS Audio Codecs Power Winamp, Shoutcast

iis rgb 300x85 Fraunhofer IIS Audio Codecs Power Winamp, Shoutcast

Erlangen, Germany – Aug 31, 2011 – Fraunhofer IIS has signed a licensing agreement with Nullsoft, which will enable the inclusion of Fraunhofer’s MPEG audio codec software in Nullsoft’s software products, such as Winamp and Shoutcast.

The Fraunhofer-provided codec suite includes HE-AAC v2 and HD-AAC. HD-AAC combines lossless audio quality with the flexibility and convenience provided by the underlying AAC codec.

The latest versions of the Winamp client and Shoutcast broadcast tools incorporate Fraunhofer’s HE-AAC v2. Future versions will also feature HD-AAC.

Tagged with: , , ,
Posted in All Posts, Radio

Internet Radio Streaming and APRA

internet radio Internet Radio Streaming and APRA

We are often asked the question about streaming and how licensing works with your APRA agreement;

APRA|AMCOS offers the following licence schemes for Webcasters.

  • Audio webcast channel (General) – net radioApplies to online radio webcast channels that are exclusive to the Internet. They are characterised by a continuous audio stream for simultaneous reception by users.

Licence fees are assessed at 5.5% (inclusive of GST) of the service’s revenue where music use is 90% plus. Lower rates apply where music use is, on average, less. All Audio Webcast Channel agreements are subject to minimum fees.

The APRA|AMCOS licence also offers the facility to offer on-demand archiving of material previously streamed on any Audio Webcast channel for an additional amount.

Please note: jukeboxes, like streaming services and those where users can interact and effect the programming of content, are covered under a different agreement.

  • Other Audio webcast channel LicencesLimited General and Private Individual Audio Webcast licences are also available upon request.
    • The Limited General Licence does not allow for any advertising and is only available for not-for-profit organisations.
    • The Private Individual Licenceis only available to those sites where the URL is registered in the personal name of the licensee.Full reporting of all works played on each channel must be made to APRA|AMCOS on a quarterly basis.
  • Online Radio SimulcastsIf you have an existing APRA broadcast licence for a terrestrial radio service and wish to simulcast your service online, you will need an additional APRA|AMCOS Online Simulcast licence.There are three types of Online Simulcast licences available:
    • Commercial Radio
      As part of APRA|AMCOS’ renegotiated Commercial Radio Broadcast Agreement which commenced on 1 January 2010, commercial radio stations can now simulcast their terrestrial broadcasts online. Under the new agreement, other online rights – such as making available podcast programs of up to 60% music use – are also included. For a full explanation of what is covered online for Commercial Radio stations, please contact online@apra.com.au.
    • Community & Narrowcast Radio Stations
      Community Radio stations (Metro, Sub-Metro and Regional) and Narrowcast Radio services who wish to simulcast their existing terrestrial radio broadcast signal online, will need to take out a separate agreement to their existing APRA and AMCOS Broadcast agreements. Please contact our Online Department: online@apra.com.au for a copy of our online simulcast licence.
  • Online Music Concerts – Live WebcastingCovers the live webcasting of music concerts and festivals. Licence fees are based on a percentage of revenue: 8.25% (inclusive of GST).All live webcast licences (with archiving and without archiving) are subject to a minimum fee – price available on application.

These licences are currently under review.

More information see http://www.apra-amcos.com.au/musicconsumers/internetmobile/webcasters.aspx

Tagged with: , , , ,
Posted in All Posts, Radio

As Broadband Proliferates, so do Wi-fi Radios

Author : Mark Krieger

Broadband access in the home has become the norm in American households. According to a study by the Pew Research Center’s Internet & American Life Project conducted in April of this year, 63 percent of adult Americans indicate they now have some form of broadband Internet connections at home. That figure is up substantially from the 54 percent level registered by a similar survey taken at the close of 2007 and suggests that broadband is on pace to become ubiquitous in U.S. household in the short term.

It’s no surprise, then, that dedicated Wi-fi radios have transcended their origin as an uber-geek novelty to a teeming market niche with more than 40 models available. And that’s not taking into account a burgeoning assortment of advanced handsets that can accommodate Internet radio/Wi-fi apps.

The range of products is diverse. Old school audiophiles can purchase a Sangean Wi-fi radio tuner that looks very much like a typical FM/AM model with stereo RCA line outputs.  Traditional desktop models abound, some in stereo, others in mono and most with traditional clock/alarm functionality. For those who like a little punch in their audio, V Tech offers the IS9181 with 3W stereo front speakers and a 10W subwoofer.  If you want a portable that moves around the house with you, the Revo Pico’s diminutive size and rechargeable batteries could be the ticket. In fact, an electronic hobbyist blog recently published a do-it-yourself project for converting an old wireless router into a Wi-fi radio for under $100.

And die-hard IBOC digital radio supporters will be thrilled to learn they can now have HD Radio and Wi-fi access in one compact box. The new Sonoro elements W from Germany reportedly combines Wi-fi, HD Radio and Ipod functionality, all in a single, stylish package. And a new entry from Kogan bundles analog AM/FM on board.

So who’s buying Wi-Fi radios? In general, dedicated Internet appliances are not flying off the shelves the way a lot of manufacturers and vendors had hoped, but the trade in Wi-fi radios seems to be building.  Anecdotally, this writer knows several people who own them, and none fit the geek profile. One bought his so he could listen to MLB baseball games without the noise on AM or the expense of a satellite radio subscription. Another uses it to track world newscasts from the BBC and other international broadcasters he used to monitor via shortwave. And the last uses it to access public radio programming not available on her local NPR affiliate. All say they’re satisfied with their purchase.

Thus, it’s content and quality that appear to be driving the Wi-fi radio trend. And as broadband becomes available in virtually every home, look for that momentum to build, as those who still rely on radio turn to the Internet for home delivery of content.

Tagged with: , , ,
Posted in All Posts, Radio

Embracing Mobile Media

Author : Chriss Scherer

Radio by its nature is a mobile medium. And most radio listening is done in our most familiar mobile environment: The car. Being that a radio is a standard device in any car (Can you even imagine buying a car without a radio?) makes it easy to make radio mobile. However, once we leave the car, radio almost completely loses its mobile standing.

There is no lack of portable radio receivers, but with the proliferation of media players, I see very few people carrying a device that is only a radio receiver. Several media players offer a built-in radio receiver, which helps radio, although most users are listening to their own selections and not a radio station.

What makes radio such a good delivery mechanism? The broadcast model is very efficient. One transmitter feeds an unlimited number of receivers (listeners). The cost per listener decreases as the number of listeners increases because the terrestrial transmission system has a fixed cost and can feed an unlimited number of receivers.

But radio is facing a new challenge from Internet streaming. While streaming is not a new idea, it continues to attract new users. Compared to terrestrial broadcasting, streaming is a less-efficient delivery method. There is a fixed cost for the system (like terrestrial), but there is usually a cost per listener as well. With this in mind, the current push to add radio receivers to cell phones makes sense, but it could be a short-term solution.

Some recent discussion has speculated that streaming will not spell the end for terrestrial transmissions. In general, I agree — given the current methods of streaming. We all know that technology is not static. Given time and consumer demand it can change quickly. Even with the current limitations of streaming, stations should not ignore streaming completely.

For radio stations, streaming should be viewed as yet another path to reach an audience. It may not be a large segment today, but it has potential for the future. It can be a way to distribute a main program channel. It can be used to send supplementary channels, like an HD Radio multicast. It can be used to send best-of programming from the main channel. It can be used to offer niche formats designed for a small audience. There are lots of potential uses of supplemental channels.

What’s more important is to consider the future listener. While terrestrial radio seems ubiquitous today, I don’t see the younger listeners rushing out to buy a new radio. They have cell phones and media players galore — and get new ones every few months. To this demographic, terrestrial radio is old school. If they have radio receivers in their devices, it’s usually because it just happens to be there, not because it was a conscious decision to have one.

There are lots of existing streaming services available. While streaming does not yet have the transmission efficiency, it has another advantage: It’s a software-based player. Advances in codecs and players can be implemented with few challenges (or even interaction) for the listener. While a radio receiver could be software-based as well — especially if it is implemented in a mobile device — there are still hardware challenges involved.

Radio already knows how to create successful program streams. As consumer listening evolves and changes, so must radio. Streaming to mobile devices is just one consideration.

Tagged with: , , ,
Posted in All Posts, Radio

Still Think Streaming is Not Important?

Author : Chriss Scherer

Online streaming has been the quiet partner in the audio delivery realm, although we have talked about it since the late 1990s. Some stations have streamed all this time, while others have come and gone; and some have come back.

From a business point of view, streaming’s challenge is its profitability (or lack thereof so far). The complex and comparatively expensive royalty issues alone discourage many from pursuing it. The bandwidth costs of the one-to-one transmission (rather than the one-to-many system of broadcast) are also a challenge. The more popular your stream becomes, the more expensive it is to deliver.

Through all this, there are those who maintain that streaming is just not worth the effort. If that’s the case, why are online services so omnipresent? Pandora, Slacker, iHeartRadio and others maintain visibility in the news, in social network circles and even our own industry press. How many sessions at conventions include some mention of if not a total focus on streaming? For an activity that’s not that important it sure has a following.

For Pandora, Slacker and others, online is their only game. Unlike iHeartRadio and CBS Interactive, which have established broadcast brands to fuel their efforts, the online-only crowd has to make it solely on their online efforts. Streaming is not a value added, it’s their asset.

In July, Clear Channel’s iHeartRadio made a splash about adding more Pandora-like features to its app. That’s good for iHeartRadio, but also a push for Pandora (which also recently gained public investors). We know the saying about imitation being the highest form of flattery.

Clear Channel has planned a huge Las Vegas event in September to kick-off the new features. As the event approaches we’ll hear more about it, but we’ll also hear more about listening to streams online. It seems streaming is important again.

While radio likes to downplay the role of online-only streamers, they should still be watched. As I noted earlier, streaming has its downsides, but the number of consumers carrying some kind of connected device continues to grow. While the NAB pushes to have FM included in all cell phones, broader online choices continue to grow. (I should note that this entire discussion relates to streaming in general. The debate of streaming vs. over-the-air broadcasting during emergencies and times of high data traffic are not the norm. Over-the-air has certain advantages at certain times, but this is all about the routine use, not emergencies.)

What’s the appeal of Pandora? The new features of iHeartRadio seem to answer that. Listeners can access various stations online of course, but they can also create their own custom stations based on their listening preferences. Clear Channel says its new service will also add non-audio features such as song lyrics, contests and locally targeted news updates. Localism added to an Internet stream? Gee, that sounds just like … radio.

Clear Channel also says it won’t need to make money from the new service. I find that hard to believe. A business is created to make money in some way. According to an iHeartRadio statement, the service will be successful if it helps Clear Channel reach audiences in different ways. There’s merit to that idea; extending the reach and reinforcing the brand is a good thing. But if it’s not adding something to the bottom line I don’t see the practice continuing forever.

Radio stations have one advantage in streaming: They already know how to create an audio stream to a target audience. And while anyone has yet to really find the hook in making streaming a profitable venture, it has the advantage of furthering a station brand. It also keeps a station relevant in the eyes of the online listener.

 

Tagged with: , , ,
Posted in All Posts, Radio

Revo Introduces K2 Terrestrial and Internet Radio

revo k2 Revo Introduces K2 Terrestrial and Internet RadioLanark, Scotland – Aug 31 – Revo Technologies has introduced its K2 digital radio, which is capable of delivering reception of a wide variety of radio formats including DAB, DAB+, FM and Internet radio. K2′s hardware specifications include a large, graphic, secret-until-lit OLED display, a motorized dock for Apple devices, and an array of connection options including stereo RCA and digital optical out, Apple video out, and 3.5mm headphone jack.

The K2 is compatible with Revo’s new RadioControl App for Apple’s iPod and iPhone. This application acts as a full remote control to select DAB, FM, Internet radio, Last.fm, and provides control for volume up/down, play, pause, love/ban and EQ settings.

The K2 will go on-sale worldwide on Oct. 17 with a suggested retail price of about $500.

Tagged with: , , ,
Posted in All Posts, Radio

Mobile Internet Broadcasting: Will it Ever Match Terrestrial?

Source : Doug Irwin, CPBE DRB

New York – Aug 25, 2011 – Will we ever reach a point in time such that our cellular system (and more specifically, Internet broadcasting) is able reach as many people reliably as terrestrial broadcasting? After the events of this past week, I really wonder. The earthquake that was felt along much of the east coast on Aug. 23, 2011, generated so much cellular phone traffic that many users experienced difficulty in completing calls, at least immediately after the event. Systems were overloaded.

As I write this (on Aug. 25, 2011) it is predicted that Hurricane Irene will run right over Manhattan within about 72 hours. Due to my past experience I expect issues with the cellular system as the storm passes and afterwards.

Moreover, have we seen any improvement over the years? I was reading an article I wrote in 2005 about Katrina (“When Disaster Strikes,” Oct. 2005) in which I quote Marty Hadfield, then director of engineering for Entercom, regarding cellular phone availability immediately after the event. “The worst part is when you have lots of people concentrated in one spot; the cellular system gets overloaded. All the downtown sites were constantly overloaded. After about three days though, people’s batteries began dying, and so the cell sites came back in to a useable condition.”

“But those are unusual emergency events,” you say. Interestingly, James Cridland, in his blog entry of Aug. 23, examines the notion that everyone at a soccer match can listen to the game being “broadcast” via the Internet. With some simple math James shows that, at best, 2.8kb/s is available to each user of the O2 Mobile 3G network who happens to find himself at Manchester United’s stadium. For everyone there to listen to a 32kp/s stream, in theory at least, O2 would have to increase its available bandwidth by more than 11 times. Do you really think that’s going to happen any time soon? In the meantime, any number of people, from one to one million, can receive a terrestrial broadcast of that same event, right now, today.

Tagged with: , , ,
Posted in All Posts, Radio

Local content is the essence of community broadcasting

Author : Michele Bawden

Community broadcasting — radio and television — was created to develop and reflect a sense of Australian identity, character and cultural diversity. Community radio stations feel very strongly about ‘local content’ and fear it may be further diluted under a review being undertaken by Communications Minister Stephen Conroy.

The federal government has called for submissions to its review of regional commercial radio local content requirements. But community broadcasters are beginning to question Senator Conroy’s stated commitment to protecting ‘local content’.

The review puts forward as a ‘key issue’ that greater flexibility be provided for regional commercial radio broadcasters, by spreading the same small amount of local content across both weekdays and weekends. In essence, this proposes diluting even further the local content that commercial broadcasters must provide to local audiences.

Yet local content is the essence of community broadcasting, which is media created by local people for their communities

In other media sectors, ‘local content’ is often taken to refer to Australian content. For the community broadcasting sector, ‘local content’ means content that is produced in the local community and is directly and locally significant to Australians living in those communities.

The national average of locally-produced content in the community sector is 129 hours per week, accounting for 77 per cent of all content broadcast (CBD Survey 2007-2008). We produce 77 per cent of our content at the local station level. We also broadcast 36 per cent Australian music, significantly exceeding the 25 per cent quota mandated by our codes of practice.

Australians want this local emphasis. The 9.5 million Australians who listen to community radio each month report that they value most the local content and diverse music formats that community radio delivers (McNair Community Radio National Listener Survey 2008).

Indeed, the community broadcasting sector is growing strongly because of our commitment to local content. Our audiences have grown by almost 50 per cent since 1996 and 80 per cent of long-term licensed community radio and TV services are located in regional and outback Australia.

These licensees are responding to community demand for local news, sport, community information and music produced in non-metropolitan Australia: 39 per cent of community radio stations report that they are the only sources of local programs for their communities (CBD Survey 2007-2008).

When one turns to the local content obligations currently required of regional commercial radio licensees, it’s easy to see why Australians, particularly those in regional and outback areas, have such a thirst for local content.

The majority of regional commercial radio licensees are required to broadcast three hours of local content between 5am and 8pm each weekday. On the most generous interpretation, this is 20 per cent local content. However, if you factor in the full 168 hours of the week across which people can and do listen to radio, the figure drops to 9 per cent local content.

For 16 per cent of these commercial licensees (who broadcast in ‘small markets’), the requirement is to broadcast 30 minutes local content per weekday, or just over 3 per cent. Again, if you factor the entire 168 hours of the week, the requirement is to broadcast just 1.5 per cent local content per week. Remote area and racing radio broadcasters must broadcast only five minutes of local content each weekday — so small a requirement as to be negligible.

Greater flexibility for regional radio broadcasters is hardly the pressing need to be addressed.

If, as the review clearly states, ‘the broad intent of the regional commercial radio localism provisions remains valid’, then regional commercial radio licensees should be required to broadcast material of local content in addition to what is already required. The opportunities for coverage of local weekend issues and events in regional and remote Australia are too obvious and numerous to mention.

Surely, if an area of regional Australia constitutes a ‘market’ that viably can be tapped through advertising, then it also constitutes a group capable of generating enough local content to meet the needs and demands of that community.

While the great majority of community broadcasters are volunteers, commercial radio licensees employ those who exercise a professional skill and insight that is critical to Australian society. Each part of the media sector – public, commercial and community – has a different and important role to play in creating content that reflects the culture and diversity of our communities.

Michele Bawden is the general manager of the Community Broadcasting Association of Australia.

 

Tagged with: ,
Posted in All Posts, Radio
Archives
Connect / Login with:
Categories