Extinction-Level Event For Small Commercial U.S. Webcasters?

Right before the holidays, and with little fanfare, the U.S. Copyright Royalty Board released its revised rate-structure for the music royalties streaming audio services must pay. Not surprisingly, large “pure-play” services like Pandora, Spotify, and Apple Music saw their rates per-song/per-listener increase (though they say they can weather the increased cost), while terrestrial AM/FM radio broadcasters actually caught a break. No change for noncommercial webcasters, who play a flat yearly fee up until they hit a certain song/listener threshold (which the vast majority never do).

However, the CRB rates do not include special carve-outs for small, indepdendent, commercial webcasters, who (since 2008-9) typically pay a percentage of their revenue to satisfy the royalty gods. In the past, these deals have been negotiated between this constituency and SoundExchange, the music industry’s streaming royalty-clearinghouse in charge of collecting and disbursing royalty payments, and then codified into the CRB’s rate structure. Read More

HD Proponents Seek Protection for “No New Spectrum”

An interesting trial-balloon was floated last month in Radio World. In it, John Kean, one of the founding employees of NPR Labs (who was let go in a reshuffle this past August) suggested that the FCC’s spectrum allocation rules be revised to better “protect” FM-HD Radio sideband signals.

Before going any further, it’s best to cover some history. HD Radio was adopted by the FCC in 2000 primarily on the premise that the system used “no new spectrum.” In fact, FM-HD signals double the spectral footprint of FM stations — but HD’s proponents got around this by appropriating fallow spectrum the FCC leaves between stations as the stations’ own allocation. Read More

Professional Miscellany

It’s been a busy academic year, and we’re only two months in! Here are some things going on in my professional life that might be of interest to you:

Radio’s Digital Dilemma will be released in paperback next year, somewhere in the January/February timeframe. This came as a pleasant surprise, and signifies that Routledge thinks there’s a larger readership beyond the few hundred that can afford the exorbitantly-priced hardcover.

RDD will be available via Routledge Paperbacks Direct, a publish-on-demand system which absolves the need for bulk print-runs. Read More

No HD Bounce From Radio Show

The latest NAB Radio Show has come and gone, and there was little news about the HD Radio system other than the addition of new automobile makes and models to the company’s roster (including some GM models that had dropped HD last year). Not totally surprising considering that iBiquity’s just been acquired, and I’m sure the folks there and at new parent-company DTS were pretty preoccupied over the last couple of months with the deal.

But I did stumble across some interesting observations online that suggest there’s no rekindled love affair between HD and the industry just yet. In fact, folks still seem to be coming to grips with the fact that the technology still exists. The first is from Art Stone, the proprietor of Streaming Radio Guide. He scraped iBiquity’s directory of HD-enabled stations and crunched the numbers. iBiquity lists 3,818 “current HD based broadcast Channels.” This number counts all HD program streams, including HD-2/3/4 streams, and includes international broadcast licensees. Read More

HD Radio Sells Out

It’s not quite the IPO payday that iBiquity Digital Corporation’s investors had been hoping for, but it does absolve the company of trying to jumpstart radio’s digital malaise on its own. Last week, iBiquity annonunced it was being acquired by DTS in a $172 million deal.

Who is DTS? Perhaps best known for developing multichannel surround sound technology for the film industry, the publicly-traded company now offers a range of digital audio encoding and processing algorithms that can be found in a variety of media formats and electronic devices. Read More