ASIA

Audio Intelligence with Raoul Wedel –
In case you haven’t noticed, the AI revolution is in full swing, and it’s not just about ChatGPT, Image Generation, or AI Voice. It’s about seamlessly integrating these cutting-edge technologies into existing systems. Microsoft has already announced their copilot products for Office and plans to integrate them into Windows. Meanwhile, Meta is rolling out AI features on WhatsApp and Messenger, such as chatbots and image generation.
However, many larger media companies, like iHeart, and other broadcasters in the US are blocking the use of ChatGPT and other generative AI tools like audio, image and video in their organisations as they struggle to keep up with this rapid pace of advancement.

As someone who has experienced the early days of radio automation in the 80s and 90s, I can’t help but see some parallels. Back then, some stations were hesitant to allow computers connected to the internet, which eventually led to disastrous outcomes when virus-infected memory sticks were connected to their systems.
So, how can media organisations manage the risks associated with integrating AI technologies into mainstream communication and messaging?
 Voice
When not connected to large language models like ChatGPT, voice technology has a relatively low risk. However, cloned voices may be used as deep fakes, or voice talents may not have given explicit permission for their use. To avoid legal issues, make sure your voice provider can furnish all the required documentation and consent in spoken word. Some providers, like Resemble.ai, have developed technologies to detect AI-generated voices, but these may be less effective when audio processing is used or played over speakers or phones.
Voice models are typically created using a vast corpus of scientific audio data and audiobooks, posing little risk. Nevertheless, some providers may use user recordings for training data or create unauthorised voice clones, leading to potential legal ramifications.

Audio
Numerous tools have emerged for audio processing that can remove background noise, echo, and separate music from voice. However, separating music from voice can pose a legal threat, such as when a DJ extracts the music from a copyrighted song and uses it in a promo. Being aware of potential copyright violations is crucial for media companies.
Music Generation
AI music generation is a hotly debated topic. Groundbreaking music generation models like Stable Audio have been trained using data they have received consent for, such as from production music site Audiosparx. However, open-source models can be exploited by individuals who train models on copyrighted content and flood platforms like Spotify with AI-generated releases.
Additionally, there’s a random chance that a model may accidentally generate a song similar to a copyrighted track. The risk of using AI-generated music that infringes on copyrights is significant for broadcasters.
On the other hand, haven’t all musicians been ‘trained’ or influenced by other artists? Why should a computer be any different?
Large language models
Large language models like ChatGPT and Bard have become increasingly popular for generating creative content, but they also come with certain challenges. One such challenge is the phenomenon of “hallucination,” where the AI generates content that might be imaginative but isn’t necessarily grounded in facts or reality. While this can lead to interesting and innovative ideas, it can also result in misinformation or content that strays too far from the desired topic.
To strike the right balance, media companies can employ techniques such as fine-tuning these models with domain-specific data and setting strict guidelines on content generation. Additionally, human supervision and collaboration remain essential to ensure the output aligns with the intended message and adheres to journalistic standards. By combining the creative capabilities of large language models with human expertise, media companies can leverage the power of AI while maintaining accuracy and credibility in their content.
The bottom line is that the AI revolution is reshaping the media industry, bringing innovation and enhanced experiences for audiences worldwide. Media companies need to adapt and evolve, harnessing the power of AI to create more engaging, immersive, and accessible content while being mindful of the legal and ethical implications. By navigating this new frontier with caution and foresight, the potential for transformation and growth in the media industry is immense.
About the Author
With a career in the radio industry spanning more than 30 years, Raoul Wedel is CEO of Wedel Software, a leading international provider of broadcast software solutions. In 2021 he launched the Adthos Ad Platform, bringing broadcast-quality AI and synthetic voice technology to the audio advertising industry for the first time. The platform continues to deliver more market firsts, including the option of creating 100% AI-generated audio ads.
Adthos is an international advertiser on the radioinfo group of sites.
Main Pic: Shutterstock

Tags: Adthos | artificial intelligence | Audio Intelligence | Raoul Wedel
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Telecom Regulatory Authority of India (TRAI) has released its recommendations on “Issues related to Low Power Small Range FM Radio Broadcasting’.This followed a request issued last year by the Ministry of Information and Broadcasting (MIB) on the need and timing for introduction of new services such as in drive-in theatres and other use cases of low power small range FM radio broadcasting like hospital radio services, amusement parks, business premises, closed communities such as residential complexes, small habitations, commentary for local events such as air shows and sports events.Low power refers to 1 watt and 500 metres coverage. The recommendations refer mainly to the use of FM for such narrow-coverage services, though “License/Registration/Authorization holders for low power small range FM broadcasting should be allowed to deploy any type of transmission technologies (analogue/digital/ any other)”.

The main features of the recommendations are:
Introduction of a new category of service provider called ‘Low Power Small Range FM Radio Broadcasting’ for provision of low power small range FM Radio.
License/registration/authorization to be granted through a simple registration process via an online application portal.
Approval by Telecom Engineering Centre (TEC) for transmitting equipment for low power small range FM broadcasting.
Eligible entities to hold license registration authorization for ‘Low Power Small Range FM Broadcasting’ are individuals, companies registered under the Companies Act 2013 including LLP and partnership firms. But not political parties, companies with political or religious affiliation or control should be allowed to sue this form of low-power broadcasting.
The permission to operate is between 30 days and five years without any entry levy but requiring some authorization fees depending on the length of the authorisation period (between 1,000 and 10,000 rupees per year). This should be granted online by the Wireless Planning and Coordination (WPC) wing of the Ministry of Communication through online portal within two days of submitting the application. […]

The Taliban forced Nasim Radio, a local radio station in Daikundi province in central Afghanistan, to shut down on Wednesday, September 27. They also arrested its director and two reporters.According to Afghanistan Journalists’ Centre (AFJC), the employees were subsequently released after five hours, but the station remains closed.AFJC said that General Directorate of Intelligence (GDI) forces raided the station’s office at approximately 12:00 PM and confiscated the employees’ work tools, including mobile phones and voice recorders, and sealed the gate of the radio station.

The GDI subsequently detained the head of the radio station, Sultan Ali Javadi, along with reporters Saifullah Rezaei and Mojtaba Qasemi.As of now, local Taliban officials have not commented on the reason for the closure of Nasim Radio and the arrest of its employees. However, AFJC cited a credible source indicating that it may be due to the rebroadcasting of programs from a foreign radio network.AFJC strongly condemns the attack on the radio station as an attempt to suppress and restrict the activities of free media. AFJC requests that the Taliban issue permission to reopen Nasim Radio and refrain from obstructing the free activity of media outlets and their employees.The Afghan Supporting Independent Media (NAI), also issued a statement saying that systematic restrictions on access to information have made the future of journalism in Afghanistan uncertain. It also expressed concerns about challenges such as limited access to information, lack of job security, and physical violence against journalists and media personnel.According to Afghanistan’s media law, media should be free to carry out their professional work without restrictions or threats. Officials should be supportive of the media and journalists.

Earlier this year, the Taliban Ministry of Information and Culture affirmed that no other entity has the right to interfere in media affairs or the work of journalists.Photo: AFJC […]

Selling Radio Direct with Pat BrysonFourth quarter, in the U.S., usually means it’s time to renew clients for the new year. In today’s uncertain economic environment, doing so may seem a bit scary as we determine IF they will renew, might they want to cut back expenditures, or if they might choose NOT to renew!Renewals often require increasing rates. As salespeople, we often don’t want to “rock the boat” by asking for higher prices. Have you ever tried to sneak a renewal past your manager using last year’s rates? Or perhaps you held the dollar amount your client had been spending the same, which means you decreased the number of messages they were using. Did this put them beneath the number of ads required for an OES schedule? If so, we are doing our clients a disservice.

Renewal time should be a time to find ways to better serve our clients. Business is evolving rapidly tossed about by external factors beyond our control. These shifting sands require businesses to constantly change how they do business. The marketing plan they used last year, last quarter or even last week may need to be changed. It’s almost a certainty that their message will need to be changed.Before we ask for a renewal, we need to sit with our clients and do a needs analysis. We need to benchmark where that business has been in the last two years and where it needs to go in 2024. What has changed? What do they anticipate for 2024? Are they in a positive frame of mind or a negative frame of mind? What is their PERCEPTION of the next 12 months?Here are some questions we need to ask:How has your revenue changed in 2023? Up, down flat?What are the major challenges you are facing now?

How have these changed this year?What concerns you most about 2024?If the answer is “supply chain”, ask what products they can get, what they can’t get. When do they anticipate the supply chain to improve?How have they altered their business model because of the supply chain?If they mention not being able to staff fully, ask how this has affected their business specifically. Shorter hours? More days closed? Longer work days for the owner? Is revenue exceeding pre-COVID numbers?If revenue is soft, ask if they are seeing smaller average sales or less traffic. Have your profit centers shifted? If so, how?What will it be important for your customers to know about you in the next few months?How important to you is being involved with community events?Where do you want your business to be by the end of 2024?What needs to happen to get it there?You probe for changes in the business. You ascertain goals and objectives for 2024. You understand your client’s perceptions of his world. These new challenges can trigger changes in how they have been advertising. If clients have not been using effective schedules, you may now find ways to introduce them to doing so.When clients believe our campaigns can help them to solve problems, they will give us money. If they PERCEIVE that their opportunity for reward exceeds their PERCEPTION of risk, they will embrace our campaigns. Renewals start with understanding where our client’s business is NOW and where they want it to be by the end of 2024.Take the time to understand. It’s not about US: It’s about THEM. Easier renewals await!Happy Selling! […]

Among classical radio programmers, one of the most common beliefs is that the audience wants to listen mostly to symphonic strings-laden pieces. Not only do listeners want to hear “all strings, all the time” but they also want the tempo be mostly mid-tempo – not too fast, not too slow. Our research has shown time and again that nothing could be farther from the truth. In reality, classical format listeners want variety in style, tempo and orchestration.The classical music catalogue covers approximately 600 years ranging from the 15th and 16th centuries (the Renaissance era) to the modern era. The true “Classical era” is associated with music from 1750 to 1820 and is primarily known for the monumental contributions of composers such as Mozart, Beethoven and Haydn. However, the eras that preceded and succeeded the Classical era produced a massive amount of music commonly associated with classical music. Pre-dating the Classical era were giants such as J.S. Bach, Handel, Scarlatti and Vivaldi. And yet, these composers produced few works that would fall into the category of “all strings, all the time”.The Romantic and Impressionistic music years (approximately 1820 to 1900) produced a large number of orchestral pieces but as time passed composers such as Brahms and Mahler expanded upon the melodic range of the Classical era. Even today some of the works of the period sound a bit more dissonant than those of Mozart and Beethoven. Nevertheless, the late 19th century produced a large number of works that are accessible to the listener and yet offer a contrast to the works of the Classical era.

Unfortunately, many classical music stations limit the historical range of the music that they play and tend to rely primarily on works from the Classical and Early Romantic eras. Research has shown that listeners are open to a much wider timeline. In recent decades, the music of Bach and Vivaldi have become a staple in the classical format just as the music of Brahms, Rachmaninoff, Mahler, Stravinsky and Ravel have found a place in the hearts of classical radio listeners.In the next installation of this series, we will examine orchestration and the role that it plays in providing welcome variety to the classical format.Your thoughts and questions about classical radio are welcome. If you wish, you can contact me directly at [email protected]. I look forward to hearing from you.By Andy Beaubien, BPR

Andy Beaubien, a BPR senior consultant, has extensive experience working with classical music stations around the world including Classic FM in the UK. […]

Registration is now open for Radiodays Europe 2024, to be held from March 17 to 19, in Munich, the capital of the German state of Bavaria.This year, participants can register easy with three ways to join the event:
For those who want to join for all 3 days of the event, there’s a 3-day Access Pass which gives access to Radiodays Europe Inclusive and all of the Summits on Sunday.
Attendees who want to join for the Monday and Tuesday only we have the 2-day Conference Pass which excludes all events on the Sunday, these can however be added after registration if needed at a later date.
Finally, the 1-day Summit Only Pass gives those who wish to join this year’s Summits which include a more in-depth focus on: Youth, Podcast and AI access to these sessions.
Radiodays Europe offers free access to the Exhibition Only on Sunday for those who want to visit Exhibitors with no access to any conference sessions and a big discount to those who want to bring their full teams or book as a Group.

Register now at Super Early Bird Prices here. […]