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Welcome to the all new Airchecker experience. A social networking site for radio. We are powered by the people of radio and those who have a great passion to have conversations about radio. As the voice of the Canadian radio industry since 2009. Airchecker has gained a loyal army of followers who say we are the best source for radio. 1000s of radio lovers power your radio news each week via Airchecker. read more >

Robin Farell Fired 107.3 Kool FM Station Possibly Rebranding To Virgin Radio


By Victoria Buzz

Robin Farrell, a wake-up regular in the Victoria area for over a decade has been fired from KOOL-FM, all mention of her has been removed from the stations website.

“I have never been afraid of change and have spent a great deal of my life embracing it. This time will be no different. I want to thank everyone for an amazing 11 years at KOOL FM at a job I truly loved in a community that I adore. I have been so lucky to work with some amazing and professional talents and have always been amazed at what they have brought to the table. I have learned so much during this time. Heart you all and talk to you again soon,” Robin Farrell wrote on Facebook.

Farrell formally worked with Vancouver’s CKVX 104.9 (up to 2004) and News 1130 CKWX (2004-2005) previously.

Real Rock Radio RETURNS To Ottawa Rebel 101.7



Read the Airchecker back stories to learn more about Ottawa’s new rocker coming to town. Friday’s Press Release will contain more detailed information. Please stay tuned.

Website to be launched at www.rebel1017.com/

DAWG-FM To Be Replaced By Rebel On The Radio Dial


dawgottawaBy Lynn Saxberg Ottawa Citizen

After almost seven years, DAWG-FM, Canada’s first commercial radio station to specialize in the blues, will move online, while the station’s owners carve out a new space on the dial and rebrand as a mainstream rock station.

Starting Friday, DAWG-FM will become Rebel and move a couple of notches, from 101.9 to 101.7, in hopes of improving the signal.

One of the few independently owned stations in the region, it’s been a challenge for DAWG to establish itself in Ottawa’s competitive radio market.

“For the last seven years, we’ve struggled with ratings and really getting traction with any kind of audience,” said the station’s co-owner Ed Torres, noting a divide between the rock and blues listeners. DAWG plays both styles of music.

“What we found was our blues listeners tune out when we play a rock song and our rock listeners don’t understand the new blues that we play,” he said. “It’s been a challenge holding an audience because it seems to go between the blues and rock. We’ve tried to tweak the format in both directions to see if we can get some traction in one format or another. But the nature of the way the licence was structured was that we had to play both.”

Another recurring problem has been the poor quality of DAWG’s signal, partly due to the fact that the 101.9 frequency is also used by radio stations in Cornwall and Kingston.

“What happens is you have to protect the station in Kingston, and you have to protect the station in Cornwall so you’re actually shoeboxed in,” explained Torres. “You’re limited in how much power you can push towards Cornwall or Kingston. That’s why you lose the signal in Manotick and Kemptville and when you go up towards Calabogie.”

Moving to the 101.7 frequency is expected to improve the situation, Torres said. The CRTC-approved shift is part of a trade with CHIP, the bilingual community station broadcast from Fort Coulonge, Que., on 101.7. It will move to 101.9.

The new rock station aims to fill a void created a couple of years ago when The Bear switched formats from rock to contemporary hits. While other stations focus on classic rock and alt-rock, Rebel will feature what Torres describes as “active rock.”

“It’s going to span a number of decades but it’s going to be very active rock,” he said, listing Guns ‘N Roses, Nirvana, Disturbed, Led Zeppelin, Beatles and Pink Floyd as some acts that will be on the playlist. Canadian content will come from the likes of the Tragically Hip, Nickelback and Big Wreck, to name a few. “This is going to be more straight-ahead rock music,” he added, “including a lot of the songs that have been abandoned by the other stations in the market.”

Men will comprise the new station’s target audience. “There are a lot of stations out there chasing the female demographic,” Torres said. “For us as an independent to throw our hat in that ring, it would be very tough go. This is a hole our researchers have identified and that’s where we’re going.”

Like DAWG, the rock station will aim for 40% Canadian content, more than the 35% required by the CRTC.

In its new home online, DAWG will not be required to fulfill Can-con guidelines, although it’s not likely to drop below 40 per cent Can-con. The station has been instrumental in boosting the careers of many Canadian blues artists, from veterans like Downchild and the Powder Blues Band to breakthrough acts like Steve Hill and MonkeyJunk.

“The big change is we’re going to lose the Tom Petty and Steve Miller and The Band and we’re going to play a lot more classic blues, vintage blues,” Torres said, “and we’re still going to have a lot of Canadian stuff.”

The changes are coming with a turnover in on-air staff. Blues announcer Patricia Lever was let go last week, and two voices already familiar to Ottawans are set to join Rebel: Darryl Kornicky, formerly of Live 88.5 and Bob FM, and Jason Petrunik, better known as J-Man, who was with The Bear.

Todd Bernard will continue in his role as general manager of both Rebel and the online DAWG station. Torres and Bernard are also part of the team that organizes two music festivals in Calabogie: Mountain Man and the Calabogie Blues and Ribfest. Both events will continue.

CRN: DAWG Ottawa Set To Flip Swap Frequency


dawgottawaCanadian Radio News

To our DAWG FM friends and supporters.

There has been considerable speculation regarding the future of DAWG FM since our CRTC license renewal on July 18th.

Details will be available Friday August 26th at 9am on this page

DAWG is not going away. Friday’s Press Release will contain more detailed information. Please stay tuned.

Brian Cook Dawg is going to announce that at 7pm they are moving to 101.7 and there will be a new format on 101.7 but Dawg will be online and at 101.7 HD-2

Keep up to date with radio activity on Airchecker via Twitter @Airchecker

Radio Ink: The Four Types Of Character Growth


(By Stan Main and Randy Lane)

Strong characters are core to the success of every great radio show, television show, video, and podcast. There are four types of character-based shows and each type has its own potential. Which type are you?

Type One: Unfamiliar characters doing unpredictable content

Type Two: Unfamiliar characters doing predictable content

Type Three: Familiar characters doing predictable content

Type Four: Familiar characters doing unpredictable content

Types One and Two: New shows fall into these first two types.

Type One shows have new characters doing new and original content or new characters creating familiar content with a unique twist.

Type Two shows have new characters presenting tried-and-true benchmark content like “Hollywood Trash,” “War of the Roses,” and trivia contests.

Types One and Two show characters are establishing a trust relationship with the audience to create a personality brand. The first stage of character development is for the character to connect with the audience on common ground by expressing their point-of-view on local, national, and entertainment stories. Their perspectives ideally include their feelings, their inner dialogue, and specific examples.

When the character’s unique outlook on life is revealed to the audience, they can then gradually begin revealing their endearing characteristics to enhance their likability, including their quirks and flaws. Personal anecdotes and stories are the most effective way to grow characters.

Types One and Two shows often have a tough time generating strong TSL because the characters on these shows are mostly unfamiliar to the audience. Also, listener loyalty and patterns have yet to be established.

It is crucial for Type One and Two shows to develop content that will contrast and highlight the characters. The time needed to turn unfamiliar characters into familiar ones can be a year or more. Designing content to reveal character traits will speed the process.

When a show is getting traction with the target audience, running character-based imaging during the show significantly cuts the time needed to become familiar to listeners. For example, listen to this VO of Daria and Mitch of 105.1 The Buzz Portland.

Type One shows have the most potential for growth when their unpredictable content clicks with the audience. Type Two shows are likely to perform better initially because their content is already familiar to the audience.

Type Three: Type Three shows are shows that have continued to be successful over time. Their characters are well known, as are their benchmark features. However, predictability can be their pitfall. Shows that stay in this category are vulnerable to new competitors who build familiarity quickly and generate fresh content. Type Three shows can grow by introducing original content that puts the show’s characters into unpredictable situations.

Type Four: Type Four shows are consistently successful because they feature familiar characters doing unpredictable content. Familiar characters continue to be interesting to the audience by growing and evolving over time. Put familiar characters in unpredictable settings or have them attempt quests with unpredictable outcomes to remain fresh and relevant.

Type Four is where you will find long-term successful radio shows like Ryan Seacrest and Elvis Duran, TV shows like The Game of Thrones, and movie series like The Hunger Games. It’s a three step process:

Create interesting and colorful characters.
Develop the character’s familiarity.
Have the characters do unpredictable things

By Ken Freeman: The Future Of Digital Radio Archives


By Ken Freedman

It’s hard enough to describe the present, let alone predict the future. But at WFMU we keep bumping into the future, especially with regard to our digital archives.

Most radio archivists focus on historic airchecks living on physical media such as reel and cassette tape, which means that the process of digitization becomes incredibly time-consuming and laborious, especially when adding metadata, tags and art. In comparison to that, digitizing media of the present is a cakewalk!

It always astonishes me that so little archival effort is put into preserving the present, when last I heard, the present instantaneously becomes the past. The easiest, cheapest way to preserve radio for the future is to focus on the present, and then deal with the past when you have more time and money. As if that ever happens.

We started archiving our airchecks digitally in 1997 and went whole hog in 2001, saving each and every radio show that we’ve broadcast and maintaining multiple backups. Unfortunately, when we first started archiving everything full-time, we did so using very low fidelity online streaming formats. Some of those formats have since fallen into obscurity, which has meant the laborious process of transcoding years of archives into more contemporary streaming formats.

But the good news is that storage gets cheaper and cheaper, and for the last few years we’ve saved our program archives as uncompressed FLAC files, as well as MP3 and MP4s. We’ve learned the hard way that with digital files, we have to back them up and recopy them from one machine to another, over and over again. The folks at the Library of Congress told me that they “refresh” their digital archives every two to three years. Doing this prevents the problem that I have with a handful of external drives from a mere six or seven years ago; they’ve been rendered obsolete and unplayable due to pesky hardware issues like outdated BIOS and unsupported operating systems.

Contrast that with good, old-fashioned reel-to-reel tape. I was contacted in 2001 by Tex, a former WFMU engineer, who had reel-to-reel airchecks of the station going back to 1961. Forty years later, Tex was able to copy of all these tapes to my format of choice — which was, unfortunately, DAT. No sooner did I receive a few boxes of DATs than I started plotting how to get them off of DAT and onto something with more longevity (like reel to reel tape?!).

WFMU signed on the air in 1958, and listeners and ex-staffers frequently contact me and offer up shoeboxes full of cassette, reel-to-reel and DAT airchecks. I accept them every time, no questions asked, and give them the place of honor I reserve for all historic tape archives: the climate-controlled crawl space located conveniently above the bathrooms. I like to pretend that someday we’ll have the money and manpower to convert all of these to digital. It’s fun to pretend. Meanwhile, I’ll keep archiving the present and wait for it to miraculously turn into the past.

When bands and artists perform live on the air, we ask them to license their performance under an alternative copyright license known as a creative commons license. The idea behind creative commons is “some rights reserved,” as opposed to “all rights reserved.” Most bands do sign the release, and then we can put these files available for the public on our Free Music Archive (www.freemusicarchive.org). The FMA now houses 100,000 songs, all available to the public and free for non-commercial use. We started the FMA with the aim of creating an online library for podcasters and royalty-free webcasts, but this library’s most popular use is among film and audio documentarians, who seek free or low-cost music for their creations.
Music that is performed live on the air is relatively easy to license and archive. It’s our other 400,000 records that exist on vinyl, cassette, LP and 45 that present the challenge. For all the insurance that we carry, the only radio asset that could never be replaced is our physical record library. That, and the stuff in the crawl space above the ladies room.

So we’ve begun planning out how we might raise the money to digitize the entire record and historic archive library. What we’ve learned is that the audio part is not the hardest part. The real time-consuming part is digitizing the record art, the liner notes and the tags. LPs present a real challenge, since the typical LP cover exceeds the size of typical flatbed scanners.

We’re working with the Internet Archive and New York’s ARChive of Contemporary Music for this project, and we’re at the very early stages of it. My staff is engaged in a lively debate over whether the project is better described as Herculean, or Sisyphean. As soon as we finish, I’ll let you know.

Tell us about your own radio history preservation efforts at radioworld@nbmedia.com.

James Cridland: AM Radio – Does It Have A Future?


Radio Tomorrow With James Cridland

In the Coachella Valley in California, two AM radio stations have just shut down: KPSI and KWXY. The closure came with a two-hour special program, looking back at the history of the station.

These closures are just one indication of the health of AM radio. In other parts of the US, the slightly oddly-named “AM Revitalization” program is allowing AM stations to simulcast on new FM signals: something I’m not sure I’d call revitalization.

In Canada, CKSL AM 1410 in London, Ontario also closed last week. In Israel, Germany, Russia and the Netherlands, many prominent AM broadcasters have gone dark. The countries of Belarus and Serbia have recently ceased all AM transmissions. Some AM services in the UK have also recently closed.

Try and get AM radio in your BMW i3, or your Tesla Model X, and you won’t find it. It’s been removed: because these electric cars make too much interference to the AM band. It’s not just electric cars, either: everything from tram tracks, cheap LED lights or DSL broadband connections cause interference to the AM band.

Unlike FM, AM’s reception requirements mean it’s almost impossible to put in a mobile phone or other consumer electronics. As a consumer experience, it’s poor: no RDS or anything other than “tune in using a random number”; no stereo; not hifi-quality sound. Many never think to hit the ‘AM’ button on their radio.

For broadcasters, AM is hugely expensive to run in terms of electricity bills. At least in Europe, many of the transmission masts date from the 1940s, and will soon reach end of life. Maintenance for AM is more onerous than FM, too: a station I worked at fell off-air once because (and this is true) the grass hadn’t been cut at the transmission site.

So, what’s AM’s future?

There are parts of the world where AM still reigns supreme. In regional areas of countries like Australia, AM remains the only serious way to cover thousands of miles of sparsely-populated terrain. There are still market-leading AM stations in North America that are successful in terms of audience and revenue. AM’s unlikely to die quickly here.

Digital radio technology exists to significantly pep up the waveband. In the US, HD Radio works astonishingly well on AM, offering an FM-like sound quality experience.

Across the rest of the world, DRM30 – Digital Radio Mondiale, another digital product – again makes a tremendous difference to AM radio’s quality and capabilities – adding data as well as significantly better sound. However – with the notable exception of India, DRM hasn’t yet become a consumer success. It’s a tremendous technical achievement, but its commercial take-up appears slow.

I love AM. I did a short stint on late-night AM radio, and loved the feeling you got when on-air (and the ever-present Radio Vatican accompanying my every word). But – especially for metro areas, where interference is growing (and AM transmitters are being forced further away from cities), I can’t see much future for AM. If you’re still earning the majority of your revenue from AM broadcasting, I hope you’re planning for the future.

There are so many ways to reach audiences in radio’s multi-platform future. The future for radio is bright. However, only the fittest platforms will survive: and I’m afraid – much though I’d like it to be – AM isn’t one of them.

As an aside, I wrote this column while listening to Pandora. As I almost completed it, Pandora put this song on. Spooky.

About The Author

James Cridland is a radio futurologist: a writer, speaker and consultant on the effect that new platforms and technology are having on the radio business across the world.

A former radio presenter, James has worked for stations and companies across the world, including the original Virgin Radio in London, the BBC, Futuri Media, Imagination Technologies and Seven Network. He has judged many industry awards, including the CBAA, ABC Local Radio, RAIN and the UK’s ARIAS.
He writes for publications across the world, and runs media.info the worldwide media information website. He also runs a free weekly newsletter with news of radio’s future.

British by birth, James lives in Brisbane, QLD and is a fan of craft beer

Canadian Radio News: (CRTC) CIDO 97.7 IN CRESTON GOES DARK



According to this CRTC bulletin issued today Creston Community Radio’s CIDO 97.7 in Creston, B.C. is now off the air. The licensee has been dissolved, the station has permanently ceased operations, and it is no longer seeking to renew the licence for the station. The events that led up to this outcome are unknown at this time.

Read CRTC decision

As Barrie’s 101.1 Rebrands, Radio Industry Feels Pressure To Stay Relevant


Barrie Advance
By Jenni Dunning

There is no magic formula for keeping a radio station on the air, but one thing is certain – local is best.

With B101 in Barrie rebranding itself Big FM and ditching dance music to create the area’s third rock station, radio industry experts say maintaining a hyper-local focus is key to long-term success.

“In this kind of economy … every market has a huge battle going on,” said Jim Carr, broadcasting radio professor at Seneca College, adding radio stations “absolutely” feel pressure to stay relevant any way possible.

“The actual market is only one size. When you have other places people can listen and get their information from, (you have) to convince them to listen to radio. It needs to be local.”

While some behind-the-scenes work can happen anywhere — for example, most of the operations for Corus Entertainment, which owns Big FM, are in Toronto — local coverage is what distinguishes stations from satellite radio and apps such as Google Play and Spotify.

“As long as radio programmers maintain the local side of things, they’re going to be OK,” Carr said.

Despite the Big FM rebranding, the station is not changing its focus on the community, said Lars Wunsche, general manager of southwestern Ontario for Corus Radio.

“We do put a lot of time and effort into making sure we are staying relevant,” he said, adding the company has not felt much pressure to change because of the popularity of satellite radio.

“It’s much more prominent in the states. It’s a very different game in Canada. People still love the fact that radio is local,” he said.

Prior to Big FM, the station was B101 for eight years and it was Energy before then.

Wunsche said the latest change was due to an overlap with Corus’ other local station, Fresh Radio, which used to be known as CHAY FM.

“It offers our community and listeners more of a variety. How do we really maximize the opportunity (to) get the sound and music they like?” he said. “We are predominantly hit radio, along with classic rock. It’s a nice mix of both.”

With the change, Big FM has a new morning show: Big Mornings with Kris Bawden and Susan Meredith, from 5:30 a.m. to 9 a.m.

Former B101 host Dave Blezard is also hosting the Fresh afternoon show from 3 to 7 p.m.

Former newscaster Wendy King and part-timer George Bryson lost their jobs in the transition.

There is no doubt the overall radio industry has noticed the stagnation of profits, Carr said.

Across Canada, it has not seen much of an increase in revenue annually in the past several years, so consolidating formats or changing music styles may be “the only way they’re going to make money,” he said.

Revenues for English-language FM radio stations across the country decreased by 0.3 per cent in 2015 from 2014 – $1.040 from $1.043 billion, according to Statistics Canada.

Radio stations in Ontario and the Prairies also made up 63 per cent of the total 2015 revenues generated in the industry, but advertising revenue was down in Ontario by 0.6 per cent.

It is perhaps unsurprising Ontario takes a large chunk of radio revenues and Simcoe County has its share of stations.

Paul Larche, president of Larche Communications Inc., said there is a lot of competition in the region.

“This radio market has been saturated for some time, especially with the several GTA-based stations that can be picked up. That being said, we have been able to carve out a great and loyal audience by providing them with what they want.

Our business has been increasing yearly for several years,” he said.

“Radio must be hyper-local. We must work hard at reflecting the communities we serve and providing them with timely and relevant news and information as it happens. That is our unique selling proposition.”

One example of how the company does this is its annual Radio for Cardiology campaign, which has raised $1.3 million for Royal Victoria Regional Health Centre.

“(It) keeps us relevant because we are helping each other out at the local level. It’s what satellite radio and music streaming services cannot do.”

A study released last month from the Music Business Association and data analysis from Lots of Online People (LOOP), an organization that measures analytics, found fewer millennials, particularly those aged 15 to 19, spend much less time listening to radio than older age groups. Instead, they use on-demand music streaming apps, such as Spotify, 51 per cent of the time and smartphones 41 per cent of the time.

The study adds regular AM/FM radio accounts for 35 per cent of the general population’s listening, but young millennials use radios just 12 per cent of the time.

For some radio stations, this has meant a decrease in local news and an increase in music programming – a decision Larche calls a mistake.

“Although national and international news are available instantly on your phone or computer, it’s not the same for local news and community information,” he said. “This is radio’s best value proposition. This requires us to maintain and grow our news departments – not cut them back.”

Larche said radio stations can change with technology, such as being incorporated into new “digital dashboards” in cars, but he argued brands are successful when they stay the same.

“Usually, the longer on-air with a brand, the larger and more loyal your audience becomes. Although your music may evolve as the audience grows, the brand remains the same,” he said, citing Rock 95’s 27-year history and KICX 106’s more than 20-year history.

“Usually, a change means what you were doing wasn’t working. It takes years to develop a significant audience, unless you are offering something totally unique that is not available anywhere else.”

Jenni Dunning is the regional reporter for Metroland Simcoe County. You can reach her at jdunning@simcoe.com . Follow her on Twitter and follow Simcoe.com on Facebook

Riding The Wave – Career In Radio Broadcasting


By FPJ Bureau The FREEPRESS Journal

If you think you can enthrall an unknown and unseen audience with just the audio element, consider a career in radio broadcasting.

Sector overview

It has existed since before the television and internet and witnessed several lax phases as a medium, but still stands strong. The humble radio continues to hook on thousands of people each day, day in and day out.

Whether people blast the songs on their world class system in their cars or just clue in with their headphones via their mobiles, they are likely to find a radio station which is going to entertain them on their commute.

Listeners often feel that it is the sheer choice of stations and genres of music that draws them towards the radio, coupled with that element of surprise – which song will they play next. Often, listeners have their own particular favourite shows, which they try to tune into regularly.

This just provides the industry the impetus to grow further. Today, as a mass medium, radio reaches the most interior pockets of the country with a distinct advantage – one does not have to be literate to listen to the radio.

Broadcasters use these details to the utmost advantage to create audience-specific shows. Today, there are more than 250 FM stations spanning in almost 90 cities across the country. It is the sign of growing markets and Jon creation.

According to those working in the industry, the ease of access the radio makes it a popular medium. Others also mention that unlike TV listeners do not need to devote special time to the radio, that can listen while performing other tasks. Plus, with no additional cost needed in terms of purchasing a special device or even paying to listen, the radio is popular.

With so many channels and stations operating almost 24/7, there is definitely a need for trained personnel in this industry for its diverse job descriptions.

To get there

Today, there are several courses that students and aspirants can pursue to enter this field and be trained in the work. With the evolving world, the education services have evolved as well. That’s why, perhaps even if a few years ago an aspirant could have done well without specific training in field, but today it makes sense to pursue a course.

Specialised courses are available for those interested, with different electives and focus, so that aspirants can make an informed choice. These include courses in radio production, broadcast media and script writing, among others. The eligibility is not very strict in terms of educational qualifications, but the version personality traits and qualities that are needed.

Institutes in Mumbai offering courses in radio production and broadcasting include

Xavier’s Institute of Communication offers a Certificate Course in Radio Jockeying
Radio City School of Broadcasting offers a Certificate Course in Radio Jockey and Radio Production
The Mumbai Centre of the Indira Gandhi National Open University offers a Postgraduate Diploma in Radio Programme Production (PGDRPP)
Livewires Institute offers courses in Radio Jockeying and Script Writing
School of Broadcasting & Communication offers a Certificate in Professional Voicing & Radio Jockey
Mumbai Film Academy offers courses in Voicing and Anchoring
AAT College offers a BSc in Audio and Music Production at its Mumbai centre

Students are advised to check the eligibilities for the different courses. For some courses, it might by passing the class 12 examinations and others might needed graduation.

Students also need to be aware that jobs in radio production may not be regular 9 to 5 kinds of jobs. Students need to be ready to work in shifts and at hours, since that is one of the basic demands.

A student says

Rohini Shroff, Pursuing her course

I hadn’t decided from the beginning that I would take up this course. After my graduation mass media, I signed up for it. I have learnt so many new things that I have learnt a short span, and I’m still learning. It is an eye opener, as in reality, the operations are so different from what one would really imagine. The working of a studio is an essential element that provides for a lot of practical training for students.

Most of our teachers come from real world radio backgrounds, and are either working in the industry or have experience in the field.

We learn how to ideate, plan and run audio programme production. Students learn to understand various radio formats and also learn the best fitting format for a particular type of speed l show.

We also learn to recognise the kind of research that goes in – for understanding what to present in the structure a show as well as think of what kinds shows to plan for what segments, keeping in mind the time frame.

As far as the skills for this profession are concerned, the first and foremost I’d to start thinking terms of audio, that is, creating the impact only with sounds and words, no visuals. Aspirants also need to be patient and have a knack to work in a team.
Market and remuneration

There is a vast market with diverse roles radio production. Students often know the most popular one – which is being a radio jockey. But there are other production jobs, as well as jobs in back end research, in addition to marketing and sales.

Profiles directly related to broadcasting include the producer, production and support staff and the jockeys.

During the process, a major role is played by the broadcast assistant, providing for the needs anyone related to the show. This person makes sure that everything is in order for a particular show at the designated time.

A radio station might have more than one production assistant and they ensure the smooth airing of any programme.

The presenters of the shows are the radio jockeys who are usually popular with the listeners. Each jockey has a unique way of talking and usually develops a personal style in hosting the shows. This is essential since radio is an audio medium and the faces of the jockeys are not visible. Their identity is usually set by their style of presenting. To listeners it may seem that jockeys make the essential decisions, but that’s not actually the case. It is the producers who oversee the entire process, and look into defining the programming, looking into the script and the other content.

There are other functions to be taken care of, and these are done by station directors and mangers, including looking into personnel management.

Since there are so many roles and designations, the remuneration differs in roles and among employers. A fresh graduate can start anywhere between Rs. 25,000 and Rs. 35,000 per month, depending on the work profile, talent, expertise and knowledge.

An aspirant asks

Ayush Saraf, BCom student

At the time of deciding my study path, I two drawbacks, and that’s why I took up BCom. I wasn’t really sure what I wanted do in future, and also my marks were average. But now that I have read about the field of radio, I’m really fascinated by the production part of it. I have two difficulties. First is that I am not very fluent in English, and the second is that I don’t want to work another city. How much of a problem would these issues pose?

A professional answers: first, you should know that if your confidence levels are linked your head to your fluency in English, it will pose a problem in any profession you take up, since it’ll be in your head. I suggest you try and improve your language skills, so you would be more confident. As far as radio production is concerned, there are stations operating in Hindi, so you could try for one of those.

I guess many students, like you, want to work in Mumbai and are averse to moving to another city. In this field is it possible to stay within Mumbai and work. I should however, mention, that often promotions in terms of higher designations and more responsibilities come often with transfers, when expansions take place in other cities and towns. I think you can take a call when you come to that phase of your life.

The Stuph File Program – Episode #0366


Welcome to the latest edition of the Stuph File Program.

For a program list of the items included and all their accompanying links in this one hour show, you can find the information on my website in the Stuph File Program section, or just follow this link to #0366.

To download the podcast, right click here and select “Save Link As”

Featured in this episode:

  • Michael Adams, author, In Praise of Profanity
  • Pete Geiger, publisher & editor, The Canadian Farmers’ Almanac
  • Ross Connelly, owner & publisher, The Hardwick Gazette

Click logo for iTunes podcast subscription If you have any comments or suggestions, or items for the mailbag, feel free to click on the “Comments”

Canadian Radio News: McBride Communications Tofino & Ucluelet



McBride Communications has dropped the LONG BEACH RADIO simulcast on CHMZ 90.1 Tofino and CIMM 99.5 Ucluelet replacing it with local programming on both stations.
CHMZ is now TUFF CITY RADIO 90.1 and CIMM is now UKEE RADIO 99.5. After listening to the streams this afternoon It appears that Long Beach Radio’s Eclectic Rock format has now been shelved in favour of a Hot AC/Variety approach on both stations. .





The changes apparently occurred several months ago, but we just learned about them now.

Update: Kevin and Sonia PEAK Vancouver


It’s been a whirlwind 24 hours for radio personalities Kevin Lim and Sonia Sidhu, who went from hosting one of the most well-known morning shows in Vancouver to being unsure of their next move.

On Tuesday, the duo announced that it was their last day at The PEAK and the station will be “moving in a new direction.”

Their morning show was also syndicated in Kelowna through Q103.1.

KelownaNow talked to Sidhu Wednesday afternoon.

She said they haven’t decided what their next business move is, although they are open to opportunities.

“We’ll always be best friends,” Sidhu said, of her and Lim, who have been by each other’s sides for over a decade. “We’re just going to take a bit of time to spend time with our family and friends.”

Lim is married and the father of a one-year-old son, who’ll he’ll get the chance to take to the park more often.

Sidhu also has her own upside.

“I’m sleeping in tomorrow and I’m not getting up at 3 a.m.,” she said, laughing. “It’s going to be fricking great.”

When it comes to the Jim Pattison Group who let the pair go, Sidhu said they have no hard feelings and wouldn’t give any further details on the split.

Sidhu said she’s hoping their fans will stick by them. They have over 7,000 Facebook followers and about 5,000 each on Twitter. Since they announced the news on Facebook, hundreds of people have been reaching out on social media to give them well wishes.

“I’m just like…wow…people really care,” said Sidhu. “Every single one of those messages makes me feel so grateful.”

“We’re going to be OK. As much as it’s cliche, everything happens for a reason.”

Lim and Sidhu are hosting a Facebook Live chat on Friday at 2 p.m., and listeners are invited to ask them questions.

Why Does AM-FM Radio Play The Same Songs Over And Over? – The Media Show


By Cory Doctorow

You turn on the radio, and they’re playing the same Lady Gaga or Drake song yet again. Why don’t they play anything GOOD? you ask yourself. How does a song become a popular hit? Why don’t they play any local bands? How am I supposed to get my band or music promoted to radio audiences?!

Gus the hacker puppeteer writes, “Many of us hoped the Internet would disrupt the music industry along with all other media industries, giving more power — and more pay — to musicians and songwriters. And yet, somehow the amount musicians get paid each time their songs stream is a tiny fraction of a cent.”

“The anti-corporate messages of punk and hip-hop feel as relevant today as in the 70s, 80s, and 90s. The corporate monoculture in AM/FM radio is obvious, even if people can’t explain what’s going on: when we did a search for “why does radio,” autocomplete finished the sentence “play the same songs over and over?” Clearly people are wondering what the heck is up with the radio. But who can give the world the inside scoop on how the music industry works?

“Portia Sabin — president of the venerable punk label Kill Rock Stars, and former board member of the American Association of Independent Music — graciously agreed to be interviewed by our punk puppet Weena about how radio program directors and record label guys team up to ensure that their songs get played in heavy rotation. She explains how payola and advertising money combine to ensure radio stations play songs engineered to keep listeners tuning in. Portia gave us so much great information that we turned it into not one, but three episodes, plus an animated infographic on media monopoly. So stick around for the full playlist! And share it with anyone you know who may be teaching a unit on media literacy.”

Exclusive: Radio On Its Deathbed? Elvis Duran Speaks Out!


By Matthew V. Libassi FOXBusiness

“Elvis Duran and the Morning Show” host and National Radio Hall of Famer, Elvis Duran speaks out on the future of radio and adapting to the digital age.

The history of radio dates back to the early 1800s. Wireless telegraphy pioneers like David Edward Hughes, Heinrich Rudolf Hertz and Nikola Tesla fought to understand the unseen forces of radio waves. However, it was Guglielmo Marconi who in 1895 built the first crude radio and in 1901 broadcasted the very first transatlantic signal.

August 20, National Radio Day, celebrates the achievements and birth of modern day mass media.

Now over 120 years later the age of radio is being reborn once again. And who better to reflect on radio’s past and look ahead to the future than America’s favorite DJ and National Radio Hall of Famer, host of ‘Elvis Duran and the Morning Show,’ Elvis Duran.

Over three decades in radio, Duran has seen the industry change first hand.

“Thirty years ago I had no idea radio was going to turn into this digital monster it is now just becoming” Duran told FOXBusiness.com in an exclusive interview.

“Radio in my beginning days was going into a room for four hours, playing a bunch of music and screaming about the artists… radio now has come out of the radio on to the net and on to video and on stages, it’s a multiplatform thing. It’s nothing I expected ever to see“ says Duran.

Broadcasting out of Z100 in NY since 1996, the ‘Elvis Duran and the Morning Show’ is the number one nationally syndicated radio morning show. Getting the attention of more than 10 million listeners across 80 plus markets, exposure across digital platforms and social media, Duran and his team continue to push the medium’s boundaries.

“We use it all… Facebook (NASDAQ:FB) hit on and then Twitter (NYSE:TWTR). We have evolved with whatever is hot. Right now it’s all about snapchat; we are waiting with whatever is next. We are going to be on it. We have to be, because that’s where our listeners are going” says Duran.

Owned by iHeartMedia (OTCMKTS:IHRT) the demand to change with the digital times is cutthroat. Competitors like Spotify, Pandora and Apple Music (NASDAQ:AAPL) show the shift of listener habits.

iHeartRadio (their web streaming service and app) allows access to thousands of live radio stations nationwide, custom artist stations with a catalog of 24 million songs and over 800,000 artists, according to iHeart.

“You can’t stop technology, nor can you control it. The only winning strategy is to embrace it — and embrace it as early as you can,” iHeart Media CEO Bob Pittman said at the 2014 Consumer Electronics Show.

As a whole, the radio industry is losing financial bandwidth. iHeartMedia is the world’s largest radio company, with 861 stations and a digital streaming service and is at major risk of defaulting on $3 billion in loans. Cumulus (NASDAQ:CMLS), their biggest competitor is also facing $2.5 billion in debt, reports Billboard.

Both iHeartMedia and Cumulus did not respond to requests for comment.

Despite the economics, radio even centuries later is still a source of information and entertainment. With new devices, new demand and shorter attention spans, is there a key to succeeding in this still changing medium?

“Traditional radio is not going to die, it’s going to evolve … we are seeing the shift. It’s working in our favor … keep listening. We are always evolving. Evolve with us” Duran adds.

You can listen to ‘Elvis Duran and the Morning Show’ on Z100 weekedays starting at 6am ET or stream it on the web and on demand with iHeartRadio. And be sure to watch Duran’s full exclusive interview above.