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Patrick Cardinal, 1961 – 2016 | The Bear, Virgin Radio and TSN 1260, died of cancer April 19, 2016


uploaded-by-gordon-kent-email-gkentpostmedia-com-p7Patrick Cardinal turned a childhood fascination with radio into a successful cross-Canada career that will culminate with a posthumous induction into the Canadian Music and Broadcast Hall of Fame.

By Gordon Kent Edmonton Journal

Despite the hard work and long hours he put in at numerous stations — his final position was general manager of The Bear, 104-9 Virgin Radio and TSN 1260 for Bell Media in Edmonton — Cardinal never saw his work as just a job.

“Most people in the radio business get the radio bug. Once you have it, it’s something you’re passionate about your whole life,” colleague and longtime friend Ross Winters says.

“He loved every aspect of it … Once it’s in your blood, it’s not really a job. It’s kind of a hobby you’re paid for.”

Cardinal, who died of pancreatic cancer April 19 at age 54, recorded himself on cassette as a kid and joined his high school radio club before taking his first paying on-air job in 1979 with CJRL in Kenora, Ont.

That led to positions in Winnipeg, Vancouver, Hamilton, Edmonton and Toronto as he rose into senior management,

Winters describes him as the life of the party, someone happy to be on the giving or receiving end of a practical joke, a boss for whom people liked to work.

“The job is to get good ratings for the radio station and to lead in certain demographics in a market. He had a good vision for what that would take. He wasn’t afraid to take risks.”

One of those risks was bringing American shock-jock Howard Stern’s show to Toronto’s Q107 in 1997.

The high-profile move paid off with soaring ratings. To control what went on the air from the controversial New Yorker, Winters says Cardinal had a producer edit Stern’s unacceptable bits.

Another successful move was helping launch JACK FM in Vancouver, a popular “adult hits” format now licensed in dozens of locations in North America and Europe.

“A lot of people in the industry thought this was another fad, but it came out of the box No. 1 in just about every demographic,” says Jim JJ Johnston, who knew Cardinal from the time they worked for opposing Winnipeg radio stations in the early 1980s.

“He was a master programmer.”

He calls his friend a maverick who lived and breathed the business, enjoying friendly arguments about what worked and what didn’t.

“He wanted to do things his own way, do them fast and get it done, not unlike a lot of us guys,” Johnston says.

“Most of Pat’s friends were radio people. He loved to talk radio, the characters in radio, the formats, the technology.”

He also loved to travel, flying to Los Angeles or elsewhere to hear what was going out over the airwaves in the days before streaming audio.

In 2008, he became operations manager for Newcap Radio Group Edmonton, later taking over as program manager for Newcap Alberta.

He was named general manager in 2011 of Astral Radio’s Edmonton stations, now owned by Bell Media.

He was diagnosed with pancreatic cancer in 2014. For about the last year he was off work to battle the disease, moving to Vancouver to be near friends and family, including son Kael, his only child.

Cardinal survived far longer than doctors expected and did his best to make that time count.

“He would be on a plane to New York or on a plane to Boston or Chicago or Toronto regularly to see his friends,” Johnston says.

“If you’re having a golf trip, Pat would be the first guy to go.”

As he lay in a hospital bed on what turned out to be the last full day of his life, about 25 people close to him took part in a conference call.

Once all the greetings were over, they came to the point — he’ll be inducted into the Broadcast Hall of Fame May 5 during Canadian Music Week celebrations in Toronto.

“Pat just completely lost it. There’s not a dry eye that watched … It meant a lot to him,” Johnston says.

“We’re all so happy we got to him by the time we did. We gave him the best send-off anybody could ever have … The funniest part is, after he collected himself, he says ‘Now I’m going to have to figure how to get the (obscenity) to Toronto.’ ”

Cardinal died the next day, his two ex-wives and his son among the people by his side.



How to Keep Streaming Audio From Chewing Through Your Cell Phone’s Data Plan


For road warriors who spend endless hours commuting or traveling, the usual AM, FM, or satellite radio offerings can grow tiresome. People want their own playlist.

To address the growing desire for audio binging, Pandora, Spotify, and Slacker have smartphone apps that wirelessly deliver customized music to your phone. In turn, the phone can then stream it to your car’s audio system via Bluetooth, USB, or AUX connection.

There’s one big problem: Streaming audio in your car—especially in high-quality sound formats—can eat up enormous amounts of data. If your cell phone plan has a cap on how much data you can download from the Internet before you get hit with excess charges, you might be in for a shocker when you get your bill.
How Can You Avoid This?

First of all, Pandora and Spotify default to a lower-fidelity setting when their apps detect you are streaming through cellular data. While that means you’re using less data, you’re also listening to something that sounds like a transistor radio inside a 32-gallon trash bin.

But both apps allow you to crank the streaming settings to a higher-quality sound, which means more data streaming to your phone.

In Pandora’s case, neither the base audio setting nor the upgraded setting will burn through a single gigabyte of data, unless you are listening for weeks at a stretch while driving. So it’s well within the parameters of most cell phone data plans. However, even at the upgraded 64Kbps, the quality of Pandora mobile streaming is fairly weak—well below that of a clear FM signal, and far thinner sounding than the top quality of an Apple iTunes song file.
Does this matter? To an audiophile, it does. The more bytes, the clearer the treble, the deeper the bass, the greater difference between loud notes and subtler ones.

Spotify, by contrast, offers far higher-quality streaming, up to 320Kbps—although it also has lower-res 96 and 160Kbps settings. But as we’ve proven in tests here at Consumer Reports, if you have even a decent sound system in your car, you truly can hear the difference between low- and high-quality streaming.

The downside: Spotify’s stereophonic sound spectacular burns through data, to the tune of 1.2 gigabytes an hour. So if it’s crucial to hear the second violin section in Mozart’s Jupiter symphony while driving to orchestra rehearsal, you could use up your monthly data plan during the molto allegro.

One workaround is to subscribe to Spotify Premium for $9.99 a month. It lets you create custom playlists and download them at home for later listening—when normally you would have to stream them from a cellular network.

That means anything downloaded over WiFi won’t count against your cell data plan. Spotify lets you download up to 3,333 tracks on as many as three devices, so that’s 9,999 tracks in total across, say, a tablet, PC, and phone.

Slacker offers a similar solution with its custom-playlist software. A spokeswoman for the app says the recommended way to use Slacker is to create your own custom playlist of music, choosing from millions of songs and custom podcasts as well as.

Read More!

AC Radio Again Rules Revenue Ranks


When it comes to converting ratings into revenue, AC radio, in 2015, once again landed the most punches above its weight. AC ranked as radio’s top-billing format last year, capturing $1.69 billion in over-the-air revenue, according to new BIA/Kelsey data provided to Inside Radio.

AC beat country, radio’s most listened-to format, which ranked second in revenue with $1.43 billion. CHR placed third on the 2015 revenue tally with $1.30 billion, followed by news (No. 4, $1.24 billion) and Spanish formats (No. 5, $896.9 million).

AC’s continued perch at the top of the revenue food chain is remarkable given that it ranked fourth in national audience share in 2015, according to Nielsen. AC has consistently outperformed its ratings, says BIA/Kelsey senior VP & chief economist, Mark Fratrik, because it attracts a well-educated, higher income audience. “They attract a desirable demographic so AC stations are able to get a higher rate for spots on their stations,” Fratrik says. “It’s a similar story for news and somewhat for talk in that they have a higher revenue share relative to their audience share.” News ranked fourth in revenue while talk came in 12th with $205.8 million in over-the-air billings.

Sports, one of radio’s fastest-growing formats, also ranked higher in revenue than ratings. Sports was the No. 11 format based on total audience in 2015, according to Nielsen. But on BIA’s revenue ranker, it came in at No. 9 with $624 million in over-the-air billings. Sports has been on a steady growth curve in both ratings and revenue, driven in part by the increasing number of sports stations. During the past decade, the amount of sports stations in the U.S. mushroomed from 543 in 2006 to 780 in 2015, according to Inside Radio/Precision Trak. “Advertisers want to target the younger male demo that doesn’t watch as much TV or consume other media, and sports radio is a really good avenue to reach that particular demographic,” Fratrik says.

Nielsen: Demos Unite With One Area in Common Radio


New data from Nielsen on generational listening preferences may turn out to be music to a radio programmer’s ears. “Perhaps no other form of entertainment is as different, and in many cases as polarizing, throughout the generations as music,” Nielsen’s new Generational Snapshot study notes, a statement that seems to stress radio’s versatility.

According to the survey, Millennials (ages 18-34) and Generation X listeners (35-49) are partial to pop contemporary hits, with weekly total audiences of 27.5 million for Millennials and 19.3 million listeners for Gen Xers. The format is so popular that both groups tune in for more than three hours and 15 minutes each week. Baby Boomers (ages 50-67), however, prefer adult contemporary/soft adult contemporary and spend more than four hours each week tuning into those formats. Boomers are also partial to news and talk stations, with listeners averaging six hours and 45 minutes weekly. That’s nearly double the average three hours, 45 minutes that Millennials spend with news/talk stations and also more than the average five weekly hours Gen Xers spend with news/talk (although those averages are certainly notable for younger demos).

Overall, among all available media choices, all three demographic groups spend considerable time each week listening to AM/FM radio. In Q4 2015, Millennials averaged 51 hours and 1 minute per month with radio, more than any other medium besides live and time-shifted TV and app/web use on smartphones. Gen Xers, meanwhile, averaged 61 hours and 55 minutes with broadcast radio, second only to live and time-shifted TV, and Boomers averaged 68 hours and 51 minutes with AM/FM radio, also second only to live and DVR’d TV.

Another interesting tidbit in the Nielsen report indicated the top five markets for the three demographic groups. That could be of interest to radio execs fine-tuning formats or plotting a shift. Dallas-Ft. Worth and Los Angeles are the top markets for Millennials, with adults 18-34 making up 24% of the population of both areas, while Millennials represent 23% of the total population in Denver, New York and Sacramento. Among Gen Xers, Atlanta ranks as the No. 1 destination, with 23% of the population falling in that demographic group, followed by Washington DC and San Francisco, both at 22%, and Portland and Baltimore, both at 21%. And Pittsburgh and Orlando count the most Baby Boomers, with that demo making up 28% of those market’s populations, followed by Detroit and Boston, each with 27%, and St. Louis at 26%.

Build A Radio That Looks Like A Pizza


Free Radio On My Phone


If you have owned Android phones, there’s a reasonable chance that as the kind of person who reads Hackaday you will at some time have rooted one of them, and even applied a new community ROM to it. When you booted the phone into its new environment it’s not impossible you would have been surprised to find your phone now sported an FM radio. How had the ROM seemingly delivered a hardware upgrade?

It’s something your cellphone carrier would probably prefer not to talk about, a significant number of phones have the required hardware to receive FM radio, but lack the software to enable it. The carriers would prefer you to pay for their data to stream your entertainment rather than listen to it for free through a broadcaster. If you are someone capable of upgrading a ROM you can fix that, but every other phone owner is left holding a device they own, but seemingly don’t own.

Across North America there is a group campaigning to do something about this situation. Free Radio On My Phone and their Canadian sister organization are lobbying the phone companies and manufacturers to make the FM radio available, and in the USA at least they have scored some successes.

We have covered numerous attempts to use the DMCA to restrict people’s access to the hardware they own, but this story is a little different. There is no question of intellectual property being involved here, it is simply that the carriers would rather their customers didn’t even know that they had bought an FM radio along with their phone. If this bothers you, thanks to Free Radio On My Phone you can now join with others and find a voice on the matter.

It’s interesting to note that many FM radio chips also support a wider bandwidth than the North American and European 88 to 108MHz or thereabouts. In parts of Asia the broadcast band extends significantly lower than this, and the chipset manufacturers make products to support these frequencies. This opens up the interesting possibility that given a suitable app a cellphone could be used to receive other services on these frequencies. Probably more of a bonus for European radio amateurs with their 70MHz allocation than for North American residents.

Via CBC News. Cellphone image: By Rob Brown [Public domain], via Wikimedia Commons.

Response To The President Of The CBC/Radio-Canada


MONTRÉAL, May 25, 2016 /CNW Telbec/ – The Presidents and CEOs of three private Québec broadcasters – Sébastien Arsenault (Groupe Serdy), Maxime Rémillard (Groupe V Média) and Julie Tremblay (TVA Group) – have released the following response to recent comments made by Hubert Lacroix , President and CEO of CBC/Radio-Canada:

In a speech delivered in Vancouver yesterday, excerpts from which had already appeared in a Montréal daily, Hubert Lacroix , President and CEO of CBC/Radio-Canada, mischaracterized our position as a desire to keep the public broadcaster locked into the status quo.

In fact, we are not advocating the status quo but, on the contrary, a thorough review of CBC/Radio-Canada’s mandate, as part of the comprehensive review of Canada’s broadcasting system announced by the Minister of Canadian Heritage, in the course of which we plan to propose concrete, constructive solutions to the issues facing our industry.

As we have already pointed out, if there is no accountability for the additional $675 million that CBC/Radio-Canada is slated to receive, the already precarious balance between the public broadcaster and the rest of the industry will be destroyed. As no accountability measures have been announced thus far, we cannot help but fear that this funding will be a blank cheque for CBC/Radio-Canada to step up its already ferocious competition against private broadcasters.

With all due respect to Mr. Lacroix, the public broadcaster’s maneuvers since the last budget seem to bear this out.

We have been astounded by the number and substance of Radio-Canada’s program announcements, of which there have been more than 30 in recent weeks (see appendix 1).

There seem to be no constraints on the public broadcaster’s quest for ratings: it is announcing big-budget variety shows, purchases of American series, and shows featuring A-list stars who command huge salaries.

There is no better example of this excess than the fact that ARTV, which is supposed to be Radio-Canada’s cultural channel, has announced the cancellation of the literature show Lire just as it begins broadcasting the American series Empire and UnREAL, which it acquired by outbidding private Québec broadcasters.

A promotional document about ARTV’s new schedule, which shows only American programs (see appendix 2), demonstrates the extent to which the channel has departed from its cultural mandate and adopted a steadfastly commercial approach.

Similarly, in its promotional materials, Explora highlights a fishing show (see appendix 3), a successful niche for the Évasion channel. Instead of trying to complement the private broadcasters, Radio-Canada is duplicating or even mimicking them.

While we are glad that the government has recognized the need to review Canada’s broadcasting model as a whole, including the role of CBC/Radio-Canada, it may soon be too late for the medias we represent. We are therefore calling not for the maintenance of the status quo but rather a moratorium on the current flurry of announcements to give the government time to keep the promise it made in the budget, to the effect that funding for CBC/Radio-Canada would be accompanied by “a new vision, mandate and accountability plan.”

In conclusion, we have always recognized that CBC/Radio-Canada has an important role to play in Canada’s broadcasting system but we believe it is legitimate to insist that the public broadcaster should not be trying to outpace the private broadcasters by presenting us with a fait accompli consisting of new programming aggressively designed to expand its footprint in the broadcasting ecosystem at the expense of the other players. We hope our voices will be heard.

‘You Can’t Stop Technology’: iHeartMedia Chairman and CEO Bob Pittman Talks Radio


“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.”

Fitting words here at CES from iHeartMedia chairman and CEO Bob Pittman, reflecting on lessons learned from the music industry’s early dealings with streaming tech.

Pittman has been steadily redefining iHeartMedia as an integrated digital entity. The company’s new moniker is a nod to its iHeartRadio app, which he views as an extension of the company’s traditional radio brands. “We don’t look at it as iHeartRadio competing with digital players,” he tells Billboard, noting that although the app’s 54 million unique users according to comScore “sounds big in digital terms, it’s only about a quarter of our reach in broadcast radio. With broadcast radio alone we reach more consumers than Facebook, Google or broadcast TV networks in the U.S.”

Look for iHeartRadio to continue cropping up on new devices and platforms. Its recent activation on Android Wear smart watches enables users with iHeartRadio installed on their Android phone to control the service via LG, Motorola and Samsung watches, with more wrist gear expected to join the mix.

You’re more than 3 months into operations as iHeartMedia. You already had all these interconnecting businesses, how does linking them under the new brand change things and accelerate scale?

Actually, we became iHeartMedia because the lines between all of our platforms were getting very blurry and we were already beginning to operate as one, in terms of serving the consumer in different ways on different devices. We reach almost a quarter of a billion listeners with our broadcast radio stations; we’re almost up to 90 million monthly uniques on all of our digital products; and our social reach is almost 80 million. Combine that with our 20,000 annual events and our almost 150 million reach with Outdoor and you begin to see how this company has put together unparalleled scale across multiple platforms.

Digital repositioning has guided much of your business strategy since coming aboard. How specifically do digital extensions expand iHeart’s relationship with the consumer both for the company, and for your on-air personalities?

Read On

Pandora Makes Grammy Predictions Based On User Listening Habits


Compiling and analyzing data from the listening patterns of their 76 million monthly users, Pandora has released a list of predicted Grammy winners. Based on their findings, they predict Iggy Azaleawill be named Best New Artist, Sia‘s “Chandelier” will be named Record of the Year, Sam Smith will take homeAlbum of the Year for In The Loney Hour, and Meghan Trainor’s “All About That Bass” will claim Song of the Year.

Read the full story

CMW’s Radio Interactive Conference Analysed


By Jeff Vidler

Another year of Radio Interactive sessions at CMW is now behind us. As always, there was some good learning and thought-provoking insights as radio executives gathered from across Canada last Thursday and Friday.

Meanwhile, two of the biggest issues facing Canadian radio—the upcoming Canadian content review, and the recent consolidation of radio within TV and/or Telco operations—were notably absent from any of the discussions.

Among the highlights of this Radio Interactive Conference:

· The Ratings and Measurement Town Hall from Numeris — a brave and welcome opportunity for radio and agencies to publicly air their frustrations with the ratings system, and get answers.

· The Changing Face of the Car Dashboard hosted by Fred Jacobs: a solid wrapup of the current state of the connected car with some foreshadowing of the full palette of audio, video and digital competition awaiting radio in self-driving cars that could be here in as little as five years.

· Switching and Turning from Coleman Insights: A well-presented overview of their recent research into what happens when people come and go from the stations they listen to. The key insight—it’s more important to build brands that listeners will tune in than worry about what makes them tune out.

· And finally, The Music & Broadcasting Industry Awards: The general consensus was that this was the best show ever. Andy Kim’s dynamic performance was a particularly pleasant surprise. And it was all wrapped up by 9:30!

Read On

The State Of Canadian Radio: All’s Well, For Now At Least


By Jeff Vidler www.fyimusicnews.ca/

Radio broadcasters attending Thursday’s Radio Interactive sessions at Canadian Music Week were encouraged by industry leaders touting radio’s current strengths and being largely upbeat about its future prospects.

In The Changing Face of the Car Dashboard, broadcasters were reassured to hear that AM/FM radio is maintaining a dominant share of in-car audio listening, even as the “connected car” gains steam. Radio’s captive in-car market could however disappear when the self-driving car hits the market between 2020 and 2025. That’s when the dash, as we know it, will disappear and drivers and passengers can entertain themselves with a full array of video as well as audio content.

Looking Beyond AM and FM, the broadcast signal continues to be radio’s big money-maker, delivering a steady $1.6 billion in annual revenue, and is therefore still the primary focus of most broadcasters. But many radio stations are starting to carve modest slices from the digital ad pie, especially when digital initiatives are hived off from broadcast operations.

In the Ratings and Measurement Town Hall, Numeris outlined a list of new initiatives underway to enhance audience measurement. Up first is the online radio diary—initial testing shows that providing an online option helps to improve response rates, with rollout beginning as early as this Fall. Meanwhile, broadcasters in PPM markets took the opportunity of the Town Hall to voice their frustrations with sometimes wild ratings swings due to heavy listeners shifting in and out of their PPM audience. These anomalies create challenges for media buyers as well—Dave McDonald, a leading media buyer with IPG, complained that the credibility of the currency is undermined when broadcasters fail to provide a unified front when they present their numbers to buyers.

Quote of the day: from a non-industry attendee who, after listening to radio’s top talent coaches talk about what makes great on-air performers in Building Stars for the Future: “Can you tell me which station I should be listening to? Because all I ever hear the announcers on the station I listen to say is ‘call me now to win’… all they do is market the station”.

Get Canadian Radio Ratings


​Numeris is Canada’s most trusted and authoritative source for broadcast measurement and consumer behavior data, as well as the industry-leading intelligence provider to broadcasters, advertisers and agencies.

As an integral member of the Canadian broadcast and advertising industry, we employ rigorous methodologies to provide broadcasters, agencies, advertisers and other professionals with essential audience insights, and have long been recognized for providing the gold standard in audience intelligence.

Get radio ratings @ en.numeris.ca/




While going through the many documents associated with the CRTC hearing currently being held in Vancouver regarding the 8 applications for Ethnic stations in Surrey and Vancouver one particular intervention stood out.

Channel Zero of Toronto is opposing the proposal by Spice Media to launch a 10,000 watt station on 900 AM in Surrey, primarily because the Industry Canada allocation for the unused frequency would be moved from Victoria to the Lower Mainland.

It turns out that unbeknownst to most of us local radio fanatics Channel Zero purchased the old CJVI/CKMO transmitter site from Rogers several years ago and has since refurbished it. Channel Zero has plans to apply for a new 10,000 watt station on 900 in Victoria within the next 6 months.

Channel Zero owns several TV stations in Ontario and had applied for All Business radio stations in Toronto on 88.1 FM and in Vancouver on 600 AM in the past. Both of those applications were denied.

The intervention can be read via this link (click on Intervention 672.46 KB):


Canadian Radio News Updates


Canadian Radio News Updates

MBC rebranded its stations in Arnprior and Brighton to ‘Oldies’, like its station in Peterborough, leaving the MyFM branding and format.


-posted to CRN by awr


Vista Radio has applied to remove the FM Specialty status and all conditions of license associated with Christian station CJLT 93.7 “PRAISE FM” in Medicine Hat, Alberta, Vista states that the station is unprofitable in its current form and changes must be made to ensure the stations future viability. In its place a new Alternative Rock format will be launched.


Erin Community Radio received approval today to switch the frequency of CHES in Erin, Ontario from 88.1 to 91.7. Power will be increased from 570 to 850 watts (1,250 to 2,500 watts maximum ERP). Antenna height will remain 63 metres (EHAAT).


The International Harvesters for Christ has applied to establish a rebroadcaster for CITA 105.1 Moncton in Bouctouche, New Brunswick. The new station will operate on 107.7 with 50 watts. Antenna height will be 15 metres (EHAAT) with a non-directional radiation pattern.


Radio Communautaire Intergeneration has applied to increase the power at CHOC 104.9 in Saint-Remi, Quebec from 250 to 572 watts (250 to 1,714 watts maximum ERP). Antenna height will be raised from 30 to 53.86 metres (EHAAT). The transmitter will be relocated.

CHOC received approval for a similar proposal in 2012, as well as establishing rebroadcasters in Napierville and Saint-Jacques-le-Mineur, however the construction permit along with an extension expired earlier this year without the changes being implemented.


Both Rogers and Bell have been authorized by ISEDC (formerly Industry Canada) to launch new HD radio services in Vancouver via CJAX 96.9 and CHQM 103.5,

CJAX-HD will operate with 637 watts (1,393 watts maximum ERP) and CHQM-HD will operate with 2,650 watts (5,000 watts maximum ERP).

Winnipeg Getting First East Indian Radio Station


Jim Bender, Winnipeg Sun

Winnipeg’s Baldev Gill wants to give a voice to his culture, as well as other under-served local communities.

Gill wants to start the very first East Indian radio station in Manitoba and is just an audio test away from hitting the airwaves. He will call it AWAZ, which means “voice” in his language, Gill said Thursday.

“Being that there is a lot of newcomers here, we saw a need here, so we decided to start something for the ethnic community,” he said. “Some of it (programming) will be done in the East Indian language and some in other languages, too. Anybody’s welcome.”

Actually, the plan is to serve nine cultural groups with a minimum of 11 languages, including English.

“It will be more like an information station,” said Gill, who was born in India and came to Canada in 1959. “But it will include music, too. There will be Indian music and all kinds of other music, too.”

If it passes next week’s audio test, the 24-hour station will take the 92.9 FM frequency that was vacated by Red River College in 2012.

Gill and his three or four helpers will broadcast from the second floor of his Gill Taxi Meter and Radio shop on Selkirk Avenue.

“It’s gonna cost thousands,” Gill said. “It already cost a lot to buy the equipment and most of the equipment’s been installed, but we will have advertising.”

Currently, CKJS boasts of being Manitoba’s only multilingual radio station.