ASIA

Radio Kuwait partners with NOA for landmark digitization and archiving project

The Ministry of Information, Kuwait National Radio has awarded the contract for Radio Archive Project to Al Rashed Group and chosen NOA GmbH, a leading AV digitizing and archiving specialist, to modernize its radio repertoire. The comprehensive project includes the digitization of the broadcaster’s entire repertoire and disaster recovery backup.
As per the seven-year agreement, finalized at the end of June, a complete NOA mediARC archive management system will be integrated into Kuwait Radio’s existing Dalet playout. Concurrently, the organization’s complete radio archive using NOA’s ingestLINE will be digitized.
The first year of the project will focus on the delivery and ramp-up phase, followed by a three to four-year period during which the entire archive will be digitized. The mediARC Archive Asset Management system will be installed at the radio broadcaster’s main site in Kuwait City, with the disaster recovery site located in Magwa. All framework modules will support the storage system, holding four copies.
Dr. Nidal Fawaz, Director of the Technology Solutions Division at Al Rashed Group, said: “While the organization’s radio archive has been partially digitized for production purposes,  the re-digitization of the entire inventory  is yet to be completed. The MOI tender amounts to approximately €10 million. The goal is to digitize some 260,000 archival audio carriers dating back to the 1950s, including quality control, inventory, and enrichment of metadata.”
NOA’s mediARC solution provides a flexible framework for Archive Asset Management, enhancing efficiency for broadcasters and archives of all sizes. The NOA ingestLINE offers professional, purpose-built digitization tools for archive preservation projects, ensuring flawless quality and outstanding cost-effectiveness.
“After a thorough analysis of this prominent tender, we’re excited to finally start this project with our contractor Al RashedGroup and their International technical partner NOA,” added Eng. Dalal Alhindal, Project Manager of MOI – Kuwait Radio. “This initiative will preserve our unique radio archive heritage, one of the oldest in the Arab world.”
The installation represents the first of its kind in Kuwait, adding to NOA’s significant installations for AV archiving at Abu Dhabi Media Corp. and Sharjah Broadcasting Authority in the region.
Jean-Christophe Kummer, managing partner of NOA, added: “We’re thrilled to expand our footprint in this region by winning this prestigious seven-year project with our partner AL Rashed Group. Our enterprise framework, based on NOA mediARC and ingestLINE, combined with our experience in delivering archive technology for over 5 million hours of AV material worldwide, positions us well for success in this endeavor.” […]

ASIA

DRM at #IBC2024

The DRM Consortium is preparing a better and more complete presence than ever before at IBC 2024, RAI Amsterdam from September 13 to 16.Just a few days remain to register for the “DRM – Connecting All through Innovation” virtual pre-IBC event on September 10. This will bring the latest on DRM and preview the live Amsterdam events.On September 14 the DRM Consortium has planned two face-face events.Gospell Digital Technology invites all those interested in digital radio to stop over at Hall 1 stand B14 at 1100 (CEST time) to explore the latest end-to-end digital broadcast solutions offered by the company and be there to hear about all the new developments and announcements.In the afternoon, at 1600 (CEST time), Fraunhofer IIS will meet and greet all those interested in Hall 8 at stand B80 to get the latest developments and announcements on DRM, meet DRM experts and network with those involved in promoting the global, all-frequency, efficient DRM standard.On September 15 join DRM members at an event hosted by Nautel Hall 8 at stand D70 for a session on the continued relevance of digital radio.Other DRM member companies and their experts present at IBC are: Ampegon, CML Micro, Encompass, BBC, Desay SV, RFmondial, RF2Digital, Starwaves, Bosch, Dolby, RRI, NXP, Panasonic, Skyworks, Assendive, Cambridge Consultants, DAC System, Inntot, Szomel, Kintronic Labs, Spaceline.The DRM Chairman, Ruxandra Obreja, thinks that: “The theme of this year’s IBC of delivering innovation and connecting communities, fits perfectly the mission of the Digital Radio Mondiale Consortium. Meeting all listeners’ needs, energising the market, enabling content everywhere, DRM is committed to bringing together all stakeholders interested in unlocking new opportunities with this most flexible digital audio broadcasting standard.DRM is complete, robust, and global, delivering so many extra benefits beyond excellent audio and multimedia. It can also offer unique and ready to use services (like emergency warning and distance learning), while saving energy costs, spectrum and ensuring full-country coverage.” […]

ASIA

New York Festivals 2025 Radio Awards opens for entries

The New York Festivals® 2025 Radio Awards competition is officially open for submissions.The New York Festivals Radio Awards offer a platform to celebrate creative storytellers from around the world. For 67 years, NYF has recognized both innovation and exceptional quality in broadcast audio content across all genres and platforms since 1957.“This year, we are thrilled to announce the debut of multiple new categories for fiction and nonfiction reflecting the ways today’s audio storytellers are encouraging audiences everywhere to tune in and stay engaged,” said Rose Anderson, EVP and Executive Director, New York Festivals. “They join our existing categories for Sound Art, Audio Books, Podcasts, and Social Justice.”Always at the forefront of the evolving global landscape of audio content creation, the 2025 Radio Awards has kept pace with global industry trends and introduced seven exciting new categories further showcasing the wide range of talent and creativity that drives the industry.The Pop Culture Documentary category highlights and celebrates creative radio documentaries that capture today’s trends.New in Entertainment, the Anthology Program category shines a spotlight on engaging curated audio collections. Digital Anthology will showcase the diverse audio selections encompassing digital media. Anthology Podcasts honor expansive works featuring unique voices united by a common theme or purpose. Audiobooks transports listeners into new worlds, the new Audio Book Technical Production Team category celebrates innovative contributions in the industry.On Air Talent categories set the stage for honoring captivating top-tier audio talent, new categories for 2025 include Program Host and Sports Anchor/Analyst.View the 2025 NYF Radio Awards powerhouse category roster: HERE.NYF’s Radio Awards receives entries from radio stations, networks, and independent producers from over 30 countries around the globe. The mission of the competition is to honor the achievements of the men and women who make up the global audio storytelling community.New York Festivals invites award-winning industry leaders from 6 continents around the world to become members of their world-class Radio Awards Grand Jury. The 2025 Radio Awards Grand jury will be recruited in the coming weeks. Entries are judged on production values, creativity, content presentation, direction, writing, achievement of purpose, and audience suitability.All Entries in NYF’s 2025 Radio Awards will be judged by the Grand Jury comprised of some of the world’s most recognizable voices and captivating audio storytellers from around the globe including producers, directors, writers, and other creative media professionals.Award-winning entries for 2025 will be showcased on the Radio Awards winners gallery. View the 2024 winners’ showcase.The entry deadline for the 2025 Radio Awards competition is January 31, 2025.To enter the 2025 Radio Awards please visit: HERE, for additional information visit: Rules and Regulations and 2025 Radio Awards categories. […]

ASIA

Hamish Blake and Andy Lee: Secrets behind 20 years of success #RadioDaysAsia

Audiences love listening to long term friends Hamish and Andy, as they share experiences, pranks and have fun on Australia’s top rating LiSTNR podcast. Chris Marsh, the show’s Creative Producer, shared how the show’s effortless vibe is achieved through hard work, planning and keeping the listener at top of mind in everything they do.Chris began by giving an overview of the Hamish and Andy show in it’s different formats and their relationship from the beginning. They had their first break on community radio, had the highest rating drive show, were early adopters of podcasts since 2006, consistently number 1 on the comedy charts and had successful TV shows together and separately, plus are winners of multiple media industry awards.“Preparation is over 70% of our work,” said Chris. “ Hamish and Andy are involved, though we keep one day solely for recording. We do our content prep first and after we’ve captured this in the field we review what we’ve learnt from the process.”Chris shared that even the ideas they don’t use are held onto for another time. He suggested keeping any audio prep for another show, for example an archive show which could be used as a second revenue stream behind a pay wall.On the team since 2009, Chris believes the focus on 50 percent team and 50 percent content is important for a successful team. “We never hold to an issue… the boys are good at having tough conversations and then they move on.” The boys also recognise that making time for fun in meetings or scheduling activities is also a great way to strengthen a team.“Finding the DNA of your show can take time, in this case it took a few years to recognise that Hamish and Andy is ‘the people’s show.’” said Chris. Our brand is two typical Aussie Mates so I’ve crafted a sound that is cheeky and playful and our sonic design references the fun of the show.”Chris said, “Keeping the show’s authenticity also requires meticulous planning and editing. For example our audience often makes suggestions for the program. We give half of these to each of the boys as a way of keeping the surprise, then we develop secret codes so as not to give anything away.”Respect for their listeners was at top of mind when Hamish and Andy transitioned to the podcast.“Listeners are at the heart of what we do and we want to build experiences for them. We create unique experiences for our listeners that will be hilarious and funny.” Chris gave one example of a segment that came from the audience sharing their ‘special skills’ and how audience participation was built into the show. This gave the audience member a chance to shine on the show by sharing their special skill. What was his special skill? He could carry 7 beers at a time in a shout, so they took the audience member and a few other listeners to the pub to prove it, and recorded it all to broadcast later.The quality of content is important over quantity. “The boys are good at knowing how many legs there are in an idea and also recognising benchmarks in an idea. This means that some segments don’t make it to air.” said Chris.Sometimes you have to know when to pivot in order to save an idea. Chris gave the example of a segment planned for a country racecourse during Melbourne Cup. The original idea was to have different breeds of horses run against each other, until they found out that race horses wouldn’t run against other animals such as donkeys and Clydesdales. In that case they decided on a segment with people racing in costume.“Play to your strengths”, Chris said. “Andy recognises Hamish as the comedian and he plays the straight man.Hamish and Andy’s philosophy “breeds loyalty in our teams, audience, advertising base (sold out until June) and loyalty to SCA and LiSTNR.”Chris summarised his key takeaways in the slide below. […]

ASIA

Radio and podcasts have given me life after politics: KJ #RadioDaysAsia

“For the last 20 years people spoke to me as an elected representative, as a politician, now they talk to me as as a friend because they know that I’m on radio. That’s been transformational in my own life, because I hear things that I didn’t hear before.”Politician turned radio broadcaster and podcaster Khairy Jamaluddin spoke with Steve Ahern in a keynote session at RadioDays Asia 2024 in Kuala Lumpur. Better known as KJ, the former politician talked about how his political career has now transformed into a media career, and gave his views on social media regulation, the power of radio, the difference between radio and podcast content and his thoughts on media regulation:I’d been in politics for more than two decades, and I suppose the pivot towards media is something natural for politicians. I think a lot of politicians who either retire or are forced out, end up doing some form of broadcasting or media work, especially if they’re comfortable in front of the camera on on air.It’s to do with communicating ideas, a lot of us in the political world have done that throughout our careers.But I didn’t just move into a space that was already created, which was radio. Thanks to Nazri and everyone at Media Prima Audio for having me on radio, but also I am creating my own platform with a podcast… not many of us have been able to carve out a space or a platform that’s emerging or that’s new, and that’s what we’ve done on our podcast.I go on radio once a week, sometimes twice a week. Now it’s survey month I’m on radio on Mondays and Fridays. That bookends the week for me. On radio we don’t touch on policy or politics, [the show is] more a light touch on how people are doing, on lifestyle.Then I do my podcast once or twice a week and that’s heavy, long form. That’s one to one and a half hours. We deep dive into issues and of course we slice it up and we distribute it on on different platforms too.Steve: When you first were on air, I thought that you were the joke in a way, because you were a former politician and you had this team of people often making fun of you. You were happy with that, you played along. But in recent months, when I’ve been listening, I think you’ve learned how to give it back to them too, you seem more comfortable in the live radio medium now.KJ: Yeah. So for the context of those of you who are not Malaysians and for Malaysians who don’t listen to Hot FM, I joined an entrenched breakfast team… three very, very prominent radio personalities. So I came on as the fourth member and I think you’re right Steve, they were having fun with me. I think they were laughing at me at first, now, I hope that they’re laughing with me.It was uncomfortable because I came from a different world. I’d like to think that I have a sense of humor, but as a politician, coming from a world that’s highly, highly rigid, protocol based into something where every other sentence is a joke or a punchline, is was difficult. I was a fish out of water, but I think I’m holding my own now.Steve: When you left politics your former party boss didn’t want to see your face anymore after they expelled you from the party, but you’ve been so commercially successful that your face is on a lot of advertising and products and billboards now.KJ: Revenge is so sweet, right? Not only was I sent to an unwinnable seat at the last election, after that I was expelled from my political party, a party which I dedicated 25 years of my life to. When you’re expelled from your party, obviously the party leadership wants you to fade away into the night and, and die a political death. But radio and podcasts have given me a second lease of life.When I was a politician I had tpo pay people to put my face on billboards, now I have the opportunity to represent brands now other people put my face on billboards to represent their brands, and I get paid for it… I can imagine my ex-party boss wasn’t too happy about it. This is a new world to me. This is your world. I used to do media work as a politician because that was my job, my public service. Now I get paid for it… I didn’t know you guys made so much money!When I started my podcast it took about 30 episodes before we got our first inquiry. They came to me and said do you have a rate card? I was like, what the hell is a rate card? I didn’t even know what a rate card was. Once I figured out what a rate card was, then we I got a friend to come in to become the business manager for our podcast and we had to start pricing ourselves accordingly.Steve: Let’s talk about the podcast industry and how it’s growing here in Malaysia. You were an initiator of a recent Podfest, which could, over time, turn into some kind of podcast industry leadership group.KJ: Yeah. In media, we don’t like things to be highly regulated, but we do understand that there has to be some form of regulation, if only to put in certain guard-rails so that the harmful aspects of fake news, of cyber bullying, of online grooming can be curbed. So podcasts in Malaysia fall under the unregulated media space right now. I believe eventually at some point, the regulators will come knocking on the door of this emerging platform. Podcasts are growing fast and sometimes eclipse traditional platforms like radio, so eventually the regulators will come to us and say, hey, we need to make sure that some of this is regulated. So I thought rather than waiting for the regulators to come, I’d reach out to some of the other podcasts in Malaysia to have a podfest [and] workshops. It’s resulted in us forming this loose network… and perhaps we can have a united and common stand when it comes to guard-rails and regulations.Steve: You have the experience on both sides of the fence as a politician and a minister, so you understand that. Let me talk about something that’s current at the moment. Just this last month the Malaysian government has started to bring in regulations on social media platforms. We’re not talking podcasts, we’re talking the big picture controversy that all societies are facing now, the power of social media platforms that are pretty much unregulated. But the big platforms are fighting back, they’ve formed a group called AIC here. What are your thoughts on that from both sides of the fence?KJ: I think it’s to be expected that the big online service platforms are pushing back against regulation because they want to operate in an environment where, as you said, Steve, it’s international, they’re cross-border, they’re not accountable for a lot of things that they put up on their platforms.For them, the mantra is, of course, self-regulation. But, on the other side, and I speak as somebody formerly from government but now a content creator, I understand where the government is coming from because there is tremendous harm that is being perpetrated online, whether it’s financial scams, cyber bullying, whether it is grooming, whether it’s child pornography.These things are very difficult to regulate when you have online service platforms… the regulation that has been suggested by the government is where there are at least 8 million Malaysian users, so you’re talking about Instagram, X, WhatsApp messaging platforms and the others where it’s very, very difficult to hold the online service platform company to account. I think what the government is doing now is understandable and I support this.I want to make sure that the guardrails are fair and do not curb fair criticism. I support it for the right reasons, but I want to make sure that these guardrails and the regulation does not stifle legitimate criticism and legitimate discussion. That’s the fine line that the regulators will have to walk.A lot of these companies say that they are a conduit for neutral information. I don’t think this is true. I think there is a black box algorithm that powers a lot of these things, which is unaccountable, we do not know how that algorithm is created and what it perpetuates. If you look at some platforms, most notoriously X or Twitter, it leads to highly, highly polarized echo chambers… a lot of it is just blatantly either racist or inciting in some cases racial hatred por scams. Secondly, when it comes to self-regulation, they’re not doing that.Steve: The thing that worries me is that the algorithm’s primary purpose is to keep people on that platform for longer. If you see the same stuff, then, after 3 or 4 videos or whatever, it’s like, I’m over it, but if it gets more extreme or more radical or whatever, then it keeps you, hooked. That’s the, the primary purpose. It can work very badly against social cohesion and social harmony, even what they claim that they championed free discussion it polarizes views.KJ: It’s only free discussion if the black box of that algorithm is not doing what it’s doing. But if what it’s doing is self-reinforcing a certain echo chamber and polarizing and radicalizing people’s views, then I don’t think you’re really a conduit for free discussion.Steve: If you were back into politics and the Minister for Communications would you mandate that they make their algorithm public?KJ: That requires a coordinated action from different countries. It’s very difficult for one jurisdiction to try to force these companies to open up the source code for the algorithms and all that. And I don’t even know if that’s technically possible, but I would certainly sit down with the industry to discuss the guard-rails. And I think the government here is doing that right now. So in principle, I support it.Steve: The other element to that, of course, is that those big companies are taking money out of the advertising agencies in this country, but not necessarily returning it in terms of content or news production, whereas licensed broadcasters and local production companies are doing exactly that.KJ: I think this is a challenge that all of us face, right? I’m not here to bash the big tech companies because we rely on them. I post my stuff on these platforms every week, every day. But their business model is highly extractive in a sense that they take a lot of value out of the local content creation. We’re creating a lot of content. They use a lot of that content without paying for it, without necessarily valuing it the right way. I think this is something that a lot of jurisdictions, not just Malaysia, are facing… there has to be a reckoning. I’m not here to declare war on the big tech companies, but I do think that it’s extractive at the moment.Steve: If you were Communications Minister, is there anything else you would do for the industry?KJ: I think the one thing that we need is capacity building… it could be a shared responsibility between government and industry. We could do a lot more with capacity building because everyone now wants to be a YouTuber. Everyone now wants to be a podcaster… we bootstrap our way to doing it. But I think we would elevate the entire scene by having a lot of support in terms of technical capacity building, how to do it properly. I think there is a role for industry associations and government in order to elevate the the standards of these new platforms.Question from the floor: How do you shift your mindset into entertainment in your new role as an announcer? There might be times when political issue comes up, but I guess you can’t always comment on them.KJ: Yeah, that’s a great question. I’m fortunate in a sense that I operate both in commercial radio as well as podcasts. If I didn’t have my podcast, then I’d be really frustrated and I may say something political on radio, but because I have my podcast, I know to keep my mouth shut when I’m on radio. So I have my outlet and I’m very, very careful, not because I want to censor myself, but because I understand the remit and the mandate for commercial radio is different. I’m there to make people happy on a Monday morning… I’m there to dance on TikTok. Whatever. I have no dignity left.My political brain is always operating, but in a way that I know when to say what and what to say when. Of course, my podcast is different. That’s when I go all out politically. We’ve turned politics into entertainment and there are a lot of people doing that with political podcasts. They’ve turned politics into entertainment. They’ve turned history into entertainment. Some of my favorite podcasts are ‘The Rest is history,’ ‘The Rest is Politics,’ ‘Empire.’ We’ve been able to turn politics into entertainment, where people are actually willing to listen to us for 1.5 hours, two hours talking about politics. It’s not just entertainment, but it’s bringing my old life into entertainment.Steve: I think that’s a really important thing because people who might find traditional politics boring will turn off. But if you make them interested, then they’ll engage with politics, and society will be better all around.KJ: One of the most common comments that I get on the street is that people come up to me and say, look, I really didn’t care about politics before, but because of your podcast I’m into politics… to make politics accessible has been a great privilege for us.Question from the floor: You see the connection with the people and how radio has really opened your eyes on views on that. What are your thoughts on that?KJ: One key takeaway from radio that I get outside of the political world is that messages need to be simple and relatable. And I think that’s the great power of radio… it speaks to you in a way that that makes you feel comfortable. Sometimes in politics we don’t do that… for the last 20 years people spoke to me as an elected representative, as a politician, now they talk to me as as a friend because they know that I’m on radio. That’s been transformational in my own life, because I hear things that I didn’t hear before.See full coverage of RadioDays Asia 2024 on radioinfo.asia. […]

ASIA

Asia Podcast Awards 2024 Winner Spotlight: Naveen Samala, Founder, The Guiding Voice

The Guiding Voice (TGV) won the People’s Choice Award for the Best Education Podcast: Indie at the Asia Podcast Awards 2024.The People’s Choice Award was a popularly voted award open to podcast listeners and fans. People could only vote for one finalist and could only vote once. Over 5000 votes were recorded this year.TGV was founded by Naveen Samala and his friends who are passionate about shaping the Careers & Lives of Professional Students, IT Employees, and Entrepreneurs across the Globe. They are reputed thought leaders and delivered numerous keynote sessions at technical & business conferences besides speaking at Universities, Engineering Colleges, and B-Schools all across. They provide Career Guidance to Professional Students and also offer coaching services to IT employees and Entrepreneurs. The team also mentors startups.Launched in English language in October 2020, TGV is now available in Hindi, Telugu and Kannada as well. It has also made it to The Global Top 2.5 percent.Samala is excited about the integration of artificial intelligence (AI) into both the creation and consumption of podcast content and feels this integration promises to revolutionize the podcasting landscape, making it more dynamic, personalized, and accessible.According to him, the integration of AI in content creation can significantly streamline the podcast production process. Traditionally, creating a high-quality podcast involves extensive planning, scripting, recording, editing, and post-production. AI can assist at various stages of this process, enhancing efficiency and creativity.The integration of AI is not limited to content creation; it also holds great potential to enhance how audiences consume podcasts. Personalized recommendations, accessibility improvements, and interactive features are just a few ways AI can transform the listener experience.“As AI technology continues to evolve, it will become an even more powerful tool for creators and listeners alike. The key to successfully leveraging AI lies in finding the right balance between automation and human creativity. By embracing AI while maintaining a strong focus on quality, authenticity, and ethical considerations, the podcasting industry can unlock new possibilities and reach new heights,” he says. […]