MusicMaster Blog

MusicMaster President, Joe Knapp, gave a revealing presentation at RAIN Summit West, the premiere educational and networking conference for the online audio industry. While speaking at the April 6, 2014, Las Vegas event, Joe promoted the idea that personal Internet radio enthusiasts may become the ‘farm system’ for future broadcasting talent and explained how MusicMaster Personal Edition (PE) can help these hobbyists change the industry by giving them access to professional music rotation software for under $300.

Interested in learning more? Visit www.musicmaster.com or contact Joe directly at: joe@mmwin.com.

Garry Wall, Joe Knapp, and John Gehron

Hundreds of radio pros, music enthusiasts and industry insiders converged on the legendary Hollywood Roosevelt Hotel for the 4th annual Worldwide Radio Summit. Team MusicMaster Worldwide co-hosted the Hard Rock Cafe Hollywood VIP Mixer (with our name in lights, shown below), featuring live performances by Zendaya, Christina Perri, and Daughtry.

Many world-class speakers offered the latest information on selling and making money in a digital world, proper utilization of social media, talent development, product branding, and how labels go about developing artists and releasing new music.

Hats off to Joel Denver, Matt Parvis, Tyler Polzin, and the entire Summit crew for an amazing event.

Here are some impressions from the show:

MusicMaster’s Drew Bennett hanging out with MusicMaster client George Cook, spotting a familiar face on our video screen!

Wrapping another incredible All Access Worldwide Radio Summit (left to right: Wide Orbit’s Jeff Dempsey, Joel Denver from All Access, and from MusicMaster Shane Finch, Drew Bennett, and Aaron Taylor).

Our good friend Steve Resnik “The Ramp” and Melanie Ross of MusicMaster.

More and more stations around the world are starting to use MusicMaster not only for music scheduling but also for the professional handling of their station’s on-air promotion activities. The benefit they see is in taking advantage of the already built-in and vast amount of functionality that MusicMaster offers when it comes to content management and scheduling. They use MusicMaster to schedule their jingles, liners, promos, and voice tracks.

Gunnar Astrup, Head of Music at Alsterradio 106.8 in Hamburg /Germany: “Thanks to the possibilities in MusicMaster, it was an obvious decision for us to start outsourcing and professionalizing the scheduling of our station’s on-air promotion.”

If you are interested in knowing more about the different options of using MusicMaster besides music scheduling, don’t hesitate to get in touch with us.

This picture was taken during a two-day MusicMaster “on-air promotion scheduling” training at Alsterradio 106.8 in Hamburg:From the left: Gunnar Astrup (Head of Music), Maike Sieber (Music Director), Hannes Erdmann (Music Director), Benjamin Kanthak (Music Director), Steffen Schambach (Head of On Air Promotion), Alexander Schenk (On Air Promoter)

MusicMaster 2020
Music Scheduling Innovations for the Future

The premier music scheduling service in the world will be offering this session during Canadian Music Week, showcasing the increased depth in programming services offered by their company. Company president Joe Knapp will moderate this session and will be featuring some of his key players to help you use MusicMaster into the future and to answer any questions you may have about using their system to its maximum effect. Join us at Trinity 4-5 on May 7 from 1:00 – 1:50 PM.

RADIO: NETWORKING SUPER SESSION
Radio Consultants Roundtable Meetings

This gathering of the top minds of the game, all in one place, is your chance to pick the brains face to face of those whose experience and knowledge can deeply enhance your own, including that of MusicMaster’s Joe Knapp. Join us at Trinity 1-3 on May 8 from 11:00 AM – 12:30 PM.

With test drones flying over head and the very latest in broadcast technology on display, Team MusicMaster Worldwide spent time with a variety of global automation partners at the 2014 NAB Show®, April 5-10 in Las Vegas, NV. Over 93,000 enthusiasts got hands-on experience with cutting-edge technology at the world’s largest electronic media show covering filmed entertainment, and the development, management and delivery of content across all mediums.

MusicMaster representatives demonstrated how our World Class Software interfaces with various automation, playout, research, traffic and other systems.

Special thanks to our automation partners: iMediaTouch, David Systems, Netia, SCISYS Deutschland, Wide Orbit, and ENCO.

After each day’s festivities, personalized demonstrations and conversation made the MusicMaster hospitality suite at Wynn Resorts a popular destination (shown below).

We’ll see you at the September NAB Radio Show in Indianapolis!

Here are some impressions from the show:

MusicMaster’s Jesus Rodriguez and Drew Bennett with On Air’s Max Mueller

Paul Ziino shows off MusicMaster and ENCO…

…along with Aaron Taylor

iMediaTouch’s Bill Baines, client Jana Sproule, iMediaTouch’s Renel Choiselat, Gary Kristiansen, MusicMaster’s Joe Knapp, and iMediaTouch’s Scott Farr

Por Drew Bennett

Últimamente, hemos recibido muchas llamadas de apoyo sobre la configuración de audio en archivos de canción entera o una base de datos, así que usted puede escuchar segues. La primavera está aquí y es un buen momento para un repaso sobre la configuración de audio en MusicMaster! Después de todo, la música es por qué todos hacemos lo que hacemos y poder escucharlo mientras horario es una gran característica en MusicMaster.

La primera tarea en la unión del audio es notar el número de campaña del campo que sostiene su número de automatización. Típicamente, los sistemas de automatización dan un número al nombre del archivo de audio y almacena esto en un campo de MusicMaster. Vaya a Dataset, Biblioteca, Campos. Encuentre que el campo en la lista y nota el número a la izquierda del nombre de campo. Necesitaremos esto más tarde cuando establezcamos nuestra relación de audio.

El siguiente paso debe unir el audio a nuestros naipes de la canción. En primer lugar, diríjase a Herramientas, Opciones, Opciones del Archivo de Audio. El primer campo aquí es donde se refiere básicamente al camino a sus archivos de audio. Es el campo más importante en esta pantalla. Digamos todos sus archivos de audio son sólo el número de automatización con una extensión.wav. Vamos a decir también que todos ellos existen en el paseo de n:/en una carpeta llamada, ‘audio’.

La primera cosa que tiene que hacer es escribir la máquina en el camino por tanto lee N:\audio. Ahora tiene que decir le a MusicMaster cual es el nombre del archivo. Para añadir el número de automatización al camino, tiene que usar algún scripting. @Field (XXX), donde XXX es el número del campo notó al principio. Así pues, ahora tiene N:\audio\@Field (XXX). Tachuela en la extensión de archivo como.wav o.mp3 y usted han terminado el camino: N:\audio\@Field (XXX).wav.

En algunos casos, su audio puede existir en subcarpetas múltiples. En este caso, usará el campo @AutoPath dentro de Instrumentos, Opciones, Opciones del Archivo de Audio para representar subcarpetas múltiples. Digamos tiene dos carpetas: llaman a uno música; llaman a uno no música. Cada carpeta está en el N:\ drive. Usando @AutoPath, construirá su camino en el campo de la Posición del Nombre del archivo de Audio. Aquí está un ejemplo: N:\@AutoPath \Campo (XXX).wav. En el campo @AutoPath dentro de Instrumentos, Opciones, las Opciones del Archivo de Audio escriben a máquina los nombres de carpeta separados por puntos y coma. Aquí está un ejemplo: no música; música.

Del mismo modo, puede tener extensiones de archivos múltiples. Por ejemplo, puede tener tanto.wav como archivos.mp3 en su biblioteca. Para asegurarse todos los tipos juegan cuando los necesita para jugar, use @AutoExt para definir extensiones de archivo múltiples. En su ejemplo encima, N:\@AutoPath \Campo (XXX).wav, quitaremos el wav y añadiremos el macro @AutoExt. Ahora tenemos N:\@AutoPath \Campo (XXX) .@AutoExt. En el campo @AutoExt dentro de Instrumentos, Opciones, las extensiones de archivo del tipo de Opciones del Archivo de Audio se separaron por puntos y coma. Aquí está un ejemplo: mp3; wav.

Una vez que su camino se construye y ha aplicado sus ajustes, puede verificar su audio dirigiéndose a la Biblioteca, Audio, Verificar. Esto le dirá si MusicMaster se unió con los archivos de audio o no. Su sistema usará su paseo específico y directorios donde el audio vive. ¡Si su audio se ha con éxito verificado, vamos a abrir algunas ventanas, deje entrar un poco de aire fresco y toque alguna música! Éxito F12 en una tarjeta de la canción en la biblioteca para oír la canción. Elija la Visión, Reproductor de audio para controlar la repetición de audio. En el Redactor del Horario, puede hacer clic con el botón derecho del ratón en una canción, elegir el Audio en el menú y ver una variedad de opciones de escucha incluso la canción segue caminos.

¡Si tiene preguntas adicionales por favor póngase en contacto con su Consultor y Programe Feliz!

Por Sean Ross @RossOnRadio

To make the “Intriguing Stations of the Year” column, a station doesn’t have to be a ratings success. “Intriguing” is a salute to those stations that were different enough to be notable, or at least indicative of a change in our industry’s programming mentality. But four months after ROR’s look at “Intriguing Stations of 2013,” some trends continue to gather momentum. At a reader’s urging, here’s a cross-sample of stations that made the “Intriguing” list for 2012 and 2013 and how they’re doing now.

KIFM (Easy 98.1) San Diego – When I wrote about them in January for “Intriguing 2013,” the ’70s/’80s-based super-soft AC where you could hear “Seasons In The Sun,” Christopher Cross, and a lot of Hall & Oates was building quickly, and a few similar stations had just been launched. Since then, the building boom has slowed. Some broadcasters just don’t want to be in the Air Supply business. But KIFM was the market leader in the just-released March PPMs. So look for that to change.

WNSH (Nash FM) New York – It was up 1.5 – 1.7 in March. Nash-FM still hasn’t pushed past the two-share that format detractors said country would draw in New York just for showing up. But that’s not the point. Nash’s appearance in “Intriguing 2013” was as the face of nationalized radio. That march has continued through New Orleans, Nashville, and Detroit (and elsewhere). And if the intent was to improve Music Row’s relationship with a more centralized Cumulus by giving them a New York country station, that seems to have happened.

WMIB (The Beat) Miami – Clear Channel’s relaunched urban was notable for its harsh attacks on rival WEDR and for going all hip-hop, a once-common strategy that we haven’t seen much of lately. Since November, the Beat is up 1.7-3.0. WEDR is off 6.1 – 5.1 and was fifth this month (although still ahead of the 5.0 it had two months ago). Notably, Clear Channel’s KQBT (The Beat) Houston has had more spoiler impact on rival KBXX (the Box), down 7.8-5.0, and done a little better (3.6) with a more mainstream approach.

WBQT (Hot 96.9) Boston, KHTP (Hot 103.7) Seattle – Seattle’s version of the ’90s/’00s-based “Rhythmic Hot AC” format visibly disrupted the market for a few months and leveled off. Boston has built more gradually. Both have settled into similar comfortable positions at this point, while similar stations have launched in San Diego, Albuquerque, and Portland, Ore. In Portland, the franchise was important enough that Clear Channel’s existing rhythmic top 40 reimaged to make sure that it claimed Notorious B.I.G. and TLC.

Sirius XM The Highway – Their willingness to start country hits is undiminished, and earned them a recent Wall Street Journal feature celebrating satellite’s role in breaking Florida Georgia Line and Cole Swindell. Sirius XM’s Alt.Nation (which appeared in “Intriguing 2012”) has long gotten that kind of attention in the alternative community as well. The recent game changer is that Sirius XM’s top 40 channel Hits 1, which has always cheerfully done its own thing, is getting more notice as well, with an early role in songs like MKTO’s “Classic” or AJR’s “I’m Ready” that might not have gone as far beyond its walls in the past. A few years ago, a Hits 1 story was often dismissed by broadcast PDs as irrelevant to stations with ratings competition. Now, at least, labels are noticing and taking the same sort of cues from Hits 1 as its counterparts.

KMVQ (Now 99.7) San Francisco – To some extent, Hits 1 has taken on greater importance because there aren’t as many broadcast FM top 40s breaking the hits. KMVQ continues to be aggressive on new music and remains successful. They’re also leading consistently in the market’s tough top 40 battle these days, although in March, their lead over KYLD (Wild 94.9) was closer, 4.1 to 3.9.

Quickhitz – They edit the hits to somewhere between 1:50 and 2:30. Broadcasters love or hate the concept and initial outlet WYDS Decatur, Ill., hasn’t done much to dissuade believers or skeptics yet, In its first book last fall (when it was not airing the format all day due to other syndication obligations) it was flat with a 2.8. But proponents say more stations are on the way. And I’m still happier to have certain songs finished with faster.

WEDX (Evolution 101.7) Boston – WEDX made “Intriguing 2012” both for bringing electronic dance music to a major-group owned station in a major-market and for having been incubated on Clear Channel’s iHeart Radio. This month, it goes 0.9-1.1 on a limited signal. Since its launch, nothing has happened to shatter detractors’ claims that EDM doesn’t work as a self-contained format (although the decision to launch it in Gainesville, Fla., must count for something). But the EDM community’s Avicii, Martin Garrix, Cash Cash, Zedd, Tiesto, Chainsmokers, Calvin Harris, and DJ Snake all have current songs in play at top 40. Whether that means that a standalone format is overdue, or not needed, is entirely dependent on one’s own reading of the inkblot.

WWPW (Power 96.1) Atlanta – They made “Intriguing 2012” by filling one of the last major-market holes for a second top 40, and for their fast ascent. Then they tapered off and Cumulus rival WWWQ (Q100) rebounded. If this story had been written four months ago, the morale would have been that Elvis Duran and Clear Channel’s ability to stage station concerts weren’t enough to automatically demolish a competitor and an entrenched morning show. Q100 still hasn’t been demolished, but since removing Duran, WWPW has edged ahead again 4.3 to 4.2.

Radionomy – Radionomy continues to be the engine for many of the hobbyist stations that I discover, as well as worthy professional broadcaster projects like Journal Milwaukee’s Radio League. Rival Live 365 has also shown a burst of new activity since the arrival of Dennis Constantine. In fact, at the RAIN Summit West earlier this month, one of the interesting recurring themes was the rise of hobbyist radio. For Cox’s Tim Clarke and LDR’s Daniel Anstandig, two of the few people who can be called “young guns” at the moment, having one’s own Internet station was an entry to radio. And MusicMaster has just rolled out its Personal Edition music scheduling software scaled and priced for hobbyists. For a moment, it looked as if the increased attention of the majors in pureplay channels might overshadow the hobbyists, but I’m finding the latter to be more, not less intriguing these days than some of what the insiders create.

Radio Hamburg – I gave German CHR a collective mention in “Intriguing 2012,” for its early warning system on alternative and triple-A songs that often become pop hits in Europe and Australia while they’re still on a six-month crossover journey here. With more time to think about it, AC stations like this one deserved more than a passing mention. Germany’s early pop appetite for Passenger, Of Monsters and Men, and Family of the Year isn’t really a difference in taste as much as the presence of strong mainstream AC stations that still break and play currents.

Por Paul Ziino

Mire a este Gráfico de la Historia.

Las rotaciones se ve bastante malas. Ahora compara eso con este gráfico de la historia.

¡Qué mejora tan enorme! Así pues, ahora la pregunta es, “¿qué cambió?”

En MusicMaster 5.0 hemos introducido una nueva meta en la programación de la meta óptima llamado “Óptima propagación Radial.” El archivo MusicMaster Readme.txt define óptima propagación Radial indicando, “Esta meta trata de canciones de reemplazo que hayan descansado el más largo en la región del día poniendo a prueba a favor”. ¿Qué significa eso? Básicamente, óptima propagación Radial rellena los agujeros en el gráfico de la historia.

Nuestra recomendación sería usar alguna línea de fondo reglas irrompibles, luego añadir los Objetivos de Programación de realzar lo que las reglas hacen para usted. Por ejemplo, use una regla de la Ventana de la Compensación del Día Irrompible de Hora de 1 Día/1 de asegurarse que la canción no juega en la misma hora dos días en fila, ya que el uso de categorías de giro más lento Juega el set de la Ventana de la Compensación a 1 Hora de Juego/1 para asegurarse que dos juegos consecutivos no ocurren en la misma hora. Entonces añada el Objetivo de Extensión Radial Óptimo en la carpeta Optimum Goal Scheduling de la categoría. Ahora ahorre su Árbol de Regla.

Cuando dirige el Planificador Automático, MusicMaster pasa por la profundidad de la categoría (como puesto en Propiedades del Horario) y prueba todas las canciones, arrancando a aquellos que fallan las reglas irrompibles que tiene en el lugar para determinar qué canciones son el mejor disponible. Si sólo una canción se considera el mejor se programa. Si canciones múltiples se consideran igualmente el mejor, el Planificador Automático los prueba de nuevo contra cualquiera Objetivos que tiene en el lugar para esa categoría. Cada canción recibe un resultado para cada Objetivo activo y aquellos tanteos se cargan para determinar qué canción se programará.

La Extensión Radial óptima esencialmente mira el gráfico de la historia para cada canción que encuentra y pregunta, “¿cuando era la vez pasada que esta canción jugueteó el tiempo que trato de programar? ” Entonces prueba aquellas canciones que están disponibles y tanteos cada uno. Cuando las canciones se han probado de nuevo contra todos los Objetivos activos MusicMaster evalúa tanteos, determina qué canción realmente es la mejor y lo programa.

¡A propósito, el Objetivo Óptimo de Programar no causará posiciones no programadas en su tronco! ¡La utilización del Objetivo Óptimo de Programar realmente tiende a hacer que el Planificador Automático tome un poco más largo para tratar, pero el resultado final es un tronco que requiere que menos tiempo corrija porque los Objetivos en el lugar han elegido ya las mejores canciones disponibles!

He tenido clientes que probaron la Extensión Radial Óptima en meses recientes y aman los resultados. Dé a Extensión Radial Óptima un intento en algunas de sus categorías de profundidad — el Objetivo Óptimo de Programar es ineficaz en categorías cuya profundidad en Propiedades del Horario se pone a 1 — y disfrute de las rotaciones mejoradas.

Si usted tiene preguntas acerca de esto o de cualquiera de las otras opciones en la programación de meta óptima, póngase en contacto con su asesor de programación MusicMaster — siempre estamos aquí para ayudar!

You’ve come to trust and depend on the MusicMaster name for your scheduling needs. We know that there are many different programming needs out there and we are pleased to introduce a suite of products designed to meet those different needs:

MusicMaster Professional Edition is the new name for our flagship product, MusicMaster for Windows. This is the product broadcasters around the world have relied on to schedule their music. We’ve only changed the name and added the Pro designation to our logo. Everything else about the product is the same. If you program multiple radio stations, MusicMaster Pro will continue to give you the full complement of programming tools you need to make your radio stations sound great.

MusicMaster Limited Edition is our new product designed for non-commercial or small commercial broadcasters who want the main programming tools of MusicMaster Pro but who don’t need all the fancy scheduling tools and exports. You can use MusicMaster LT to manage one station’s library, clocks and scheduling needs. You’ll also be able to export to your automation system. For the budget-minded broadcaster, this version can be purchased for a one-time price.

MusicMaster Personal Edition is our other new product designed for the individual or hobbyist. If you know someone who tinkers at home with an Internet stream (perhaps even you?), recommend MusicMaster PE to them. We’ve even included a player with this package so someone can input their songs and be listening to it quickly. Of course the individual doesn’t need most of the scheduling tools broadcasters rely on, so by limiting those items, we’re able to offer MusicMaster PE at a very reasonable purchase price.