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Issued a Notice of Apparent Liability for Forfeiture in the amount of $20,000 to Deerfield Media (Baltimore) Licensee, LLC for failure to comply with the limits on commercial matter in children's programming.

Cranborne Audio has introduced its new Camden EC1, a desktop preamp with analog saturation and a headphone amplifier with a discrete line mixer built-in, all fit in a half-rack chassis, making it aimed at musicians, engineers, podcasters and voice-over artists.

The Camden EC1’s preamp design provides up to 68.5 dB of gain, allowing the preamp to pair with low-gain dynamic microphones and ribbon mics. Also onboard is a headphone amp with a dedicated line mixer to provide zero-latency monitoring of the preamp mixed with playback from a DAW.

[Check Out More Products at Radio World’s Products Section]

At the turn of a dial, the Camden preamp takes on the persona of vintage transformer or tube-based preamps using its “Mojo” analog saturation control and “thump” and “Cream” styles. Users can split the Hi-Z signal using the link output to record both the DI and a processed amped signal, allowing for re-amping workflows. The unit’s connectivity includes balanced XLR and 1/4-inch impedance-balanced preamp outputs and a 10 dB pad to prevent clipping converters.

VO artists and podcasters can monitor their vocal channel directly using headphones connected to the preamp itself, and apply Mojo analog saturation control to apply different characters to one’s voice — Thump can be used to create a sense of intimacy or Cream to underline excitement. Podcasters will be able to apply 68.5 dB of gain to low-sensitivity microphones, such as a Shure SM7b or EV RE20, reportedly without adding noise or coloration.

The Camden EC1 features the same reference-grade design developed for the 500R8 audio interface, and its headphone amps deliver up to 1.2 watts of clean power per ear and a flat frequency response from 5 Hz to 70 kHz.

Info: www.cranborne-audio.com

The post Cranborne Audio Debuts EC1 Preamp appeared first on Radio World.

Streaming technology platform Radioplayer is launching in France, Sweden and the Netherlands, bringing its country total to 14.

Organizers are taking particular note of the importance of France as an automotive market, accounting for 14% of European car sales and more than a quarter of European car production.

[Read: Radioplayer Italia App Is Now Available]

Radioplayer started as a nonprofit collaboration of the BBC and the commercial radio industry of the United Kingdom. “Unlike other radio aggregation models, Radioplayer is nonprofit, and each system is specific to the country in which it is launched,” according to its latest press release.

“There are shared technical standards for the Radioplayer web-player, the radio discovery apps, and the back-end systems which power them, but broadcasters retain control over their own branding, streaming, and commercial deals.”

The organizers of Radioplayer say the effort is important so that “the international radio sector can speak to all car manufacturers with one voice, to keep radio strong in the dashboards of the future.”

The three countries will add metadata (station information, logos, streams, podcasts etc.) to the Radioplayer data feed that supports “hybrid” radio interfaces in a growing number of new cars. “These smart devices can switch automatically between DAB+, FM and streaming, to keep listeners locked-in to their favorite radio stations. Almost a million cars are already driving around Europe with radios powered by metadata from Radioplayer stations.”

Radioplayer France is supported by broadcasters Radio France, Les Indés Radios, M6/RTL, Lagardère, NRJ, and NextRadioTV. “The new partnership will provide 67 million French people with improved ways to listen to their favorite radio stations in the car, and via apps, smart speaker, and smart TV integrations,” according to the announcement.

Radioplayer Netherlands will operate as a partnership between public service broadcaster NPO and Dutch national commercial broadcasters. Radioplayer Sweden is backed by a consortium of major broadcast groups Sveriges Radio, Bauer and Nent.

 

The post Radioplayer Expands in Europe appeared first on Radio World.

The 2021 NATE UNITE convention has been cancelled.

NATE: The Communications Infrastructure Contractors Association said its trade show, planned for Memphis in February, is off. It made the decision after reviewing COVID trends and safety guidelines from local and state officials in Tennessee.

“As an organization founded on the core tenet of safety, the health and well-being of the Association’s members and staff is a top priority,” it stated in an announcement. The most recent show had about 2,400 attendees.

The organization said it is now focused on planning NATE UNITE 2022 in Las Vegas in February of 2022.

It did not announce a virtual version of the 2021 show, but meetings of the NATE board and related committees will be held virtually.

The schedule of 2021 conventions in the U.S. telecom and broadcast industry had already been disrupted when the National Association of Broadcasters made the call to postpone its 2021 NAB Show from April to October of next year.

Another staple of the annual industry calendar is the convention of the National Religious Broadcasters. An NRB spokesperson told Radio World today that it is still planning a full-in person gathering in March.

 

The post NATE Cancels 2021 Annual Tradeshow appeared first on Radio World.

The author is Tieline’s U.S. codec expert. This is one in a series of articles about how to get the most out of various popular broadcast products.

The past few months we have been busy helping clients prepare for their fall sports broadcasts here in North America. Customers are always looking for ways to help them broadcast live play-by-play and to assist with interviewing players remotely during the pandemic.

When it comes to producing audio for sports broadcasts Tieline is like State Farm Insurance: “We know a thing or two, because we’ve seen a thing or two.” From the local high school Friday night lights to the NFL and everything in between, when it comes sports broadcasting we have seen it, and prepared solutions to assist.

To assist you with broadcasting live sports from home, I’d like to explore a few of these areas with you.

Multiple streams from remote sites

The most common need we have seen has been the ability to have a single codec stream to multiple remote studios. This is due to the increased number of sportscasters calling their games from their home studios, with maybe a single person at the game for crowd noises, game sounds and sideline interviews, while still maintaining the final mix at the flagship studio.

With Tieline’s remote field equipment, you can transmit multiple streams as they feature multiple encoders and decoders. Each encoder and decoder has the ability to stream unique or similar audio sources going to multiple locations, all running in different formats to conserve bandwidth.

With a little bit of network configuration or the use of Tieline’s Traversal Server, TieLink, you can have your on-air host at home be a “remote” studio with the ViA codec. Then your reporter at the game, with another ViA, can dial into your “remote” studio like a normal connection.

Once the on-site ViA and the “remote” studio ViA connect, both ViA units can then establish a secondary link back to the master control center at the flagship. Allowing the studio to have the ability to adjust the final mix before it goes on-air, as well as maintaining the level of content your audience wants.

 

Feeding multiple IP audio streams

Another common solution request that we get, particularly with high school broadcasts, is the ability to feed audio to both an online video stream as well as a traditional radio remote back to the studio.

Other than video equipment and a PC to upload a live stream to broadcast to the local community, you also need to worry about the audio for play-by-play. For those who have our remote codec field equipment, like the ViA or i-Mix they are in luck as they offer a mixer with multiple outputs.

For example, the ViA could be programmed to have bidirectional audio with the studio and also have a unique secondary output through a USB port to plug directly into your video streaming rig. This allows the user to have fewer devices to control and manage in the field, as well as maintain audio quality to the broadcast studio.

As restrictions have been put in place by some teams and/or companies, it has become more important to be able to assist without having physical access. In comes Tieline’s HTML5 web management interface that comes built-in to all modern Tieline hardware.

With the right type of network and codec configuration, an engineer can obtain remote control of a Tieline codec to assist talent. But this comes at a price and that price is exposure to the public internet, posing a security risk.

The way to tackle this is to use a VPN or Tieline Cloud Codec Controller. A VPN would give the studio and engineer the ability to access the equipment remotely as if they were on the same local area network. Cloud Codec Controller doesn’t create a VPN. Instead it creates an SSL Socket between the Tieline hardware and Tieline’s Cloud Codec Controller Hub Network.

The network establishes a secure path between the codec and the PC to provide remote control of the equipment. With the Cloud Codec Controller, you can reduce equipment costs for remote access and also give your talent the peace of mind to broadcast without having to worry about technical issues.

When it comes to broadcasting events remotely, regardless of the situation or the requirements in the field, Tieline has a solution prepared for you. Whether you are looking to feed multiple studios, or you just want to split and share the codec’s audio to another broadcast team, Tieline is there to help you.

Tieline has also created a range of support videos to support different setups and you can view them on our YouTube channel at https://www.youtube.com/user/TielineSupport.

The post Using Tieline ViA for Play-by-Play appeared first on Radio World.

Avid has introduced Pro Tools | Carbon, a new hybrid audio production system intended to create an improved tracking experience as it integrates Pro Tools with HDX DSP acceleration and the native CPU of the user’s computer.

Using Carbon’s onboard HDX DSP, the new Pro Tools Hybrid Engine simultaneously allows users to access on-demand, low-latency channels to record through AAX DSP plug-ins in real time — with sub-1 ms latency monitoring performance. Going between Native Mode and DSP Mode requires only a single button press per track in Pro Tools, allowing users to simplify their workflow for recording and mixing.

[Check Out More Products at Radio World’s Products Section]

AAX DSP, at the core of the Hybrid Engine, delivers the same sound quality in both native and HDX DSP Acceleration domains, enabling users to toggle in and out of DSP Mode while maintaining sound quality. This also enables music creators to disconnect Carbon and physically take their mix elsewhere or collaborate with others who don’t have the interface.

Carbon features double resolution clocking, and what Avid says is its most transparent mic preamp design to date. With four headphone outputs to send individual monitor mixes, eight preamps combined with 16 channels of ADAT inputs and an onboard talkback mic, the unit can handle tracking a full band. Carbon requires an Ethernet connection to the host computer, aiming to preserve the highest possible sound quality from input to output, as well as “futureproof” the unit.

In addition, Pro Tools 2020 introduces a much-requested “Dark Mode”-style UI, as well as a new ability to analyze audio and render it as MIDI notes. For audio post professionals, Pro Tools 2020 includes native integration to export ADM files for Dolby Atmos, a new space clips function that lets users arrange a multitude of clips in a fraction of the time, and a reintroduction of the ability to bounce sessions to QuickTime formats in macOS Catalina.

Pro Tools | Carbon is available now, starting at $3,999 — that includes a one-year Pro Tools subscription and partner plugins from Arturia, McDSP, Plugin Alliance, UVI, Native Instruments and Embody.

 

The post Avid Launches Pro Tools | Carbon appeared first on Radio World.

Meyer served in the Signal Corps during World War II. In Hawaii he was involved in the testing of radar and high-frequency communications systems.

When Arno Meyer passed away in the spring of last year, it marked the end of a notable chapter in radio broadcast engineering.

There’s a good chance that virtually every experienced broadcast engineer, whether working in AM, FM or TV, has used Belar monitors for transmitter testing or proof of performance measurements at some time in their career.

If so, they are the beneficiary of the wisdom, knowledge and kindness of the founder of Belar Electronics Laboratory.

Meyer passed away at age 90 in May of 2019 at his Malvern, Pa., home, following a prolonged illness.

He’d been a member of the Institute of Electrical and Electronic Engineers and the Society of Broadcast Engineers. And while he is best remembered for his long career in broadcast monitoring and RF engineering, Meyer was a skilled woodworker and craftsman of stained glass windows.

ITA

Arno Mark Meyer was born in Munich, Germany, and emigrated to America with his mother when he was less than a year old. He spent his youth in Pittsburgh, where he soon developed an interest in electronics through the repair and construction of radios. He later graduated from Greenbrier Military School in West Virginia.

During the Second World War, he continued to develop his electronics knowledge by enrolling in the Signal Corps. He spent the duration stationed in Hawaii, where he was involved in the testing and development of radar and high-frequency communications systems.

After the war, Meyer lived in California, where he earned an undergraduate degree in physics from the University of California at Santa Barbara. He later moved to Philadelphia and attended classes at the Moore School of Engineering at the University of Pennsylvania, and worked part-time for local electronics companies B&W and Jerrold.

Meyer’s first job after school was at ITA, which was involved at the time in industrial, military, broadcast and shortwave electronics. The first project he worked on was developing a transmitter for NASA’s Project Nimbus, which involved remote sensing of the Earth with satellites.

As he recalled in a Radio World interview, “It involved modifying a 5 kW FM broadcast transmitter to operate at 150 MHz with AM modulation. Eimac had no test data for the transmitter’s 4CX5000 final tube with those parameters, and basically said ‘Let us know how it works out.’” With some careful design and tweaking, the transmitter worked and was accepted by NASA.

Triangle Publishing, a media conglomerate that owned TV Guide and a host of radio and TV stations, eventually purchased ITA, and the company’s focus shifted more towards broadcasting; Meyer’s work projects changed accordingly.

Enter FM

His first assignment was to develop the Documentor, one of the industry’s first program audio logging devices.

Meyer recalled, “It would record 24 hours of audio on a 9-inch disc. Ten years’ worth of these Micro Discs could be stored on a bookshelf five feet long.”

One of the most challenging aspects of the design was creating a ceramic cartridge with a 1 mil stylus. Meyer worked with ITA’s mechanical engineer Buddy Wagner on the project.

By the mid 1950s interest in FM stereo was heating up. Eventually a standard was adopted, and the FCC authorized FM stereo broadcasting on June 1, 1961. Meyer was tasked with designing a stereo generator that could be paired with the ITA FM-10D exciter.

His SG-1D was a 15-tube device that used a fully saturated, balanced bridge modulator to achieve separation greater than 40 dB from 50 to 15,000 kHz, with distortion below 0.25%. This low distortion worked to good advantage with the Serrasoid FM exciters of the day, which themselves had distortion below 0.25% from 100 to 15,000 kHz.

The success of the SG-1D led Meyer to propose to Roger W. Clipp, vice president of Triangle/ITA Electronics, that the company pursue the wide-open market for FM stereo monitors.

Clipp responded that he had no interest in continuing in broadcast electronics, and in fact, wanted to sell the company.

Despite the setback, this was a defining moment for Meyer, as it set the direction for the rest of his career. Soon after his meeting, he handed in his resignation at ITA.

No buyers were found for the firm, and ITA went out of business shortly thereafter.

Isobel+Arno=“Belar”

In 1964, Meyer founded Belar Electronics Laboratory Inc. in the basement of his Drexel Hill, Pa., home.

The name Belar was formed by combining parts of the names of wife and husband Isobel and Arno, thus providing future customers with a great trivia question with which to challenge colleagues at trade shows.

Meyer set to work and released the company’s first product in 1965. The FMD-1 tunable FM detector addressed the need by broadcasters to visualize components of the FM stereo signal.

This device demodulated an FM signal to baseband for display on an oscilloscope or other measurement device. It also functioned as an AM detector to indicate AM noise and synchronous AM noise. The initial price was $89.50.

In fact, the FCC lab used the  FMD-1 to verify their measurement of commercial FM broadcast stereo performance standards in the mid-1960s.

Sales of the FMD-1 were brisk, and Meyer used the revenue to fund the design of his first FM monitors, the FMM-1 and FMS-1. Fingers crossed, he sent the working prototypes off to the FCC.

“At that time, all RF monitoring equipment had to have type approval from the FCC before it could be sold to broadcasters,” he later told Radio World.

“I received a call from Larry Miller at the FCC’s Laurel, Md., labs who confirmed that our monitors  not only passed the tests but were better than the commission’s own measuring equipment.”

Shortly thereafter, Meyer developed the SCM-1 SCA monitor and RFA-1 FM RF amp to round out the initial FM product line.

Then another stroke of good fortune occurred.

Ramping up

By the time Belar’s FM monitors were approved by the FCC, it had already approved monitors from McMartin Industries and Collins Radio, and a deadline had been set for all FM stereo broadcasters to have type-approved stereo monitors installed.

But Meyer spotted a problem. He did the math and discovered that the FCC’s deadline was, at best, unrealistic.

“We had an attorney present our case to the commission — that two manufacturers could not possibly build enough monitors to meet the deadline, but three manufacturers, with more time, could.”

The FCC concurred, and the deadline was moved back.

Ramping up to meet this demand meant it was time for Belar to move out of Meyer’s basement into real manufacturing facilities, so the company relocated to a plant in Upper Darby, Pa. His first big project in the new space was expanding the company’s product line to include AM and TV monitors.

In the 1970s, interest in an AM stereo broadcasting heated up, and Belar partnered with RCA to develop their standard. The two companies already had a longstanding relationship, since Belar was private-labelling AM and FM monitors for RCA. Using an RCA Ampliphase exciter as a test bed, Meyer developed both the generator and decoder, which was first shown in 1974 at the NAB Show in Chicago.

RCA eventually dropped out of the AM stereo race, but the standard continued as the Belar AM-FM stereo system.

Mark Grant, Belar CEO, said the company has always worked closely with audio processor and transmitter manufacturers. “They use our monitors in the development of new products, and they are always pushing the state of the art forward. Questions would sometimes arise as to whether anomalies were in the monitors or the company prototypes. Arno was always heavily involved in the process because a lot of what he learned was used to advance the capabilities of Belar monitors.”

Meyer was presented with the NAB’s Radio Engineering Achievement award in 2001. Letters of nomination came from Bob Orban, recipient of the 1995 NAB Radio Engineering Achievement Award; Geoff Mendenhall, recipient of the 1999 NAB Radio Engineering Achievement Award; Larry Cervon, former president of Broadcast Electronics; and Steve Hemphill, founder of Solid Electronics Labs.

When asked in 2010 about the secret to his success, Meyer chose one word: “Care. Care in design, care in manufacture, care in testing and care in customer service.”

All about accuracy

Colleagues recalled Meyer not only for his relentless pursuit of excellence in developing products, but also for the generosity of his time and knowledge and the fairness with which he treated customers.

Jeff Keith, senior product development engineer at Wheatstone, recalled an early encounter.

“Around 1975, I was CE of an AM/FM combo in Altoona, Pa. We’d been notified by the FCC that our FM was 3,600 Hz high, while our year-old Belar FMM-1 said we were –220 Hz. Measuring the FM carrier with two other means confirmed that we were indeed about 3,600 Hz high.”

Keith called Belar and was surprised when Meyer answered the phone.

“I explained the situation. His reply was, ‘Give me your shipping address and I’ll send you a new crystal.’ When I asked how much it would cost he said, ‘I’m not going to charge you for the part. The monitor shouldn’t have been lying to you.’”

When Keith began attending the NAB Show in 1980 he looked Meyer up to say hello and thank him for the support five years earlier.

“To my surprise, he actually remembered that incident. Every NAB thereafter, Arno was the very first person I’d go find to say hello.”

Greg Ogonowski, president of StreamS/Modulation Index, LLC, has devoted considerable energy to addressing FM overshoot problems; Belar monitors were one of his key factors for success.

“In the early ’80s, Gregg Laboratories developed a precision overshoot-compensated low-pass filter for AM and FM audio processing, which later became the Orban ‘0’ Card for Optimod-FM. Belar monitors were instrumental in this design because of their accuracy,” he said.

Meyer prepares to cut the cake in celebration of Belar’s 50th anniversary at the 2014 NAB show.

“Shortly thereafter, using Belar monitors in our laboratory, Modulation Index LLC, we  discovered some serious peak modulation control issues with many popular studio-to-transmitter links and FM exciters, as well as other monitors, which basically ‘undid’ the precision peak control your expensive audio processor was providing. Modulation Index then developed several modifications for these systems.”

“The accuracy of the Belar monitors helped us achieve all these goals, allowing broadcasters a loud, legal signal, and became a very important part of our arsenal of trusted test instruments. There was never more truth in advertising than their slogan, ‘When Accuracy Counts, Count on Belar.’”

A fascination with problems

Geoff Mendenhall, retired VP of Harris Broadcast and now consulting at Mendenhall Engineering LLC, had a close relationship with Meyer across several decades.

“After graduating from Georgia Tech, I wound up going to work for the Gates Radio Division of Harris Corp., where I became a long-term customer and reseller of Belar equipment,” Mendenhall said.

“Arno was very personable and always willing to help with engineering challenges. We collaborated over a span of many years, constantly improving the design of FM exciters and FM modulation monitors, which had to be matched in measurement capabilities as the state of the art evolved and improved over time.”

Mendenhall and Meyer often lent equipment to each other to verify measurement results, and in the process, Mendenhall said, he learned a lot about designing better and better FM modulators.

“When we needed a composite FM demodulator that was capable of measuring the analog FM signal to noise ratio down to and beyond 100 dB and distortion to less than 0.02%. Only the Belar FMM-2 could reliably do the job,” he continued.

“I remember Arno’s major involvement in the AM stereo initiative with the RCA/Belar AM+FM system, then later in the design of TV/BTS-TV stereo modulation monitors, and more recently, in the design of digital HD Radio modulation monitors. … Arno had a major impact on the technical evolution of FM broadcasting.”

Bob Orban, consultant to Orban Labs, recalls that Meyer was instrumental in helping him to understand FM overshoot issues, and to bring his premiere product to market.

“In 1972 I built a custom stereo limiter that had no low-pass filters and relied on clipping for peak control. Without filtering, the clippers produced a lot of energy above 15 kHz,” Orban said.

“A mystery arose when, with some program material, modulation peaks that were clearly well controlled at the studio produced egregious over modulation on the air as read on the FMM-1. A call to Arno revealed the reason: While removing the above-15 kHz energy produced by the clippers, the 15 kHz low-pass filters in the Collins stereo generator were overshooting and ringing. I took a scope up to the transmitter and, sure enough, Arno was right, that was exactly what was happening.”

With that in mind, Orban next designed non-overshooting low-pass filters and packaged the compressor, limiter, high-frequency limiter, filters and stereo generator together, as a system.

“I proceeded to design and prototype a single channel of this processing and build it on a perf-board. Upon consulting with Eric Small about package design, transmitter interfacing and regulatory requirements, I proceeded to prototype a stereo version of this processing, including built-in stereo generator. I called the result Optimod 8000A.”

Again, Meyer stepped in to help. He offered space in Belar’s 1975 NAB booth to Orban Associates to demonstrate the prototype 8000A, and how well it controlled modulation as indicated on Belar monitors.

“With this demo, Orban was off and running in the broadcast marketplace,” Orban said.

Circuit design consultant Bill Gillman recalled a relationship with Meyer that spanned 40 years. “I met Arno at my first NAB convention, April 1980 in Las Vegas. I was a 21-year-old chief engineer at an AM/FM in Provo, Utah.

“Explaining that I had ran into difficulty completing the required annual proof of performance measurements on my FM, Arno carefully proctored me on the interconnection and grounding of the Belar FM Stereo Monitor and my associated test equipment. His advice delivered a set of excellent measurements. I admired his gentle, quiet and expert manner, a truly competent engineer and business owner,” Gillman said.

“Years later, I held the position of vice president of Engineering at Gentner Communications, a broadcast equipment supplier. The Gentner and Belar NAB convention booths were often in close proximity. When booth traffic was low, Arno and I would get together and compare notes on everything in our respective designs and on everyone we knew at NAB.

“He was generous with his intellect and had a superior dry wit that I both admired and enjoyed. I am better and happier at my craft today because of Arno Meyer.”

Mark Grant recalls his years working with Meyer as the company’s monitors transitioned from analog to DSP devices. “Arno was always contributing, even though he wasn’t a DSP guy. He saw the big picture and was always shooting for better specs. The concepts of broadcast monitoring are the same as always, they’re just done with digital filters and firmware,” Grant said.

“Arno also had a fascination with problems. If you injected a signal into a device and the response wasn’t what you expected, he would pursue it to the very end to find out why. He saw it as a lesson to be learned.”

Grant concludes that the culture that Meyer nurtured at the Belar plant was a testament to his values and leadership.

Perhaps the life and career of Arno Meyer may best be summed up by Steve Hemphill, who said, “Unlike his monitors, Arno’s effect on the broadcast industry was truly unmeasurable.”

 

The post Arno Meyer: A Story of Accuracy and Integrity appeared first on Radio World.

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Adell Radio Group, Inc. enters into consent decree to resolve political file investigation

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Vacationland Broadcasting, Inc. enters into consent decree to resolve political file investigation

The Federal Communications Commission initially dismissed a petition to reconsider the construction of a new FM translator station over issues of listener interference. But it was the licensee’s failure to read the fine print on how and when petitions can be filed that led to the outright dismissal of the translator application.

In 2018, Schwab Multimedia LLC submitted an application to construct a new FM translator in San Fernando, Calif. Soon after, LBI Radio License LLC, which is licensee of FM translator station KBUE in Long Beach, Calif., filed a petition to deny because seven listeners of KBUE were predicted to experience interference from the new translator. Soon after that, KBUE identified an additional seven KBUE listeners who were predicted to experience the same type of interference.

[Read: Media Bureau Changes Course, Revokes CP Grant for Oregon FM Translator]

That led the Media Bureau to dismiss Schwab’s amended application after determining that the proposed FM translator would interfere with those listeners. Schwab responded with a proposal to reduce power of the proposed translator to 1 Watt to eliminate interference for KBUE listeners. The bureau then moved to grant the reconsideration and the amended application in early February.

But LBI was not placated — it said the translator would still interfere with KBUE listeners despite the reduced power. That led the FCC to again dismiss Schwab’s amended application after determining that the proposed facilities, as modified, failed to eliminate the predicted interference. Schwab tried again, filing another petition for reconsideration in April 2020 along with an engineering amendment designed to eliminate any predicted interference.

This was a no-no in the FCC’s eyes and where the Schwab application was tripped up. The FCC dismissed Schwab’s second petition as “procedurally defective,” saying that there is no provision in the FCC Rules for an applicant to file multiple reconsideration petitions or multiple attempts to correct an application that is defective. Under the commission’s policy on defective applications, applicants are given one opportunity — and only one — to correct errors and seek reinstatement. The commission also clarified that these types of applications would only be considered in cases in which there was a relatively minor adjustment. Plus, that application must be filed within 30 days of the dismissal.

According to the commission, Schwab’s 2019 petition was its first and only permissible attempt to correct the deficiencies in the application. Plus its amendment failed to resolve a problem that appeared in the original application — that of potentially causing interference with KBUE listeners. Since the application can no longer be corrected, the Media Bureau moved to dismiss the petition filed by Schwab.

 

The post Rules on Filing of Petitions Trip Up California FM Translator appeared first on Radio World.

A new scholarship is available for women, people of color and people from small-market radio and TV stations who are starting their first managerial roles.

 The National Association of Broadcasters Leadership Foundation is accepting applications for the First Time Managers Fellowship. It will fund enrollment for 10 fellows in the First Time Manager Series, which is an online course of interactive sessions and resources “to help bridge the gaps in management training that can hinder professionals recently promoted to their first supervisory role,” the foundation said.

[Read: NAB Foundation Launches Diversity Resource]

The effort was announced by foundation President Michelle Duke and is funded by a grant from the Nielsen Foundation.

Fellows will be selected through a competitive application process. The deadline to apply is Dec. 18. Details are at NABFoundation.org.

 

The post “First Time Managers” Get a Boost appeared first on Radio World.

Another trade show makes the virtual choice.

Radiodays Asia has announced its 2021 event will be virtual, March 24–26. Note that will take place on Kuala Lumpur time.

[Visit the Radio World Calendar]

The virtual event will be a mix of conference sessions, meet ups and advanced training including master classes and workshops according to organizers. The show is taking suggestions for additional speakers and suggestions.

Announced sponsors are RCS and Triton Digital.

Send your show news and updates to radioworld@futurenet.com

The post Radiodays Asia 2021 Goes Virtual appeared first on Radio World.

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