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In this letter to the editor, the author comments on David Bialik’s recent story “Cleanup in Studio 3: All in a Day’s Work.” Comment on this or any article. Email radioworld@futurenet.com.

David Bialik’s story reminded me of one of my favorite “Bill vs the GM” stories.

I was contracting for an FM that was owned by an estate. The estate lawyers would begrudgingly pay for repairs but would not spend a penny for preventive maintenance.

The station had an old, aging RCA BTF-10D transmitter. It had many known problems but no money would be approved to bring it up to snuff. One issue was that the original RCA driver had been replaced by a Sparta 250W driver that would eat a 4CX250 every couple of weeks.

Anyway, late one afternoon, I started getting pages. At that time the transmitter site was staffed for another station so I called the operator and asked for a favor: “Hit the reset switch and let me know what happens.” He came back to the phone and said “A bright flash came out of the PA and it tripped off again.”

So I fought my way through afternoon traffic to the transmitter. When I got there, I found the same bright flash.

Then the station phone rang. It was the GM. He asked “How much longer will we be off the air?” My answer was “It will be longer if I have to answer stupid questions” and hung up the phone.

I knew that sooner or later the estate would finally sell the station to a new owner and new staff would be brought on board. The existing GM and I did not get along. He was a big, tall guy and used his size to manipulate people. But I’m 6′ 4″ and tall enough that he couldn’t do it with me. That bugged him. And to make it even better I called him “Shorty.”

Turns out that the PA problem was that the plate DC came through the plate capacitor as a Teflon-insulated wire. The wire had broken off at the plate terminal lug. I was able to push enough slack up the capacitor and resoldered the lug and got it working in an hour or so.

Back to David Bialik’s story. There’s a story — perhaps urban legend — that an LA rock station put their engineer in a hospital after he inhaled the copious white powder inside the console.

— Bill Ruck, San Francisco

[Check Out More Letters at Radio World’s Reader’s Forum Section]

The post Letter: Who Wins in a GM vs. Radio Engineer Standoff? appeared first on Radio World.

In this letter to the editor, the author comments on Buc Fitch’s 2006 story “The Demise of the First Phone,” which was recently reshared in our Radio World Engineering Extra SmartBrief newsletter. Comment on this or any article. Email radioworld@futurenet.com.

Return with us now to those thrilling days of yesteryear when First Phones populated the hallowed walls of control rooms in directional AM stations everywhere.

The thrill of having your First Phone license hanging in a cheap Woolworths store frame next to the Chief Engineer’s license was unforgettable. Remember the sense of pride that it was your name on that sacred piece of paper? Ah! Those were the best of times.

There I was, seventeen years old, making an astronomical $5 per hour when minimum wage was $1.40. I was in high clover; life couldn’t get any better than this. I was doing what I had only dreamed of. I loved radio, and the opportunity to be part of it was intoxicating.

The responsibility of taking meter readings, changing the directional pattern at sundown, changing defective tubes in the Gates “Yard” audio console, loading the automation system with 14” reels of music tapes and commercial carts in the 55 stacker cart machine was like being in heaven. This was nirvana!

Life moved on, jobs as Chief Engineer at numerous radio stations, then on to Director of Engineering jobs in television, even to owning my own consulting business. That First Phone opened many a door even when it moved into a fancier frame. The First Phone License placed you in an elite club which even to this day is special.

I guess like all things, nothing lasts forever and even the good times come to an end. Although time has passed, my memory has never faded. I still remember the smell of the warming up audio consoles on those cold mornings. The thrill of being a First Phone broadcast engineer never grows old.

— Walt Konetsco, Retired Foreign Service Field Engineer at Voice of America

[Related: “Letter: Remembering the FCC’s First Class Radiotelephone License“]

The post Remember Having a First Phone License? Those Were the Days appeared first on Radio World.

An Adult Contemporary radio station serving Frankfurt, Germany, owned by regional owner The Radio Group, has established a new world record in a “Fun Marathon” that resulted in a single radio show airing non-stop for six consecutive days.

The Rekord-Institut für Deutschland, the German-language counterpart to the internationally oriented Guinness World Records, awarded Radio Frankfurt 95.1 its world record for “longest music radio show” on February 13 after 132 hours, 2 minutes and 3 seconds.

Eike Knall, Head of Marketing & Sales for The Radio Group, tells RBR+TVBR that the special marathon broadcast began at 6am CET on February 8. A roster of 10 radio hosts including Knall, who has experience in programming in other German markets, paired up for six-hour shifts. On Day One, Knall was heard on Radio Frankfurt from 6pm-midnight. He returned at Noon on Day 2 for another six hour shift, this time paired with another member of the radio station’s team.

Knall repeated the Noon-6pm shift, this time with a third co-host, across last weekend. Come February 12, he went on-air for the 6am-noon shift; on Tuesday, he hosted noon-6pm before Anne Graul took the 6pm-10pm slot and formally hit the World Record for Radio Frankfurt. Other hosts include Hakan Turan, Raoul Helmer, Helmer Litzke, Andreas Schmidt, Sandrina Kunz, Dieter Döring, Felix Rockenkamm, Roger Rinker and Julia Moschner.

The previous world record, involving a radio station in Dubai, was 106 hours and 50 minutes. Radio Frankfurt’s broadcast was monitored by a judge who traveled from Hamburg to certify the world record on-site.

What was the purpose of the “Fun Marathon”? Knall says there was certainly the publicity behind in, gaining attention to Radio Frankfurt. However, team building was also an important element of the World Record event.

RID record judge Olaf Kuchenbecker said, “Eike Knall and his team delivered a really impressive performance. Organizing such a radio program thematically over the course of days and broadcasting it in an entertaining way speaks for technical competence, creativity and, above all, passion for music.”

The judge also praised the successful involvement of Radio Frankfurt’s listeners, who gave the team encouragement and support during the broadcast. “This new world record is therefore a successful team effort,” RID said.

https://rbr.com/wp-content/uploads/VIDEO-2024-02-14-11-58-24.mp4

The author is VP Sales Americas for Tieline. This is excerpted from the ebook “Trends in Codecs 2024.”

Transporting composite MPX signals from the studio to transmitter sites delivers a more streamlined and cost-effective approach to FM radio broadcasting.

Jacob Daniluck

MPX codecs deliver composite FM multiplex (MPX) codec solutions for real-time network distribution of FM-MPX or MicroMPX (µMPX) signals to transmitter sites. 

In the United States and Europe, the ability to syndicate a single or dual stereo baseband stream to multiple sites at once is attractive. It allows broadcasters to maintain baseband audio processing and RDS data insertion at the studio. 

This significantly reduces capital and operational costs by eliminating equipment from transmitter sites and dramatically reduces a network’s carbon footprint by lowering on-site power consumption. It also reduces wiring and rack space requirements and fewer site visits for service and support are required.

When looking to purchase MPX codecs, engineers will have varying requirements based on the hardware currently installed at their studio and transmission sites. At the same time, it is best to try to “future proof” your investment in MPX codecs by ensuring you have the ability to not only manage current requirements but also consider future analog to digital upgrades. 

This is why it is important to support both analog MPX on BNC, MPX over AES192, and multipoint signal distribution, to deliver a range of flexible composite encoder and decoder solutions for different applications. This allows you to implement analog MPX solutions as required and then transition to digital MPX signals at a later time using the same MPX codec.

MPX signals can be distributed to transmitter sites using:

• Wireless point-to-point STL links
• Managed networks and unmanaged public WANs
• Satellite links using MPEG-TS.

The preferred option usually depends on the remoteness of a tower site and its available IP bandwidth.

Fig. 1: Encoding/decoding of compressed µMPX and uncompressed FM-MPX with return monitoring option Significant cost savings

MPX codecs offer a unique advantage compared to traditional STL paths. They operate over IP and allow syndication from a single uplink point. This eliminates the need for a more complex on-air signal path at each specific tower location. 

Distribution of MPX composite signals from the studio or playout center via multicasting or multi-unicasting substantially reduces costs by eliminating expensive audio processing and RDS generation requirements at multiple STL sites. This process affordably replicates MPX composite streams using a single encoder, similar to how baseband IP audio streams are replicated in audio codecs. Compressed MicroMPX composite signals can be distributed over WANs like the internet at low bit rates to reduce bandwidth requirements.

Fig. 2: MPX composite transmission options MPX data requirements

In the long run, MPX codecs will help streamline the process of getting baseband audio to the tower site from the studio. 

In the short term I do not expect every single engineer in the country to go out and buy an MPX codec. However, I do foresee station engineers looking at MPX codecs in coming years as equipment ages and needs to be replaced. Not every site is ready to go with an MPX codec or signal, as it does require more bandwidth than is traditionally required for a standard 48 kHz 24-bit stream.

The payload requirement varies. Digital MPX over AES (AES192) requires between 2.3 Mbps (16-bit) and 4.6 Mbps (24-bit). This requires high-capacity managed IP links with reliable QoS. Compressed MicroMPX is supported at much lower bit rates, although higher than many regular IP audio connections, and can successfully connect over both managed and unmanaged IP links.

Even with a compressed MicroMPX signal, there are still some parts of the USA that can barely get 56 kbps internet service. This is one of the reasons Tieline added a traditional codec for basic IP connections into the MPX I and MPX II codecs. This allows engineers to grow their MPX network incrementally as their sites become capable of handling higher bit rate streams over time. 

MPX redundancy and packet loss strategies

Redundant streaming over divergent carriers and paths avoids packet loss over unmanaged IP networks like the internet. Forward Error Correction (FEC) is another packet recovery strategy.

Reliable Internet Stream Protocol (RIST) is an open-source protocol that can detect loss over a network and request the retransmission of lost packets. The benefit of RIST is its ability to minimize required bandwidth. Automated file failover can provide backup if a catastrophic failure occurs on the transmission side.

With management and configuration software delivering full remote monitoring and control, automated alarms and SNMP monitoring, a fully integrated MPX transmission solution is at your fingertips.

[Sign Up for Radio World’s SmartBrief Newsletter]

The post Demystifying FM-MPX and MicroMPX Solutions appeared first on Radio World.

Hans van Zutphen is founder and owner of Thimeo Audio Technology. He also worked at ASML, which builds machines for the chip industry, and Philips Healthcare, working on, among other things, image processing for X-ray systems. 

This is excerpted from the Radio World ebook “Transmission 2024.”

Hans van Zutphen

Radio World: Describe the role of your products in a radio air chain.

Hans van Zutphen: Our main focus is audio. We make products that improve your sound on FM and other media. For that, we have our audio processors Stereo Tool; ST-Enterprise, which is aimed at larger broadcasters, allowing you to process up to 50 stations on a single computer and adds things like watermarking; and our hardware FM processor, STXtreme.

Relevant to this ebook, we created the MicroMPX codec, which sends the full composite MPX signal to transmitter sites without using massive amounts of bandwidth.

RW: What do you consider the most important trend in audio processing for radio?

Van Zutphen: There’s clearly a move from hardware-to software-based processing. When we started with software-based FM processing in 2007, it was a niche market, and many people were afraid to run their processing in software. It definitely isn’t niche anymore. Also, the processing now is far more often located in the studio or even in the cloud — albeit often a cloud of the station itself, not the public cloud — instead of at transmitter sites. MicroMPX has played a large role in that.

Also, though this varies very much per region, there’s a move towards less aggressive processing, which I think is an absolute necessity if FM stations want to compete with all the other audio sources that are available in cars today. 

Especially in markets that use 75 μs pre-emphasis, FM tends to sound very dull when compared to other sources. The mid-highs are typically still there, but the highs above, say, 10 kHz, are typically very weak. If people switch from a stream to FM and the high end just disappears, they will probably go back to the stream. Reducing the loudness gives you more room to transmit highs. Using composite clipping does that as well — it allows for up to 5 dBs of extra highs around 15 kHz compared to traditional clipping.

This story is excerpted from the free ebook “Transmission 2024.”

The challenge now is to create an interesting and powerful sound, but without sounding “bad” when people can quickly switch between sources.

If your compressor is at the studio and your transmitters are elsewhere, this is where MicroMPX comes in. Enabling the use of a composite clipper while the processor is in the studio was the main reason for us to develop it.

RW: How widely has microMPX been adopted?

Van Zutphen: It’s really picking up steam! We are seeing thousands of transmitter sites per year that start using it. We have licensed it to nine other manufacturers, and more are in the pipeline. The first transmitters that can decode it internally should become available any time now, which will make it even simpler to use. You can just plug your network cable into the transmitter and be on the air without needing any further equipment.

MicroMPX is one of the things that enables the transition to doing all the processing in the studio or the cloud. We always wanted this to become an industry standard, so we are open to license it to any vendors.

RW: How will the development of software-integrated air chains change how engineers choose and deploy processors and other transmission hardware?

Van Zutphen: Software is typically a lot cheaper than hardware, enabling smaller stations to have top audio quality.

If a hardware unit breaks, you need a spare hardware unit or you’re off the air. Often older hardware units are used as backups, which don’t sound as good. And if your main unit breaks, it can take days before it has been repaired and you have your original audio quality back. If a PC breaks, you can just install the software on a different PC and have it back on the air in minutes. So using software simplifies reliability and makes it cheaper; there’s less need to rely on external parties to fix things.

[Sign Up for Radio World’s SmartBrief Newsletter]

The post MicroMPX Has Its Roots in the Needs of Processing appeared first on Radio World.

The broadcast TV station ownership group founded 28 years ago by Chairwoman Nancie Smith and her late husband, David Smith, and led today by President Dennis Thatcher has asked the FCC to cancel a proposed forfeiture in the amount of $150,000 levied against the company.

At the very least, Mission Broadcasting said in a response to the suggested fine, the Commission’s determination that it did not participate in “good faith” retransmission consent discussions with Xfinity parent Comcast Corp. should, at the very most, see a $7,500 financial penalty levied against it.

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A new proposal that would make it easier for emergency managers to send emergency alerts in non-English languages over television and radio was pushed through by the FCC this week. However, broadcast engineers are already pondering the complexity of the upgrade for existing EAS equipment.

The proposal outlines ways to give emergency managers the option of using pre-scripted, template alert messages and prerecorded audio files in non-English languages when initiating alerts over the Emergency Alert System. Those recordings would be stored in the EAS devices of broadcasters. 

The FCC proposes creating template alert scripts in the 13 most commonly-spoken non-English languages in the U.S. The template scripts and audio files would be produced by the commission. 

The non-English languages would include Spanish, Chinese, Tagalog, Vietnamese, Arabic, French, Korean, Russian, Haitian Creole, German, Hindi, Portuguese and Italian.

According to U.S. Census data, more than 26 million people in the U.S. report that they do not speak English very well or at all. However, the FCC says the vast majority of alerts are issued only in English.  

A key multilingual alerting challenge faced by authorities is translating time-sensitive alerts into additional languages during crises, according to the proposal. 

The FCC extended the reach of the Wireless Emergency Alert (WEA) system last year, when the commission updated its rules to ensure WEA could support 13 languages using similar template scripts. WEA alerts also currently include American Sign Language.

FCC Chairwoman Jessica Rosenworcel said in prepared remarks: “I know if we get creative we can update radio and television alerts just like we are doing with Wireless Emergency Alerts.”

In the new Notice of Proposed Rulemaking (NPRM), the FCC says it will seek comment on the feasibility of creating a process through which emergency managers can initiate template alerts.

Broadcasters would be required to transmit the message in the template language that corresponds to their programming content. However, the FCC is hopeful broadcasters would take advantage of the templates to also air a multilingual alert if the local population within its listening area warrants it.

In addition, the proposal takes a closer look at developing and implementing American Sign Language (ASL) versions of the template alerts — presumably for TV and cable — including how ASL translations of the template scripts would be processed and displayed. 

[Related: “FCC Workshop Focuses on Security for EAS and WEA“]

It is also conceivable, the FCC says, that there are some older EAS devices in use today that could not be updated or modified to enable template alert processing and transmission. 

Radio World previously reported on comments on a listserv maintained by the Society of Broadcast Engineers that shows some broadcasters are worried that the current technical framework within EAS equipment at radio stations might be strained carrying out the FCC’s multilingual goals.

One commenter on the SBE listserv notes the length of alerts would double if the English version is then followed by another language creating a string of announcements. “And you think alerts are lengthy now,” the SBE listserv participant stated.

The commission in the NPRM asks what storage capabilities would be required for 30 second messages created with 16 template audio files for each of the 13 proposed template languages, in addition to the English language version. The total would be 224 audio files.

Among the questions the FCC asks in the NPRM is how long would it take for manufacturers to develop, test and release updates, and at what cost to EAS participants? And would the storage of template visual script and audio files in EAS device models require additional memory capacity via a firmware update; if so, at what cost? 

The commission’s questions continue: “Would implementing the template alert processing approach present any unique challenges or require modifications with respect to EAS participant transmission processing systems upstream or downstream from the EAS device that would impact the time required for implementation?”

[Related: “FCC Wants More Feedback on Mandatory Disaster Reporting for Broadcasters“]

The commission says it recognizes that there could potentially be costs associated with adding memory capacity, firmware and/or other modifications to EAS devices, and changes could be required to downstream transmission processing systems. However, with so many unanswered questions, estimating the cost to make upgrades to EAS boxes is difficult, according to the FCC.

The commission used an aggregate of labor costs to arrive at an estimate of $12 million for the broadcast industry to fund the upgrades. 

Comments on the NPRM (PS Docket No. 15-94) can be submitted once it is published in the National Register.

The post FCC Pushes for Expansion of Multilingual Emergency Alerts appeared first on Radio World.

The day-to-day operations for two of Cox Media Group‘s biggest FM radio stations will be taken over, starting March 4, by a 30-year veteran who in 2016 joined the company as Director of Operations for its TV and radio brands in Tulsa.

Taking the roles of Director of Operations and Director of Branding and Programming for WSB-FM “B98.5” and WSRV “97.1 The River” in Atlanta, which air Adult Contemporary and Classic Hits formats, respectively, is Nathan Reed. He’s inbound from Tampa, where he’s been Director of Operations since September 2019.

Reed reports to CMG/Atlanta VP/Market Manager Jaleigh Long, who said, “Nate’s successful experience, market leadership, and passion for this great industry is a winning combination for our Atlanta music stations. Partnering with Ken Charles, [News/Talk] WSB Director of Branding and Programming, only strengthens our position when it comes to leading the most talented programming teams in the industry.”

Reed added, “Joining CMG Atlanta’s outstanding team and award-winning brands is an honor. I’m grateful to Jaleigh Long, Chris Eagan, and Rob Babin for the opportunity to create more success with the nation’s leading multi-media company.”

Reed began his professional career in February 1996 at WWCK-FM in Flint, Mich., serving as Assistant Program Director and Music Director. He would later serve as PD/Middays at WRCL-FM in Flint, Mich., under Regent Communications ownership. Reed would depart in April 2008 to join the Clear Channel Communications team in Toledo, serving as PD for Top 40 WVKS-FM before rising to Brand Management Leader for four stations within the Northwest Ohio cluster.

WASHINGTON, D.C. — The Federal Register, the official publication of record for the U.S. Government, on Thursday offered a summary of the long-awaited 2018 Quadrennial Review Report and Order, which largely keeps intact broadcast radio and TV local ownership rules while tightening a broadcast television regulatory policy.

As such, an effective date has been locked in.

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By Rosemary Ravinal

How do you have a conversation with someone in a noisy place without straining your hearing and losing your voice? The din at networking events and conferences can take the enjoyment out of meeting new people if you must shout at the top of your voice to be heard. Worse still, you catch every other word the person uttered and feign understanding what they said altogether. This doesn’t make for meaningful conversations.

After decades attending cocktails and mixers where you need a bullhorn to be heard above the DJ, I had to find a way to navigate these head-splitting events successfully and have a reasonably fun time.

Did you know that ambient sounds affect your sense of taste, too? Restaurant industry research shows that elevated levels of sound suppress our perceptions of the way food tastes. Yet, event planners overlook that detail to create buzz-worthy experiences. No wonder I lose my appetite for gourmet canapes in noisy distracting settings. Not to mention that I also avoid eating hors d’oeuvres because I’m hyper-careful not to have anything stuck in my teeth.

Since bustling conventions, receptions and mixers are part of business life, here are three practical strategies to help you cut through the noise and improve the quality of your conversations and experiences even in the loudest places:

1. Understand what happens in loud environments

Speakers naturally increase their vocal effort when speaking in loud places. This is called the Lombard reflex and entails not only speaking more loudly but also changes in pitch, rate of speech, and the duration of syllables. Think about how you tend to speak more slowly and overemphasize certain sounds when you’re straining to be heard.

2. Practice good projection 

Because you may be overtaxing your voice to project in noisy settings, practice speaking from the chest and diaphragm, allowing your voice to carry naturally. This technique will not only make your voice louder but help you maintain clarity amidst the chaos of sound. Hydrate more and take deeper deliberate breaths than normal. Basic good vocal hygiene is particularly important to avoid hurting your voice in the long term.

3. Let the other person do the talking 

If your voice doesn’t project sufficiently, go into receiver mode. Save your voice and listen more. We tend to look more at the other person when listening than when we are speaking anyway. Effective listening means looking at the speaker and listening with your eyes, using attentive body language, facing the speaker squarely with good posture, and avoiding distractions like looking at your phone. Give little visual and auditory cues that you’re present and interested by nodding your head, smiling, and gesturing in acknowledgment.

 

Do you need help polishing a speech or presentation for work? Let me help you. Private coaching sessions are still available in February. Schedule a quick call with Rosemary Ravinal and get started.

The Alliance for Women in Media‘s 2024 National Board of Directors and Officers are now finalized, and taking officer roles are individuals from Hallmark Media, Graham Media Group, Beasley Media Group, MHz Choice and ESPN.

Serving as Chair is ESPN VP/Corporate Communications Katina Arnold, while the incoming Vice Chair is MHz Choice/Topic Streaming Chief Marketing Officer Monica Bloom.

The immediate Past Chair is Hallmark Media Chief Communications Officer Annie Howell, as the Treasurer role goes to Graham President/CEO Catherine Badalamente.

Marie Tedesco, Beasley’s CFO, is Treasurer-Elect.

Additionally, four new directors are being added to the Board for a two-year term:

• Isabel Lara, Chief Communications Officer, NPR
• Jaclyn Levin, President, Shriver Media and Founder, Liminal Space Media
• Christine Moran, Head of Creator Partnerships, Electrify Video Partners
• Debra OConnell, President/News Group and Networks, Disney Entertainment

“The leadership of our Board of Directors has allowed AWM and our Foundation to
advance women in media for more than seventy years of triumphs and trials,” said AWM/F President Becky Brooks. “The past year has underscored the need for steadfast leadership in the face of unforeseen challenges. The mix of diverse and insightful voices on this year’s Boards will continue the important work of prioritizing recognition, connection and education of women across all facets of media.”

Thea Mitchem, Executive Vice President of Programming at iHeartMedia, will serve a second term on the AWM Board of Directors.

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One month ago, he took to LinkedIn to share the happy news that he’s starting a new position in media advertising sales for a major broadcast media company. Now, it’s official: Dan Lanzano is out at Warner Bros. Discovery and has joined the No. 1 broadcast TV station owner in the U.S.

 

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It’s a hip college town between Atlanta and Savannah, Ga., that was Georgia’s state capital for a brief time during the War Between The States. It’s the home of a Class A 3kw FM that in recent times has been branded as the “Star Station.”

What’s next for this facility will be up to a new owner, pending FCC approval.

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Saga Communications stock went ex-dividend today, and that means a cash bonus of 25 cents per share will soon be on the way for shareholders.

What can they expect to hear from the company led by CEO Chris Forgy about its Q4 2023 performance? We now know the answer.

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Radio World and its sister brands have opened the nominations process for the “Best of Show” Awards to be given at the 2024 NAB Show. This marks the 10th anniversary of the launch of the “Best of Show” program.

Exhibitors at the show are qualified to enter. The nomination forms and FAQ can be found here.

The deadline to enter is April 1.

“From all accounts, the number of people attending the spring convention will be up again this year, as it continues to build back from the pandemic era,” said Editor in Chief Paul McLane. “There will be more booths than last year too, and I expect we’ll see an increase in the number of companies participating in the awards. There’s certainly a lot of exciting things happening not only in the traditional product sectors but across software and the fast-moving AI space.”

The awards celebrate companies leading the way in media and technology, as exhibited at the convention. The Future publications that will participate in the awards program this year also include TV Tech, TVB Europe, Broadcasting+Cable, Next TV, Sound & Video Contractor, Mix and ITPro.

Radio World winners are chosen by a panel of broadcast engineers and Radio World editors. Companies pay a fee to enter; not all entries are winners.

A program guide featuring all entries is published after the convention. (Read the 2023 guide.)

The post Nominations Are Open for “Best of Show” Awards at NAB appeared first on Radio World.

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The Media Bureau dismisses the application of Hippy Dippy Tree Hugger Radio for a construction permit for a new LPFM station at Galax, Virginia

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At the BES Expo in New Dehi, India, the Digital Radio Mondiale Consortium demonstrated DRM Digital FM reception on a mobile phone.

According to DRM, no proprietary receiver technology was needed, so long as the phone includes an off-the-shelf analog FM tuner chipset. Such chipsets typically require the use of wired headphones, which double as an antenna. A photo released by DRM showed the phone using a StarWaves-branded app. StarWaves introduced in 2021 a DRM SoftRadio app; however, that app requires an external dongle or tuner.

Ahead of the Feb. 15–18, 2024, exhibition, StarWaves had announced plans to show “an exciting novel mobile solution” at the DRM Consortium’s technology showcase.

[Read more Radio World coverage from trade shows.]

The post FM DRM Reception on Mobile Phone Shown at BES appeared first on Radio World.