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Radio World

Community Broadcaster: Are You Listening, FCC?

Radio World
5 years 7 months ago

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

Could you imagine holding a presidential election and leaving out rural America from the polls?

What about steering a boat through a storm, but telling the most resilient of the crew to take refuge in the ship’s hold?

In either of these scenarios, none of us would dream of leaving out important voices in decision making, or not accepting helping hands in a moment of need. Yet radio is seeing just such a pivotal event.

When the nation’s leader in the media space convenes stakeholders on Nov. 21, it is incumbent that community, religious and noncommercial educational media be included.

[Read: Community Broadcaster: Facebook Needs Community Radio]

Later this month, the Federal Communications Commission’s Media Bureau will host a “Current and Future Trends in the Broadcast Radio and Television Industries” summit. It could be one of the most interesting gatherings for broadcasters in some time. Streaming, internet disruption, podcasting and regulations are among the big conversations in radio as a whole. Each presents a unique challenge that radio together can respond to, and discuss our collective needs with the country’s media policy leader.

However, the FCC must ensure community media is at the table.

According to the announcement, the objective of the event is “to hear from industry experts and participants about the current and future trends, challenges, and opportunities facing the broadcast radio and television industries.” The FCC promises a pair of panels representing large and small broadcasters, as well as many media analysts.

Names of panelists are apparently yet to be released (as of press time). Invitees have not been announced yet either. However, involving the diversity of full- and low-power community radio stations, noncommercial broadcasters, public, education and government (PEG) television and others in the community media ecosystem must be a priority.

Community broadcasters nationwide are an important part of the media world, albeit not as attention grabbing to some media watchers. However, their service to cities and towns like yours is valuable and historically noteworthy. Consider radio stations like WORT, KGNU and many others welcoming community voices onto the airwaves. KUVO in Denver and WNCU in Raleigh have been legacy jazz stations serving their respective communities, while also trying to pioneer sounds for new audiences for noncommercial media. And then there is the vibrant low-power FM scene, with many locally engaged and intelligent stations with a reach far beyond their 100 watts by virtue of the relationships they’re building in their communities.

Where else in terrestrial media does the hybrid of community-sourced and curated content flourish so well, or at all? Who else has figured out that puzzle-like community media? It is not all perfect, of course, but big players could listen to these stations a bit more. The upcoming symposium seems like a perfect setting to do it.

I do not make the argument that these voices should be added to the exclusion of the many large and medium-sized broadcasters the FCC has traditionally tapped for such meetings. Anyone who’s been there knows the FCC offices are large. There is plenty of room for everyone. I merely suggest community media should be considered an important part of the conversation, too.

2019 has been a powerful year for media. And community media will be part of a lively 2020. Are you listening, FCC friends?

 

 

The post Community Broadcaster: Are You Listening, FCC? appeared first on Radio World.

Ernesto Aguilar

Adventures in 1970s AM: Curses! Locked Out!

Radio World
5 years 7 months ago

One of my first jobs at the mighty WOHO(AM) was that of nighttime disc jockey, doin’ the bits and playin’ the hits! The year was 1973 and our little Class B was the number two station in Toledo, Ohio, according to the now-defunct-but-then-quite-vital C. E. Hooper ratings.

We’re number two! We’re number two!

While nationally many stations were still using turntables and playing scratchy 45s, WOHO had moved to an all-cart system for our 40 current hits and 500 golden oldies. This allowed our chief engineer to invent an ingenious automation system.

Each of our five cart machines in the control room was fitted with its own GraLab timer. These were large analog clock-like devices normally used in the film development process but which were perfect for us. Since the exact length of each song was noted on the cart label, we would place a cart into a machine and set its timer to that song length. When the cart started, so did the timer. As the hand on the clock swept around the dial it would give the DJ a visual cue as to when the tune was going to end. But each timer was then further custom-fitted with a magic green button that if pressed, would automatically trigger the next cart machine in sequence when the first timer clicked to zero. For example, when the song in Cart Machine One was through, it could start the song in Cart Machine Two.

[Read: Adventures in 1970s AM: Diary of a Mad Talk Show Host]

It was an unseasonably cold one October night and I was alone at WOHO, stuck on the air from 7 p.m. to midnight. Due to bad planning on my part, by 9 p.m. I was hungry. The Freeway Drive-In was a diner we jocks frequented, certainly not for the high quality of its offerings but rather for its convenient location just a mile from our studio. While I was waiting for a song to end I got out our phonebook, looked up the Freeway and called in my order: a double hamburger with everything, fries and a vanilla shake. I told the waitress who answered the phone that I’d be there in 10 minutes, and that I’d be in a hurry. And here is where the automation system comes into the picture.

I grabbed the two longest oldies we had, “MacArthur Park” by Richard Harris and “American Pie” by Don McLean, and put on my coat. I then set our timers to play two scheduled commercials, a “WOHO golden” jingle and then both of these songs, which I figured would give me 15 minutes to get into my car, drive over to the Freeway, pick up my grub and return.

Ken and the dreaded though life-saving automation system

Let me pause here to say that I was well aware of several infractions of station policy I was about to commit. I was leaving the station and transmitter unattended, vacating my post in the studio, not telling anyone where I was going, and probably several others. I knew also that there was a chance I would not make it back in time. However, youth and stupidity go hand in hand and as I was 22 at the time I proceeded.

I started the first cart and ran out of the front door to the station into the parking lot which by now had a light dusting of snow. Because I was in a blind rush, I did not notice that the big glass door had swung shut behind me and locked. I got into my 1969 red VW Bug and drove at a “high rate of speed.” In short order I pulled up at the Freeway, left my engine running and ran in to get the food. I now had seven minutes to get back to WOHO and start the next song. As I drove, my car radio was set to 1470 to make sure there was still something on the air.

Whew! Home safe with two minutes to spare! I locked my car in the parking lot, grabbed my now-greasy bag of health food off the seat next to me and ran up to the front door which, as you may recall, was now locked. Of course I was not in possession of a key. My heart rate shot up about 30 beats.

Improvising, I made a mad dash around to the back door, which was required to be locked at all times. Fortunately in yet another violation of station policy, it was not. However, the cold weather had caused it to become stuck closed. I roughly unjammed it and ran inside just as Don McLean was fading out. Were I unable to get there in time I knew that the station limiter would kick in and bring up dead air which would quickly produce an ungodly loud hum.

I ran to my seat in front of the board, slammed on the mic and in a breathless voice said “That was ‘American Pie,’ here on the mighty 1470!” As I was intoning this brilliant ad lib I reached blindly for a cart, any cart, and substituted it for one of the carts that had already played. The one I selected turned out to be a public service announcement for hat safety or some goofy thing like that. That bought me 30 seconds to get another song ready.

And as the show rolled on, I continued to “entertain” the masses for another few hours with no one the wiser.

Ken Deutsch is a writer who lives in sunny Sarasota, Fla., and has a book of these tales available, “Up and Down the Dial.” 

 

The post Adventures in 1970s AM: Curses! Locked Out! appeared first on Radio World.

Ken Deutsch

Hyundai Kona Offers Big Capability and a Simple Interface

Radio World
5 years 7 months ago
Hyundai’s KONA, the 2019 North American Utility of the Year, has a simple interface for its connected car and entertainment systems.

We wrote about Hyundai’s infotainment systems in November 2016. My recent test of the North American Utility Vehicle of the Year for 2019, Hyundai’s Kona, included its top-of-the-line infotainment system.

Pictures of the center stack of the dashboard show a simple interface used to access all the features. The user experience interface is simple by design.

Cason Grover is senior group manager, vehicle technology planning for Hyundai Motors America. He is responsible for the developments in multimedia infotainment audio, connected car (BlueLink) and active safety technical features.

When I asked him about the simplicity of the interface, he said, “Ultimately, we are all about ease of use; we don’t want to change things for the sake of change. We want to keep ease of use high, frustration low and keep as much familiarity as we can while continuing to adopt the latest features.”

That interface includes voice activation and control, touchscreens, buttons and knobs.

“Almost every vehicle on the road has some redundancy in terms of controls, by which I mean you have volume on the steering wheel, modes on the steering wheel and buttons or knobs or touch sliders for volume,” said Grover. “We’ve got a nice labeled radio button that will cycle through the bands and mixed presets.”

INSIDE AUDIO

Hyundai was the first manufacturer to incorporate Android Auto connectivity, in the 2015 Sonata, and in 2016 it added Apple Car Play connections. HD Radio reception capability is standard on more than half of Hyundai’s models including those with navigation. Besides the multicast capability, Hyundai is using HD Radio as a data pipeline for traffic information.

Unlike some manufacturers that have deprecated or deleted AM radio reception in audio systems in hybrid or full electric vehicles, Hyundai offers AM radio reception as a standard feature. “We don’t have plans to change that in the near future,” Grover said.

In-car internet (Wi-Fi) is still being studied, but with no announcement on the horizon. As for native, preloaded apps like Spotify, Grover says streaming is best handled by the driver or passenger connecting their Android or Apple device, or streaming through Bluetooth connections.

One issue that’s important — to the National Highway Traffic Safety Administration and to car manufacturers — is that of driver distraction. Grover says Hyundai develops its interfaces based upon NHTSA guidelines and that the introduction of Android Auto and Apple CarPlay gave users access to phone functions “with voice and screen capability that has been developed within the NHTSA guidelines. We consider that a critical element in reducing driver distraction.”

In a 2019 J.D. Power Initial Quality Study, Hyundai ranked first as a brand with the fewest audio, communication, entertainment and navigation problems. J.D. Power defines a problem as a design defect or malfunction.

Radio seems to be an important part of Hyundai’s entertainment offerings. Their vehicles provide a simple-to-use platform for driver and passengers to listen to the radio and other devices.

As always, whether drivers keep the radio button pushed will depend too on what’s being transmitted (compelling content) and how it’s being transmitted (signal quality and reliability).

The 2020 Hyundai KONA carries an MSRP of between approximately $20,000 and $28,000 depending on model.

Paul Kaminski is the host of msrpk.com’s “Radio-Road-Test” program. He has been a Radio World contributor since 1997. Twitter: msrpk_com Facebook: PKaminski2468.

The post Hyundai Kona Offers Big Capability and a Simple Interface appeared first on Radio World.

Paul Kaminski

Best of Show Up Close Sofia 568 FM HD Radio SiteStreamer+

Radio World
5 years 7 months ago

“Best of Show Up Close” is a series about participants in Radio World’s annual Best of Show at NAB Awards program.

Inovonics received a Best of Show Award for its Sofia 568 FM/HD Radio SiteStreamer+, a web-based remote signal monitor. We asked Gary Luhrman, sales and marketing manager for Inovonics, about the Sofia 568 and more.

Radio World: The Sofia 568 FM/HD Radio SiteStreamer+ was featured at spring NAB and took home a “Best of Show” Award there. You said the 568 is the first in a series; so to begin with, what are SiteStreamers?

Gary Luhrman: SiteStreamers are web-enabled receivers for remote signal monitoring. They are installed at a broadcast transmitter site, or any remote location with an internet connection. Streamed audio is accessible from any web-enabled device.

The new Sofia 568 is a SiteStreamer+ — meaning that has everything our SiteStreamers have but with much more processing power for more streaming options along with outputs — such as analog L/R, AES3 digital and AoIP streaming audio outputs. There’s a unique web-based user interface for visualizing in real time the HD Radio album artwork, station logos and similar visuals. Multiple stations can be sequentially monitored using the programmable StationRotation feature.

[Read: Best of Show Up Close: Broadcast Partners Smart Processing]

RW: You describe 568 as having several firsts. What are they and what else sets the product apart from other offerings in its class?

Luhrman: The Sofia 568 is the first FM/HD Radio receiver in the market to support AES67 AoIP, allowing broadcasters using Axia or Wheatstone equipment to incorporate the Sofia 568 into their AoIP network.

It collects histograms of signal parameters and displays HD Radio album artwork, station logos and similar visuals via the web interface. Multiple stations can be sequentially monitored using the programmable StationRotation feature.

The Sofia 568  includes a built-in band scanner, a real-time clock and full SNMP functionality. It also delivers important RF and audio signal measurements and dispatches email or text-message alarms for out-of-limits conditions and other reception errors.

Here are some of the unique features of the Sofia 568:

  • Remotely monitor full-time off-air FM and HD Radio signals;
  • Displays HD Radio graphics and related text data on web interface;
  • Adjustable off-air output levels for L/R analog, AES3 digital and Dante/AES67 AoIP;
  • Internet-listening stream for up to 10 listeners at once;
  • Monitor multiple transmissions sequentially with StationRotation;
  • Alarms and notifications sent via email or SMS messaging;
  • Enhanced alarm logging with no limit to the number of alarms that can be logged;
  • Easy set-up and operation; full SNMP support.

RW: What does it cost? Is it available now?

Luhrman: List price is $2,400. And, yes, it is available. We are shipping from stock for a quick turnaround of orders.

RW: More generally, what do you see as the most important trends or changes happening in how broadcasters use remote signal monitors?

Luhrman: The ability to use a smart phone to remotely monitor stations is a great help to radio engineers who are always on the move and strapped for time. It allows them to avoid needless trips to transmitter sites and have a better understanding of problems when they occur. IP connectivity and support for SNMP are becoming obligatory for products.

The streaming capabilities for remote listening along with alarms and notifications allow engineers to know when there is a problem and to listen remotely in real-time to analyze and confirm a problem.

Surprisingly, the Sofia 568 is also being used as a sales tool to help sell advertising on HD Radio channels. The unique web interface on the Sofia 568 allows station sales reps to visually demonstrate the value of combining the advertising message with visual images that appear on listener´s radios.

RW: You recently noted an anniversary for your InoMINI line. Tell us about that.

Luhrman: Inovonics is celebrating the 10th anniversary of the INOmini. After 10 years the INOmini family of products has grown to 20 distinct models and continues to grow year after year with unique problem solving solutions for radio broadcasters.

It started at NAB 2009 with our INOmini 703 RDS Encoder. The success of the 703 confirmed a market for the small INOmini concept and new products were added each year to the family.

The economically-sized INOmini occupies just 1/3-rack space allowing broadcasters to optimize their rack space with unique INOmini solutions for audio processing, RDS encoding, and monitoring for AM/FM/RDS/HD Radio/ DAB+. Three units can be racked together in the optional 1 RU shelf to provide a customized solution specific to the broadcasters´ needs.

RW: What else should we know?

Luhrman: Inovonics continues to innovate with new products each year — six new products in 2019. All of our products are designed, manufactured, and assembled at our factory in Felton, Calif. Be on the lookout for more in 2020.

The Future Best of Show Awards program honors and helps promote outstanding new products exhibited at industry conventions like the spring NAB Show. Exhibitors pay a fee to enter; not all entries win. Watch for more coverage of participating products soon. To learn about all of the nominees and winners, read the 2019 Best of Show Program Guide.

 

 

The post Best of Show Up Close Sofia 568 FM HD Radio SiteStreamer+ appeared first on Radio World.

RW Staff

User Report: Burk ARC Plus Touch Flexes Its Muscles

Radio World
5 years 7 months ago

Radio World User Reports are stories by users who share their reasons for choosing a particular product.

CHARLOTTE, N.C. — Here at the Bible Broadcasting Network we have 46 stations using the Burk ARC Plus Touch for our remote control and monitoring. We ungraded from the VRC2500; therefore we are using the Plus-X GSC adapter as our physical interface for the wiring for metering, status and control. This eliminates a total rewire at our existing stations. This system was a positive upgrade because of its versatility and flexibility.

The value of any product is more important than just the cost. All technology has a price tag, and sometimes price will exceed value. With advances in the technical features and flexibility of the ARC Plus Touch and the Plus-X line of I/O adapters, the price is fair because of the value.

The direct internet connectivity of the product has been a great feature since any notifications can be sent over the internet. As you would expect, you can program each channel however your application needs to be set. In today’s world of smartphones and other portable devices with internet access, it is great to get an alarm notification without having to have a telephone ring during in a business meeting. However, we did add the optional voice interface.

It is good to have calls from the Touch as a dual notification system. A great feature when adding the voice interface is the vocabulary of words the unit has available. These words are audio files of a person speaking, not a crude text-to-speech interface. In addition to the built-in library, you can create your own custom library and incorporate both libraries. Also, if the internet is down and the phone lines are working you will still get notified of any problems at the station.

There is an option for using SNMP interface with your transmitter or other equipment. We have added this option at two of our stations because of the other equipment. However, when we did, we also added more data information from the transmitter than we would normally have because of the number of channels we could use with hard wiring options.

When I began at BBN, we were still using Gentner VRC2000 products. The Burk VRC2500 was a tremendous step up in technology. The one feature that the VRC2500 had that I miss in the Touch is the ability to program it off-line. With the Touch you need to make an internet, or local network, connection to the unit and use the Autoload Plus software while connected. You can then save the unit configuration onto your computer without making the changes in the Touch itself; of course the changes can be saved to the unit also.

In addition, we often change who will get the notifications because of the regular person taking vacation. This means connecting, editing and then saving. However, once that is done the new configuration can be saved with a different file name and uploaded when necessary.

Burk is very responsive to suggestions in the addition of features. There have been several that I have suggested that have been incorporated.

For information, contact Matt Leland at Burk Technology in Massachusetts at 1-978-486-0086 or visit www.burk.com.

The post User Report: Burk ARC Plus Touch Flexes Its Muscles appeared first on Radio World.

Roy Becker

Seeing Sounds — How to Create a World-Class Audio Brand in Five Steps

Radio World
5 years 7 months ago

The author is CEO of Benztown.

Andreas Sannemann

Every great audio brand tells a story, and makes listening to a radio station an experience far beyond just accessing a format. In this age of countless choices in entertainment and audio jukeboxes in the form of digital and on-demand music services, radio imaging is more critical than ever to creating an experience and world that listeners want to spend as much time with as possible.

Audio branding and imaging reinforce a station’s story with detail, nuance and frequency, identifying and differentiating the brand from its competitors in a strategic and engaging way. Imaging is the character or vibe of a radio station that everything else is built upon, the nucleus of the brand that communicates brand personality with the audience more often than when the mic’s open.

That said, audio branding, radio imaging and sound design are highly abstract, artistic and subjective areas. So how do we evaluate such a complex, intangible medium? What is the difference between a good audio brand and a great audio brand? Would it help if we could see sound?

VISUALIZATION

“Seeing Sound” is a blueprint for Benztown’s creative team. It is a five-step process developed over the years to deconstruct, understand and create world-class audio brands and to transform good audio brands into great audio brands.

This process is characterized by the visualization of sounds, and allows imaging directors to visualize their brand and define it for their program directors, general managers, and production team.

It is not a one-size-fits-all recipe for sound design. Every station has a unique market, format, positioning against web competition and other differentiating factors that need to be evaluated individually and as a whole. But it all starts here and helps drive the tremendous success we have building great audio brands that listeners love with our station clients and partners.

Step #1: Know who you are, what you do and for whom you are doing it.

Define the core values of your program and brand characteristics by developing an on-air positioning statement. Are you optimistic or informative? Is your goal to be an opinion leader or a friendly neighbor? Great audio brands are useful to the listener, as well as being entertaining and fun. Audio branding has your station’s values at heart, and those values drive every audio expression of the brand.

Once you know who you are as a brand, develop a core listener profile by identifying who is currently listening and whom you wish to reach. That is where reliable research comes into play and informs the process and your brand strategy.

You also need to know the competition and market dynamics. Be as specific and detailed as possible in your descriptions to draw a clear visual picture of your brand and the listener landscape. The clearer you are, the better your brand will be. This step is essential to creating an audio brand that hits the mark and resonates with listeners.

Step #2: Translate these values into sounds.

Use sounds to effectively tell your brand’s story, creating a visual image in the listener’s mind. This is where the art of sound design comes in. It is key to not only understand the music, but the demo and lifestyle of listeners; to speak to them directly through jingles, custom imaging and promos that tell the story through effective and original use of sound; and build upon that story, week after week.

Step #3: Compile all these values into a world-class audio brand identity and an outstanding sound logo.

Deconstruct and define how your sound will be produced in relation to genre, instrumentation, mood, rhythm and tempo (it never hurts to do research to guide your decisions). These choices should be reflected in all station-related audio, including jingles and voiceover artists.

Step #4: Identify your station’s touch points with listeners through audio branding. Every interaction is an opportunity to make an emotional connection with your listeners and create affinity for your brand.

Hitz Malaysia has 20 interactions with the listener in an average hour on air — 20 distinct opportunities to connect and reinforce the brand.

For example, our client Hitz Malaysia has 20 interactions with the listener in an average hour on air (see graphic). Those 20 interactions are 20 distinct opportunities to connect, cut through the noise, get the message delivered successfully and reinforce the brand.

Don’t forget to consider all the non-linear touch points your audio branding has with your audience, including online, on demand, and at events.

Step #5: Create a world-class audio brand!

Strategize your audio branding and imaging by defining its boundaries and style. Create a vision that fits all the core values you have identified through research.

Strategize your audio branding and imaging by defining its boundaries and style, and creating a vision that fits all the core values you have identified through research. The more thought you put into it, the more successful you will be in creating a great audio brand that listeners love, remember and choose to spend time with.

Benztown is a radio imaging, production library, programming, jingles and voiceover services company. See benztown.com.

The post Seeing Sounds — How to Create a World-Class Audio Brand in Five Steps appeared first on Radio World.

Andreas Sannemann

Hot Docs Podcast Festival Features Nonfiction Storytellers

Radio World
5 years 7 months ago

TORONTO, Ontario — Some of the world’s best podcast creators and thousands of their avid fans will be in Toronto Nov. 6–11 for the 4th annual Hot Docs Podcast Festival.

The recurring event, which is being held at the Hot Docs Ted Rogers Cinema (named for the late Canadian media mogul Ted Rogers; son of Edward Rogers, who invented the “batteryless” AC-powered AM radio), demonstrates how popular the podcast has become in its short lifetime.

“This year’s festival features live events in which the world’s best podcasts perform live episodes for Toronto’s passionate community of podcast-lovers and a three-day industry conference (the Creators Forum) in which accomplished podcast professionals from across Canada and around the world come together for industry panels and networking events,” said Will Di Novi, the Hot Docs Podcast Festival’s lead programmer.

“Podcasting is, simply put, the hottest medium in nonfiction storytelling right now, with rapidly growing audiences, thrilling new creative developments under way, and huge potential from a business development standpoint.”

The Hot Docs Podcast Festival is structured to meet the needs of podcast creators (“the industry”) and the fans who adore this new medium (“the public”).

“On the industry side, we are offering exciting opportunities to hear the insights of some of the most important experts and decision makers in the international podcast industry — and to do so in an intimate setting where there are real opportunities to meaningfully engage with them and their expertise,” said Di Novi.

“At this year’s Creators Forum, we’re thrilled to be featuring panels, fireside chats and interactive workshops with brilliant folks like Mia Lobel, executive producer at Pushkin Industries (Malcolm Gladwell’s podcast studio); Sarah van Mosel, chief revenue officer at Stitcher; Leslie Merklinger, senior director of audio innovation at CBC; Mimi O’Donnell, executive producer of scripted content at Gimlet Media; David Stern, director of product development at Slate; Kenzi Wilbur, head of original programming at Luminary; and Steve Pratt, co-founder of Pacific Content.”

The public will participate in the Hot Docs Podcast festival by sitting in on a range of live podcast productions.

“We are offering the opportunity to see and hear some of the world’s most exciting audio storytellers live and in the flesh, such as Jon Ronson, Wesley Morris and Jenna Wortham (from the New York Times’ Still Processing), former Daily Show correspondent Mo Rocca (presenting his Mobituaries podcast) and Canadian broadcasting legends like Ian Hanomansingh (Uncover), Jesse Brown (Canadaland) and Anna Maria Tremonti (presenting the exclusive world premiere of her new podcast More with Anna Maria Tremonti),” Di Novi told RWI.

The festival expects about 7,000 members of the public to attend this year’s event, plus hundreds of podcast creators and related personnel from around the world. It occurs at a time when podcasting has come into its own; fed by the public’s appetite for long-form nonfiction audio programs such as “Serial,” The New York Times’ “Caliphate” and Canada’s “Missing and Murdered.”

[Read: MXL Releases Podcasting Bundle]

Such podcasts “do for the audio space what the bingeable masterpieces at studios like HBO, Netflix and Showtime have been doing for prestige television,” said Di Novi.

The paradox is while “we’re seeing all this huge growth at the high-end, macro-level, emerging and mid-career podcasters — especially those who work as freelancers or for independent outfits — are still struggling to make a living in the industry and struggling to monetize their independently produced passion projects.”

 

The post Hot Docs Podcast Festival Features Nonfiction Storytellers appeared first on Radio World.

James Careless

Updated IPAWS Certificate Released For DASDEC, OneNet

Radio World
5 years 7 months ago

FEMA has approved the release of the new Federal Bridge certificate bundle designed for Digital Alert Systems DASDEC and OneNet CAP EAS devices to receive IPAWS messages. A deadline of Nov. 8 to install the certificate has also been announced.

[Read: Broadcasters Need to Keep Eye on Latest EAS Updates]

This was revealed through an email from Digital Alert Systems’ Edward Czarnecki, the company’s senior director of strategy & government affairs, to Society of Broadcast Engineers members.

The certificate is needed to ensure proper validation of CAP alert message from IPAWS. It is a free update and it works with software versions 2.6, 3.x and 4.x.

“We are aware that Nov. 8 leaves very little time — however, the final confirmation from FEMA to release the certs to EAS users was given a few hours ago,” said Czarnecki.

DAS has posted the certificate on its website, included with instructions and download links.

 

The post Updated IPAWS Certificate Released For DASDEC, OneNet appeared first on Radio World.

Michael Balderston

NAB Accepting Nominations for 2020 Technology Awards

Radio World
5 years 7 months ago

Now is the chance to recognize individuals and organizations that have significantly contributed to the television and radio industries by nominating them for the 2020 NAB Technology Awards. The nomination window is open between now and Jan. 13, 2020.

These four annual awards consist of the Radio and Television Engineering Achievement Awards, recognizing individuals for their outstanding accomplishments in each industry; the Technology Innovation Award, which acknowledges an organization showing an advanced technology or exhibit at the 2020 NAB Show that has not yet been commercialized; and the Best Paper Award, honoring the author(s) of a paper published in the Proceedings of the 2020 Broadcasting Engineering and Information Technology Conference.

The awards are presented each year as part of the NAB Show in Las Vegas.

“It is an annual highlight to present these awards to deserving individuals and organizations in celebration of our industry’s technical and engineering achievements,” said Sam Matheny, NAB’s executive vice president and chief technology officer. “I look forward to again recognizing the success that foster progress in broadcast technology and broadcaster innovation at the 2020 NAB Show.”

Nominations are due by Jan. 13, 2020. Nomination forms and award rules are available at www.nab.org/events/awards.asp.

The 2020 NAB Show will take place from April 18–22, 2020, in, as always, Las Vegas.

 

The post NAB Accepting Nominations for 2020 Technology Awards appeared first on Radio World.

Michael Balderston

FCC to Two AM Licensees: Pay Fees or Nixed Licenses Could be Next

Radio World
5 years 7 months ago

The Media Bureau at the Federal Communications Commission is asking two licensees to clarify why they haven’t paid years’ worth of regulatory fees — in one case, for more than a decade — and warned the owners that the next possible step could be loss of the stations’ licenses.

In both situations, the backgrounds are similar. Cox Broadcast Group and La Favorita Inc. are being questioned by the FCC over allegedly unpaid regulatory fees. For Cox station WCGA(AM) in Woodbine, Ga., the FCC said that the licensee allegedly failed to pay regulatory fees for fiscal year 2010, 2103, 2016, 2017 and 2018 resulting in unpaid regulatory fees totaling $11,531.21. Despite the fact that demand letters have been sent to Cox, no payments have yet been made, the Media Bureau said.

[Read: Virginia FM Handed $15,000 Forfeiture for Alleged Filing Violations]

A similar situation has occurred with three AM stations in Georgia licensed by La Favorita Inc. The Media Bureau said the licensee has unpaid regulatory fees stretching back more than a decade — from 2007 through 2018 — for stations WAOS(AM) in Austell, WLBA(AM) in Gainesville and WXEM(AM) in Buford. The amount of unpaid fees totals $79,457.69 for those years. The bureau said that demand letters have been sent to La Favorita but to date have not been paid.

In both cases, additional charges will continue to accrue on these debts until they are paid in full, the bureau said, which includes a penalty equal to 25% of the amount of the original fee.

The commission also has the authority to revoke a station’s license for failing to pay regulatory fees and penalties. As a result, the commission has asked Cox and La Favorita to file documented evidence within 60 days to show that that it has paid or to show cause why payment should be waived. The FCC warned that failing to provide such evidence within the next two months may result in revocation of the stations’ licenses.

 

The post FCC to Two AM Licensees: Pay Fees or Nixed Licenses Could be Next appeared first on Radio World.

Susan Ashworth

FCC to Tackle Duplicative Programming Rule

Radio World
5 years 7 months ago

The Federal Communications Commission said it may be time to tackle the issue of duplicative programming in commonly owned radio stations.

FCC Chairman Ajit Pai said in a blog post this week that the commission will seek comment on modifying or eliminating a rule that limits the amount of duplicative programming that can be aired by commonly owned radio stations in a market.

This rule was originally adopted in 1992; since then the number of radio stations has continued to grow. In his blog post recapping the issues set for the November FCC meeting, Pai said that number of AM and commercial FM stations has increased to 19,500 (up from 11,600 in the 1990s) while the number of noncommercial FM stations has more than doubled and more than 2,000 low-power FM stations have been launched.

[Read: Groups Call on FCC to Waive First-Term Fees for Incubating AM/FM Stations]

And as the number of stations proliferate — and those stations continue to offer content over the air, on websites and through mobile apps — the commission is seeking comment on how to ensure competition and program diversity, which were the objectives of the radio duplication rule when it was set. As a result, the commission will seek formal comment on whether the rule is still necessary and whether it should be modified or eliminated.

Comments on that notice, known as Media Bureau Docket Number 19-310, can be found in the FCC’s ECFS database under the formal title of “Amendment of Section 73.3556 of the Commission’s Rules Regarding Duplication of Programming on Commonly Owned Radio Stations.”

The November commission meeting is set for 10:30 a.m. Eastern on Nov. 19.

 

The post FCC to Tackle Duplicative Programming Rule appeared first on Radio World.

Susan Ashworth

GatesAir Taps Graham Lay for MEA Region

Radio World
5 years 7 months ago

Graham Lay has joined the GatesAir team as its new regional sales manager representing the Middle East and Africa. One of his key responsibilities is to build GatesAir’s market share and brand visibility in those regions.

Graham Lay

Lay has more than a decades’ worth of experience in sales and account management for broadcast and communications. He previously worked for electrical cable distribution company IEWC, moving to Dubai in 2015 to serve as the business unit leader, MEA for Argosy Cable, an IEWC company.

“I look forward to working with the greater EMEA team to strengthen our brand in the Middle East and eastern Africa,” Lay said. “We see enormous opportunity to help broadcasters refresh FM radio infrastructure, and drive large, national digital TV and DAB radio transitions that generate new revenue and service opportunities for customers.”

Lay is based in Dubai and reports to Andy McClelland, managing director, EMEA.

 

The post GatesAir Taps Graham Lay for MEA Region appeared first on Radio World.

Michael Balderston

Progressive Concepts Takes on RVR

Radio World
5 years 7 months ago

Equipment dealer Progressive Concepts has announced an agreement with RVR Electronica of Italy to become an authorized dealer and service center.

Progressive will be handling RVR’s current stereo FM transmitter line: TEX30, TEX100, TEX150, TEX300, TEX502, TEX702 and TEX1002. These range from 30 W to 1 kW in power and can be controlled remotely via the web.

All of the TEX models feature a stereo encoder with left and right analog audio inputs, mono inputs, and MPX composite signal and auxiliary inputs for SCA/RDS signals. They utilize a Power Factor Correction power supply.

They are also FCC- and Industry Canada-approved.

 

The post Progressive Concepts Takes on RVR appeared first on Radio World.

RW Staff

Readers Comment on Engineering Extinction

Radio World
5 years 7 months ago

The following comments were about the column “Are You Doing Your Part” in the June 12 issue of RW Engineering Extra.

TALKING TO THE WRONG PEOPLE?

Hi Cris, I was fortunate enough to have worked with the late Tom Osenkowsky in the early 1990s. While I was holding down afternoon drive, he appointed me “assistant chief operator” of WLAD Danbury, Conn. — more an honorary position than a functional one, but it meant I could field tech issues and check logs when he wasn’t around.

My deeper interest in engineering didn’t happen until a couple of years later — 1994 — when Tom Walker (WNNK-FM Harrisburg) suggested I join the SBE. Along the way, I got my CBT and CEA certifications and I did my best to wrangle my way into working with any engineer I could who was in charge of an AM directional system. I wanted very much to learn how those things worked.

Well, I must have been speaking to all the wrong people. Nobody anywhere wanted to share their secret knowledge with me. Between stations along the southern tier of Maryland and much of Northern Virginia, I couldn’t get my nose into the tent. One told me his skill was all that was keeping him employed and didn’t want to risk losing out to someone (slightly) younger and no doubt less expensive to hire. Another told me I was just a dumb disc jockey who had no business getting into engineering. Whatever I learned about directional RF came on my own from being a ham, and even then that’s limited to two sticks and a little algebra at best.

I sympathize with the industry and the shortage of qualified folks. I also sympathize with those before me who needed to make it to retirement with a paycheck. I’m now a few years out from hanging up the headphones myself, so a mentoring program would be wasted on me. I’ll eventually walk away from the biz pleased with other things I accomplished, but always a little unhappy about the selfishness I experienced, and flummoxed by the lack of foresight that caused AM to shoot itself in the foot in slow motion.

Alan Peterson, KJ4IVD
Arlington, Va.

 

NICELY PUT

Just read your “Radio World” article. “A few funerals away.” What a capsualization! What a brisk way to report the apparent future of broadcast engineering.

I hold SBE certification, but broadcast engineering is at arms’ length.

Thanks for that crisp designation.

Ludwell Sibley
Medford, Ore.

 

PASS IT ON

Excellent commentary, Cris! Much like my advice at the NAB Engineering Achievement Award event two years ago, and Gary Cavell’s this year — to pass knowledge on to younger generations. Unfortunately, it’s easy for us to forget the need as we get involved in our day-to-day work.

In my career, there were a few “senior” engineers (a generation older than me, at the time!) who gave me some lifelong lessons in technology and engineering philosophy. Their contribution to me and others were extraordinary. However, I wish their experience could have extended to many others. I believe we should develop more opportunities to teach and discuss in sessions with others, so that the knowledge is passed on.

It is difficult for national conferences to be a venue for education — sessions seem to be increasingly shorter and lighter in detail. But educational venues could be developed elsewhere. Maybe at SBE meetings and conferences? Personally, I’d welcome the chance to teach, and I wonder how others feel about this.

Thanks for bringing up the transfer of knowledge and wisdom. It is indeed an important issue for our industry!

John Kean
Falls Church, Va.

 

ROCKY MOUNTAIN TRAINING

Great article, Cris. The Colorado Broadcasters Association has hosted three “Introduction to Broadcast Engineering” classes in the last two years. These are modeled after Alabama’s program and taught by their staff engineer, Larry Wilkins. The courses are free to everyone, not just members, and we invite anyone with an interest in broadcast to attend. On average, the course has attracted as many as 22 individuals who attend all three days of the course.

I hope you’ll send some “potentials” our way the next time we host this (currently looking at October 2019) and I would really appreciate any outreach you could provide to get more people to attend the classes.

Thanks again for this article. The call to action is desperately needed!

Justin Sasso
President & CEO
Colorado Broadcasters Association
Englewood, Colo.

 

Do you have a story to share? Write to radioworld@futurenet.com. Please reference “Are You Doing Your Part” in the subject line.

The post Readers Comment on Engineering Extinction appeared first on Radio World.

RW Staff

Is There an Afterlife for “Franken FMs?”

Radio World
5 years 7 months ago

Is there an afterlife for “Franken FMs?”

WRME(LP) in Chicago broadcasts the MeTVFM format as a music companion to the MeTV network, which airs classic television programming. The LPTV station is owned by Venture Technologies Group and operated via an LMA with Weigel Broadcasting. It has received press attention for its success in attracting listeners.

VHF low-power analog television stations that present themselves as radio stations — airing audio on TV Channel 6 spectrum just below the U.S. FM band — face an approaching sunset date for LPTV analog service that could spell their doom.

Advocates argue that many FM6 stations provide important audio services to supplement their video signals and that “millions” of Americans tune to 87.7 FM to listen to programming not available anywhere else, particularly in ethnic and minority communities that are underserved. The very term Franken FM, they add, is a pejorative one coined by radio stations that fear additional legitimate competition.

But once LPTVs transition to digital in 2021, listeners will no longer be able to receive audio from Channel 6 stations on 87.7 MHz.

Their advocates say the industry has developed a technical solution to protect these services but that the FCC has left their future in doubt.

OPPORTUNISTIC

The audio carrier for TV Channel 6 can be heard on many car and tabletop FM receivers. Opportunistic low-power licensees use their TV transmitters to air separate audio and video content, according to those familiar with the practice. FM6 stations are programmed as radio stations, though they are still required to transmit a TV signal, sometimes merely travelogues or nature scenes, in other cases more useful information like visual traffic and weather. The TV signal is analog, “so no one is watching them,” according to one observer.

The stations can operate this way thanks to a loophole opened when the FCC created the LPTV rules, as Radio World has reported. FM6 stations operate in a number of major cities; there are approximately 30 presenting themselves as FM stations in the United States. They were nicknamed Franken FMs by broadcast engineers who were aware of the practice early and considered the signals to be, like Frankenstein’s monster, an unnatural mashup.

As controversial as the practice might appear, legal analysts say the LPTV licensees are working within FCC regulations, though critics feel the practice was not what the FCC had planned when crafting LPTV rules.

Until the 2009 digital transition, full-power TV stations could be heard on that part of the dial; but most audio signals at 87.7 FM have since disappeared.

FM6 operators want to continue to provide analog carriers in order to reach FM radios after the LPTV analog sunset date. That sunset has been extended several times, giving FM6s a longer life than expected. However, the FCC is not believed to be considering another extension.

“NO TECHNICAL BARRIER”

According to the LPTV Spectrum Rights Coalition, operators are continuing to work on technical solutions to provide maximum performance without causing impermissible interference.

“There is no technical barrier to allowing TV Channel 6 FM operators to continue after the July 13, 2021, LPTV analog sunset date,” said Mike Gravino, director of the Washington-based group.

“Remember, it is all about highest and best use of spectrum; and 87.7 FM is available in all markets, can be heard by most car radios and should be used as much as possible.”

The Preserve Community Programming Coalition (PCPC), a group of FM6 broadcasters, has asked the FCC to permit LPTV and TV translator stations on analog Channel 6 to supplement their future digital LPTV operations with a small analog audio carrier.

“This will allow listeners to continue receiving analog audio programming on 87.7 FM without disrupting the ATSC-compatible digital transmission using the majority of the 6 MHz channel,” said Ari Meltzer, a communications attorney with Wiley Rein LLP, representing PCPC and spearheading talks with the FCC.

A slide from a presentation to FCC officials given by FM6 broadcasters. They urged the commission to preserve the capability of LPTV stations operating on Channel 6 to continue broadcasting an aural signal that can be received on 87.7 MHz following the LPTV digital transition.

The goal of the group is not to extend the analog deadline, Meltzer said, but to allow existing Channel 6 FM broadcasters to continue delivering valuable and diverse audio programming that can be received on 87.7 FM following the digital transition.

PCPC estimates that approximately 50 LPTV and TV translator stations are authorized to broadcast an analog signal on Channel 6, more than half of which provide a separate audio stream for reception on 87.7 FM.

The group says analog Channel 6 LPTV radio stations on the air include KRPE(LP) in San Diego, WNYZ(LP) in New York City, WRME(LP) in Chicago and KZFW(LP) in Dallas.

It says that WRME in Chicago has outperformed several traditional AM and FM stations in several ratings categories; that Guadalupe Radio in southern California is an important Christian voice; that WDCN is the second largest Hispanic radio station in the D.C./Maryland/Virginia area; and that KXDP is the only station in Denver that broadcasts live news, traffic and weather reports in Spanish.

Audio from an analog carrier on 87.7 FM and Channel 6 DTV can coexist on the same channel, according to the PCPC presentation to the commission. “An 87.7 MHz audio signal can coexist on the same 6 MHz channel as a digital Channel 6 LPTV station without harming TV or FM reception.”

The group’s ex parte filing stated that “a television station typically utilizes 5.38 MHz of its 6 MHz channel to broadcast a digital signal. The unused 0.62 MHz can be used to transmit a supplementary audio signal.”

 

A chart from the group indicates that by “slightly narrowing the bandwidth used for the DTV broadcast on Channel 6, it is possible to insert an FM audio carrier at 87.76 MHz without degrading the DTV signal or derogating the ability of ATSC tuners to receive it.”

Meltzer said the PCPC is not proposing a shift in analog audio from 87.75 to 87.76 MHz. The exact placement of the audio carrier is less important than the fact that this is a proven concept consistent with the FCC’s rules, which do not require full compliance with the ATSC standard for digital LPTV stations, Meltzer said.

Advocates believe that by narrowing the bandwidth used for the DTV broadcast on Channel 6, it is possible to insert an FM audio carrier at 87.76 MHz without degrading the DTV signal.

“Procedurally, the FCC already has a full record on allowing digital LPTV stations operating on Channel 6 to add an analog audio carrier. The PCPC is merely asking the commission to clarify that the analog sunset rules do not prohibit the broadcast of a supplemental analog audio carrier when existing Channel 6 FM stations transition to digital,” Meltzer said.

According to the FCC, its records indicate there are no digital LPTV Channel 6 stations operating with an analog audio carrier at 87.75 MHz.

UNCERTAINTY

 

LPTV Channel 6 advocates say the commission’s “failure to address questions raised by its 2014 NPRM raises uncertainty about the future of these stations.”

In 2014, the Media Bureau released an NPRM seeking comment on whether digital LPTV stations should be allowed to operate analog FM radio type services on an ancillary or supplementary basis. At the time National Public Radio voiced opposition to the changes.

The FM6 advocates say there is no evidence that a Channel 6 TV station, operating within lawful parameters of its license, causes harmful interference to an FM radio station.

LPTV stations do not have codified rules to protect FM facilities in the reserved band (87.9-91.9 MHz), according to legal observers. And LPFMs are required to protect LPTV (and thus FM6) stations. In addition, FM translators must protect Channel 6 stations.

Since TV Channel 6 is adjacent to the noncommercial portion of the FM band, which runs from 88.1 to 91.9 MHz, there are interference concerns for some observers.

“If the FCC legitimizes Franken FMs, the TV6 radio operators need to follow the same rules applicable to radio, and protect adjacent NCE stations from incoming interference,” said Melodie Virtue, a communications attorney with Foster Garvey.

There currently are no interservice (TV-FM) protection requirements, Virtue said.

“LPTV, as secondary, needs to protect full-power NCEs. There should be protection in favor of the NCE full-power radio stations from FM6 audio stations if those are allowed to continue to exist after the LPTV digital transition deadline.”

PROTECTED CONTOURS

Data collected by REC Networks, an LPFM advocate, appears to support FM6 broadcasters’ argument that interference between FM6s and noncommercial broadcasters is not a concern.

REC told Radio World it has evaluated the service contours of all of the FM6 stations mentioned in PCPC’s ex parte comments. “We found that most of the service contours where those FM6 stations are, there is already a protected contour of a NCE FM station on 88.1 or 88.3 MHz,” said Michi Bradley, founder of REC Networks. “If there is any actual interference from a FM6 station to full-service broadcasters, existing NCE FM stations would already know about it.”

In a related matter, the FCC this year released a Notice of Proposed Rulemaking (MB docket 19-193) that could affect the LPTV FM6 stations. The NPRM, based on a petition from REC Networks, proposes to improve technical rules that primarily affect LPFM stations.

In it the FCC reaffirms the sunset date for LPTV analog transmissions. But the NPRM also states: “REC concludes (in its petition) that the LPFM rules significantly over-protect TV6 stations and could be reduced with little impact … REC supports but is not proposing a complete repeal of TV protection requirements.”

The FCC further proposes “to provide LPFM stations relief from television 6 protection rules and to eliminate TV6 protections entirely on July 13, 2021, and propose to institute a waiver process in the interim, i.e., as of the effective date of any new rule adopted in this proceeding and before July 13, 2021.”

Industry voices, like NAB, have long been guarded in comments about FM6 stations. NAB declined comment for this story.

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post Is There an Afterlife for “Franken FMs?” appeared first on Radio World.

Randy J. Stine

VuHaus Migrates to NPR Music Platform

Radio World
5 years 7 months ago

The music platform VuHaus has migrated to NPR Music to give its station clients and the artists it supports a much bigger distribution point.

The nonprofit platform was officially launched in 2015 by Public Media Co. (with a grant from the Corporation for Public Broadcasting) to create a coalition of public radio member stations from across the country to showcase professionally shot in-studio live sessions that highlighted local artists, introduced new music, and promoted up and coming artists.

[Read: VuHaus: All About Music Discovery]

According to an announcement by Paragon Media Strategies, a consulting firm that continues to work with NPR News and others, the video performances, interviews and live streams from VuHaus stations will continue as Live Sessions at NPR Music.

The news comes at a time when both public radio and television revenue have grown in recent years, according to a report by market consultant Public Media Co. For the first time in 2018, the report said, radio’s higher growth rate has led to public radio revenue overtaking public TV’s revenue.

While the consumer-facing name of VuHaus will dissolve with the integration, the name will remain as part of the organization’s B2B station network and operating group. VuHaus will also continue to handle curation, manage station involvement and grow sponsorship revenue for its stations.

The move had been in the works for more than a year, according to Mike Henry, founder of Paragon, in a statement on its website.

According to a statement by Henry, when Paragon began conceiving the concept of a national video platform for public radio music stations, the goals were simple: For public radio stations to retain the expensive video production investments they had made over the years. “Their internal investments had created phenomenal original video content in support of emerging, national and local artists, but there were very few eyeballs and even fewer dollars to cover production expenses,” Henry said in a statement. “After hearing the same concerns from multiple stations, the idea was hatched to aggregate all their video content onto one consumer-facing platform.”

Three years ago when Houston Public Media became an affiliate for the music discovery video platform, the broadcaster’s comments were similar to the assessment of many — the new platform was a means of both supporting its local artists, giving them greater exposure and also introducing audiences to new emerging artists across the country. In the years since its founding, VuHaus has grown to 20 public radio and TV stations.

The VuHaus platform can be viewed at the NPR Music platform.

 

The post VuHaus Migrates to NPR Music Platform appeared first on Radio World.

Susan Ashworth

Downs Hails FCC Announcement on All-Digital AM

Radio World
5 years 7 months ago

The Texas broadcaster who pushed the FCC to allow voluntary all-digital transmission on the AM band in the United States is pleased that the commission plans to consider the idea.

“I think this is a uniquely positive step in AM revitalization,” said Ben Downs, reacting to news that the FCC will consider a proposal at its next meeting to take public comments and explore the implications. Downs is VP/GM of Bryan Broadcasting in Texas; he petitioned the FCC in March to initiate a proceeding to authorize the MA3 all-digital mode of HD Radio.

[Read: All-Digital on the AM Band? The FCC Might Allow It Soon]

“We’ve talked for years about the rise in the noise on the AM band and how the quality of receivers has declined. But this is the first time we’ve had a chance to directly resolve both of these issues,” Downs told Radio World in an email. “With the approval of AM all-digital, we have a technology that cleans up all the noise and hash we’ve been complaining about and sends an FM quality signal out of the speakers.”

Going all-digital would mean a station could not be heard on existing analog-only AM receivers. Downs said he recognizes that all-digital would not be the right choice for every station. “We asked for a voluntary standard because of that.”

But he said there are two circumstances where it makes a lot of sense.

One, he said, is an AM station competing with music that has an FM translator for “backup.”

“In that case, the station would be able to compete with high-quality audio while the translator covered listeners who only have analog radios.”

The other, he said, is a major-market station that wants to compete with music but hasn’t been able to break through the low-fidelity reality of AM radio receivers.

“Plus it would be nice to see title, artist and album on the AM dial just like our FM friends,” Downs said.

“There are enough HD Radios being driven around now that it makes sense for operators to think about this step. Every HD radio that’s been sold has the ability to receive AM all-digital. So do you take your chance with the 25% of cars with HD Radio or the shrinking percentage of people who listen to music on AM? It’s a market-based decision.”

Downs said he does not consider an all-digital option as the only answer to AM problems, but a piece of the solution. “And it directly impacts the problem we face on the AM band. I’m glad the FCC realized that AM radio just wants a level playing field. This coming vote allowing all-digital AM is a chance to give AM operators a tool to compete.”

Chairman Ajit Pai described the proposal in a blog post Monday: “Just as the FCC is trying to keep pace with changes in the market, so are AM radio operators, and the commission wants to give them as much flexibility as possible to compete in the digital age,” Pai wrote.

“AM radio stations are currently authorized to operate with either analog signals or hybrid signals, which combine analog and digital signals. In three weeks, we will consider a proposal to allow AM licensees to broadcast using an all-digital signal on a voluntary basis. It would seek comment on topics ranging from the predicted benefits of all-digital AM broadcasting to the interference potential of all-digital stations, as well as addressing the technical standards for all-digital AM stations. And because all-digital broadcasting would be on a voluntary basis, AM operators would be the ones deciding if transitioning is right for them.”

[Read Radio World’s recent ebook “What’s Ahead for All-Digital AM?”]

“I think this is a uniquely positive step in AM revitalization,” Downs told Radio World on Tuesday. “We’ve talked for years about the rise in the noise on the AM band and how the quality of receivers has declined. But this is the first time we’ve had a chance to directly resolve both of these issues. With the approval of AM all-digital we have a technology that cleans up all the noise and hash we’ve been complaining about and sends an FM quality signal out of the speakers.”

 

The post Downs Hails FCC Announcement on All-Digital AM appeared first on Radio World.

Paul McLane

All-Digital on the AM Band? The FCC Might Allow It Soon

Radio World
5 years 7 months ago

AM radio station operators in the United States may soon have the option of switching their transmissions to all-digital.

It’s not a done deal; but the concept is about to take a step closer to reality, because the Federal Communications Commission will consider a proposal at its next meeting that would start a process. It will take comments on whether to allow AM band licensees to make the switch if they want.

Ben Downs, VP/GM of Bryan Broadcasting in Texas, petitioned the FCC in March to initiate a proceeding to authorize the all-digital mode of HD Radio.

[Read a commentary from Ben Downs about why he asked the FCC to take this step.]

Allowing stations to use all-digital transmission is an idea that some broadcasters feel could give business-challenged AM stations in the United States new life or at least another option. Turning off their analog signals would mean that most existing receivers could no longer pick up that signal; but many AM broadcasters are currently heard on FM translator simulcasts now. And adding the all-digital AM option could open up new possibilities for them as the number of digital receivers in the marketplace continues to grow.

One station, WWFD in Frederick, Md., owned by Hubbard, is operating in all-digital AM under special temporary authority, as RW has reported.

Chairman Ajit Pai described the proposal in a blog post Monday: “Just as the FCC is trying to keep pace with changes in the market, so are AM radio operators, and the commission wants to give them as much flexibility as possible to compete in the digital age,” Pai wrote.

“AM radio stations are currently authorized to operate with either analog signals or hybrid signals, which combine analog and digital signals. In three weeks, we will consider a proposal to allow AM licensees to broadcast using an all-digital signal on a voluntary basis. It would seek comment on topics ranging from the predicted benefits of all-digital AM broadcasting to the interference potential of all-digital stations, as well as addressing the technical standards for all-digital AM stations. And because all-digital broadcasting would be on a voluntary basis, AM operators would be the ones deciding if transitioning is right for them.”

[Read Radio World’s recent ebook “What’s Ahead for All-Digital AM?”]

“I think this is a uniquely positive step in AM revitalization,” Downs told Radio World on Tuesday. “We’ve talked for years about the rise in the noise on the AM band and how the quality of receivers has declined. But this is the first time we’ve had a chance to directly resolve both of these issues. With the approval of AM all-digital we have a technology that cleans up all the noise and hash we’ve been complaining about and sends an FM quality signal out of the speakers.”

 

The post All-Digital on the AM Band? The FCC Might Allow It Soon appeared first on Radio World.

Paul McLane

IBC2019 Best Of Show Award Digital Edition Now Available

Radio World
5 years 7 months ago

If you weren’t able to attend September’s IBC Show in Amsterdam or you just weren’t able to catch up on everything that was on the show floor, you can now catch up with a detailed look at some of the best products via the IBC 2019 Best of Show Award Digital Edition.

This new digital edition offers all of the Best of Show award-winning and nominated products from TVBEurope, Radio World and ProSoundNews Europe. All of the products included were praised for their innovations and how they can help drive the industry forward.

To access the IBC 2019 Best of Show Award Digital Edition, click here.

 

The post IBC2019 Best Of Show Award Digital Edition Now Available appeared first on Radio World.

RW Staff

Italian Radio Industry Joins The Radioplayer Platform

Radio World
5 years 7 months ago

MILAN — The Radioplayer Italia app will be available in Italy in early 2020.

Last July, many Italian radio broadcasters teamed together to foster their digital presence through any available device. They launched Player Editori Radio (PER) with the goal of giving their listeners a direct, immediate access to partnering stations’ live streaming content, as well as to podcast, extra content and native videos through a single app.

On Oct. 21, PER signed an agreement with Radioplayer, the international industry-backed radio platform, to launch Radioplayer Italia for the benefit of 44 million Italian radio listeners.

HYBRID FOLLOWING

Present members of PER include Italian public service broadcaster Rai, Radio Mediaset, Gedi, Sole 24 Ore, RTL 102.5, RDS, Radio Italia, Radio Kiss Kiss, Radiofreccia, and organizations Aeranti-Corallo and Federazione Radio Televisioni, which include most local broadcasters.

Player Editori Radio comprises public, commercial and local broadcasters in Italy.

Radioplayer is a non-profit radio aggregation model. There are shared technical standards for the browser, the radio-discovery apps and the back-end systems that power them, but broadcasters retain full control over their own branding, streaming, and commercial deals. In addition, each system is specific to the country in which it is available.

The Italian stations will also join the international Radioplayer data feed that powers the hybrid radio interfaces in many Audi, VW and Porsche cars. These smart devices can switch automatically between DAB, FM, and streaming, to keep listeners locked into their favorite radio stations.

As well as enabling “hybrid” switching between broadcast and streaming as reception varies, the new data feed can power next generation features such as personalized radio recommendations, search results and catch-up content.

“We welcome this new partnership,” said Michael Hill, managing director at Radioplayer. “Italy is a major car manufacturing center, and one of the top automotive markets in Europe. We are determined to keep radio strong in the car, and we’ll do it by working closely with broadcasters and car companies.”

PER and Radioplayer representatives celebrate the launch of Radioplayer Italia. (L to R) Massimiliano Montefusco, RDS; Mario Volo, United Music; Michele Gulinucci, Rai; Lorenzo Suraci, RTL 102.5; Laurence Harrison and Lawrence Galkoff, Radioplayer Worldwide; Paolo Salvaderi, Mediaset Radio; and Eugenio Lateana, RTL 102.5.

With the Radioplayer Italia app “we target all digital platforms,” added Michele Gulinucci, PER director. “One key fact is that each content comes directly from the broadcaster, with no additional advertising. Radio evolves by being itself.”

RELATION ENABLER

According to Eugenio Lateana, PER board member and R&D director for RTL 102.5, broadcasters have typically approached Telco companies, web giants and the automotive industry as individual players. Those large-footprint companies are used to dealing with global representative bodies, while they are less used to working with a multitude of individual players.

“The Radioplayer platform has now reached the critical mass required to sit at the same table with those global-business entities,” said Lateana. “More than a mere aggregator, Radioplayer is a relation-enabler between radio broadcasters and the automotive industry, as well as smart speaker manufacturers and other global players.”

Given the availability of the Radioplayer app on a car multimedia system, all partner stations will immediately be available in the dash, as well as podcasts and time-shifts.

Radioplayer APIs will also upload the most recent version of station logos and brands to the radio receiver. Within this workflow, Radioplayer essentially acts as a database populated by radio stations themselves, with no third-party interference. It also provides metadata directly from each station to receivers.

“No single broadcaster nor any national radio industry could realistically achieve that,” Lateana concluded.

 

The post Italian Radio Industry Joins The Radioplayer Platform appeared first on Radio World.

Davide Moro

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