Radio World

Getty Images/Christoph Burgstedt, Science Photo Library

A technology called Wireless Multi-Channel Audio Systems, promoted by companies like Sennheiser and Shure, promises to help meet demand for more wireless mics, especially during large events.

Its supporters say increased demand combined with FCC actions have significantly reduced the spectrum available for wireless, principally in UHF frequencies within the TV bands.

The National Association of Broadcasters and the Society of Broadcast Engineers do not oppose the concept but they want restrictions put on the service if it is approved.

Such systems allow mics to operate using wider bandwidth channels than currently allowed, by digitally combining multiple signals. The technology also uses a more efficient operating protocol, so more mics can operate in the available spectrum. Similar technology has been adopted in Europe under European Telecommunications Standards Institute standards.

The Federal Communications Commission, in a notice of proposed rulemaking, is taking a good look.

The initial proposal

In 2018 Sennheiser asked the commission to formally define WMAS as a new class of wireless mics. It asked that WMAS be allowed to occupy up to a 6 MHz channel bandwidth — the size of an entire TV channel — rather than the 200 kHz channels allocated for low-power auxiliary stations (LPAS) in the TV bands, and it asked that WMAS be permitted to operate in several bands already available for licensed LPAS operations.

By digitally combining signals from multiple devices into a 6 MHz channel, it said, intermodulation issues would be eliminated while permitting denser use of the spectrum and reducing power density across the channel.

In this image from Shure, the blue line is the four analog signals, and the yellow is a WMAS “multiplex.”

Sennheiser differentiates between two groups of devices. Microphones and in-ear monitors require the highest possible audio quality and lowest latency; these devices, according to Sennheiser, currently require a 200 kHz channel. Intercom and IFB systems, on the other hand, can tolerate limited frequency response and dynamic range as well as some distortion and latency. Sennheiser says these devices can operate in a 25 kHz bandwidth. Most events require a mix of both types.

The company noted that the proposed 6 MHz channel could be configured for many combinations, such as 18 high-quality devices; four high-quality devices and 20 intercom channels; or two high-quality devices, 12 mid-quality links and 16 intercom channels.

To assure efficient use of spectrum, Sennheiser originally suggested that WMAS devices be required to operate with a minimum of 12 wireless mics in the 6 MHz channel, but now supports adoption of the standard found in ETSI 300-422.

First reactions

Early responses came from wireless manufacturers Alteros and Shure, as well as Microsoft, and the Aerospace and Flight Test Radio Coordinating Council, which must approve LPAS operations in one of the proposed bands.

All were generally supportive. Shure in particular has been expressing support and calling WMAS “a robust opportunity for boosting spectral efficiency” that could meet demand from broadcasters, music, theater, sports and many other applications.

However, Alteros, Shure and Microsoft all said the minimum number of mics should be higher than the 12 suggested by Sennheiser. Also, Microsoft opposed operations in the unlicensed 6-megahertz portion of the 600 MHz duplex gap, which it views as critical for white space devices.

Alteros argued that the FCC should require a method that allows synchronization across multiple manufacturers’ systems within the single frequency band. Microsoft agreed. “In particular, the ability of microphones from different vendors to plug into a single WMAS at a venue will lead to more efficient use of the limited UHF spectrum. Otherwise, venue operators conceivably might need to request multiple 6 MHz channels,” it said.

Sennheiser opposes that, saying that designing to accommodate the lowest common denominator may underutilize the spectral efficiency benefits of WMAS.

(Note, Alteros was a subsidiary of Audio-Technica, which closed Alteros in 2019 and stopped manufacturing that line of products. Audio-Technica has not filed comments since then. Contacted by Radio World, it declined comment.)

Summary of FCC proposals

Then this spring, the FCC issued its notice of proposed rulemaking. Comments were due in early August.

It asked for comment on allowing WMAS on a licensed basis in most of the bands where Part 74 wireless mics are permitted, including the TV bands, 600 MHz duplex gap and portions of the 900 MHz, 1.4 GHz and 6/7 GHz bands.

Also it proposes to allow WMAS to use a 6-megahertz maximum bandwidth, though the bandwidth of a device could be smaller if necessary.

But as suggested by Shure, the FCC proposed that WMAS devices comply with a spectral efficiency requirement of at least three audio channels per megahertz, which translates to 18 audio channels per 6 megahertz.

Shure believes that “top tier” pro systems currently supporting 14 to 17 channels per 6 MHz could expand to double or more to support 30+ channels. In-ear monitoring using OFDMA technology could triple the channels available in a continuous 2 MHz spectrum band.

(The FCC thought that Sennheiser’s 12 channels per 6 megahertz would not represent an improvement over existing technology, and it said Alteros’ suggestion of 24 channels might not be achievable in some cases.)

Regarding output power, the FCC proposed to allow WMAS to operate at the same maximum levels as other Part 74 LPAS devices, though Shure laid out arguments for higher power levels.

The commission proposed to conform its rules to a recently updated European standard for WMAS.

And though not prompted to do so, it asked whether WMAS should be permitted under Part 15 for unlicensed wireless operations in the TV bands, 600 MHz guard band or 600 MHz duplex gap. It asked about the impact of that on white space devices that share spectrum with unlicensed wireless.

Seeking flexibility

Excited about the rulemaking, Sennheiser came back with suggested tweaks.

It said the proposed minimum of three audio channels per megahertz would be counterproductive; it now recommends that the commission adopt an ETSI standard which states that WMAS must have a mode that supports (i.e., have the ability for) three audio channels per MHz, rather than a mandate for operation with a minimum number of mics.

“Adopting the ETSI standard would allow the commission to ensure that its spectrum efficiency goals are achieved, while simultaneously futureproofing its rules by granting users the flexibility to operate the system in other modes as required by new applications or workflows during operation.”

Sennheiser now thinks that in most cases, WMAS will be operated using 24 or even more channels within a 6 MHz TV channel, where today eight conventional narrowband wireless mics generally fit into that channel. And it said WMAS could become even more efficient thanks to immersive audio and object-oriented audio mixing. So it thinks that codifying a minimum number of channels may be counterproductive.

Regarding Part 15, Sennheiser noted that WMAS is targeted for “challenging professional applications faced by licensed engineers,” but said unlicensed operation could benefit all spectrum users. Shure too now says the FCC should authorize both.

And Sennheiser and Shure both emphasized that WMAS is not a solution to the crunch created by the FCC’s reallocations in the 600 and 700 MHz bands. Both say the FCC should not have terminated another proposal that would have set aside a vacant low-band UHF channel in each market for wireless mics; they asked the FCC to “reverse course” on that.

Broadcasters are cautious

Other stakeholders weighed in.

The National Association of Broadcasters supports WMAS on a “secondary basis” with “prudent restrictions,” given that WMAS “has a greater potential for interference” and is not compatible with legacy narrowband wireless deployments.

It said WMAS occupies more spectrum than traditional systems. “If there is only a single 6 MHz TV channel available for use at a breaking news event, one news crew using a WMAS system could occupy the entire channel and prevent coverage by other news organizations.”

So NAB thinks the FCC should limit WMAS to situations where a large number of channels are needed and will be under control of one entity, such as big concerts and sporting events; and it suggested that a threshold of 10 channels in use by a single entity. It also said the FCC should only authorize base stations that prevent transmission when fewer than 10 paired audio devices are detected.

NAB thinks the FCC should require minimum efficiency of six audio channels per megahertz, equivalent to 36 in 6 MHz, because a minimum of three would be no meaningful improvement. It asked the commission to restrict WMAS to Part 74 licensees, and to limit the systems to 6 MHz bandwidth. And it agreed with an FCC proposal to limit power to 250 mW EIRP in the UHF TV bands, regardless of the bandwidth of the WMAS operation.

Meanwhile the Society of Broadcast Engineers said the use of WMAS should be subject to coordination with SBE local frequency coordinators, and said these systems should be operated only on a non-interference basis to incumbent wireless technologies.

The society, like the mic manufacturers, said the FCC should not view WMAS as a sufficient response to the “critical shortage” in spectrum for wireless.

Another question asked by the FCC is about the 6875–6900 MHz and the 7100–7125 MHz bands. The commission recently made the whole 6 GHz band available for unlicensed use to encourage next-gen Wi-Fi and the Internet of Things. So it asked whether WMAS should be authorized there and whether Part 74 wireless mics should even be permitted in those bands any longer.

Cisco Systems, Facebook, Microsoft and the Wi-Fi Alliance all told the FCC it should not permit WMAS in those bands, and some said the FCC should not allow Part 74 operations at all. But Shure disagreed strongly with any suggestion that efficiency gains from WMAS opens the door to eliminating wireless access to the “6/7 GHz” bands, saying WMAS should not be viewed as a “cure all.”

Reply comments in the NPRM are due Aug. 30.

Implications

If WMAS is approved, what next?

Joe Ciaudelli, director, spectrum & innovation at Sennheiser, told Radio World, “We plan to conduct extensive field demonstrations with industry veterans. This is not only a revolutionary technology. It also provides a highly flexible alternative workflow. Even though it is simple to use, we want ample opportunity to hear the feedback from the field. Systems will be is use well before the official public launch.”

Ahren Hartman, VP of quality at Shure, urged interested parties to be vocal. And he hopes the FCC will allow unlicensed operation. “If unlicensed microphone users are not authorized to operate WMAS devices, that severely limits the available market for these products, which could jeopardize the technology commercialization,” he said.

“If the FCC grants WMAS access to all wireless microphone users, licensed and unlicensed, and aligns the technical rules with the European ETSI version, the groundwork will be laid for manufacturers to produce WMAS products as soon as technically possible.”

Both are enthusiastic about how WMAS will help engineers and frequency coordinators at very large events.

“The impact will be radical,” Ciaudelli said. “First and foremost, the engineer can pack far more wireless links within a 6 MHz TV channel, using a single RF carrier — typically four or five times more, depending on how the operator sets parameters such as latency, link robustness and audio quality. It’s also much easier to configure, plan and operate large multi-channel systems.

“Plus, the operator can essentially reuse spectrum resources,” he continued. “You can set the mics that are being broadcast live at a given moment to have the majority of the resources, while the mics that will be used in the next segment of the event can be turned on and tested using minimal spectrum resources. When it’s time for the next segment to go live, the associated mics will take over the majority of the resources.

“It’s different than the conventional approach that would use different channels for each set of mics. WMAS really shines for any multi-act mega-event like the Super Bowl, as well as for major music festivals or award shows.”

Hartman said the impact will depend on the final rules. “If the FCC adopts the technical parameters proposed by Shure, WMAS will have the ability to dramatically simplify frequency coordination for any size events, including large ones like the Super Bowl. Since WMAS is more spectrally efficient than conventional narrowband transmission, it allows users to pack more microphone/IEM channels in the same spectrum, making even planning easier in congested cities,” Hartman said.

“WMAS also manages intermodulation distortion (IMD) differently than narrowband transmission, essentially removing IMD from the planning, and therefore, simplifying frequency coordination. And finally, since WMAS can be designed to be bidirectional, both microphones and IEM channels can be packed into the same WMAS system, which makes spectrum planning simpler.”

A question that surfaced early is whether WMAS may cause interference to services in adjacent channels.

“No, in fact, it’s the opposite,” Ciaudelli said. “WMAS transmits multiple wireless audio links on a single carrier at the same power output as one conventional narrowband wireless microphone. Because WMAS spreads its power over an entire 6 MHz TV channel instead of 200 kHz like a narrowband wireless microphone, the power spectral density is significantly lower, reducing risk to adjacent services.”

The post Wireless Mic Industry Debates WMAS Technology appeared first on Radio World.

Broadcasters have succeeded at avoiding or limiting increases in their FCC regulatory fees this year.

The final commission order setting fees for FY 2021 has been issued, and rates for radio stations are pretty much what they were last year, instead of being increased as the commission had planned. Many rates will actually tick down.

The National Association of Broadcasters and state broadcast associations had pushed back on the planned hikes, citing the pandemic but also arguing that the way the commission allocates such fees is unfair, putting too much onus on radio and TV stations and none on “Big Tech” companies that directly benefit from commission services.

[“NAB Continues Its Fight Against Higher Station Fees”]

The original proposal called for increases of 5% to 15%, while NAB noted that the FCC’s general salary and expenses budget increased by only 0.5%.

Here are three sample outcomes:

An FM Class B1 station in a very large market paid $18,375 in the past year, and the FCC planned to increase that to $19,650, but its final number was $18,285.

An AM Class A station in a medium-sized market paid $3,300 this year and was slated for $3,550, but ended up at $3,295.

And an FM Class B in a good-sized city paid $9,300 last year, and the FCC planned to increase that to $10,075. Instead its new rate is $9,270.

[Download a comparison of last year’s fees, the proposed fees and the final amounts.]

“NAB greatly appreciates the FCC’s efforts to revise its original regulatory fee proposal that would have required local radio and television broadcasters to subsidize unrelated work at the commission,” said NAB Senior Vice President of Communications Ann Marie Cumming in a written statement. “The change is not only the right outcome, but critical to the many broadcasters’ ongoing service to their local communities.”

The FCC also has a notice of proposed rulemaking regarding several fee issues, and invited comment on further fee reform.

Cumming said broadcasters want to work with the FCC in the coming year “to take a deeper look at the regulatory fee process to ensure all stakeholders that benefit from the commission’s work are paying their fair share and that those currently subsidizing the commission are no longer paying for work unrelated to their industries.”

NAB said the proposed increase had been based on an FCC decision “to make broadcasters pay for a significant portion of the $33 million in additional funding that was specifically appropriated by Congress to implement the Broadband DATA Act and other inequities in the FCC’s approach.”

The post Broadcasters Get a Win on Regulatory Fees appeared first on Radio World.

Sample screen of the Radio FM website.

The author is marketing manager for Radio FM.

Internet radio today gives the listener access to thousands or even hundreds of thousands of radio stations within a few clicks.

They can travel to another country and hear their favorite radio station, staying updated with trends and news. If they’re in Brazil, they can access stations throughout Europe, and vice versa. If they live in a less-developed part of the world where visual media are lacking, the listener can still stay connected. Market leaders like NPR, Spotify and iHeartRadio know the power of online radio.

Data from Statista tells us the following about internet radio:

Local radio digital ad revenue in the United States at last count was $1.32 billion. Podcast revenue was $842 million and growing rapidly. Weekly time spent with online radio and other online audio sources had increased to 16 hours 14 minutes. The monthly reach of online radio among U.S. adults ages 35–54 was 72%.

When COVID-19 spread like wildfire and confined people to their homes around the world, internet radio further proved its worth. Listeners could find endless genres of music and types of information from traditional radio channels, online-only stations and the latest podcasts.

For existing broadcasters, internet radio has been a boon, spreading their impact and making their stations accessible around the world. New entrants benefit from internet radio’s low startup costs, low operating costs and valuable audience insights.

Directories like ours at Radio FM provide exposure and the necessary flexibility to manage your stream. Radio broadcasters should consider listing their stations on Radio FM because:

• Every directory has its own user base, so by listing in them you get a chance to reach your potential listeners or acquire new ones;
• Since there are already thousands of stations listed in every directory there are chances that your station might not show up in the top positions in a list. With Radio FM you get a chance to promote it for free for seven days and then purchase paid packs to list your station on the top five positions and gain visibility and therefore acquire some new listeners.
• Besides the broadcaster web portal, you can download the Partners app to manage your stations and track your performance on the go.

It is vital that online stations make sure they are available and can be found online.

Radio FM is an internet radio platform. Learn more at http://appradiofm.com/.

 

The post Make Sure Your Station Is Visible Online appeared first on Radio World.

Getty Images/Thomas Barwick

It was the combination of pandemic isolation and the sound of cicadas that made me do it. I called a globe-trotting friend to whom I had not spoken since he and I dodged cicadas together in 2004.

I began with a question: “Quick! Where were you living 17 years ago?” He replied, “Can you give me a Zip code?”

It sure was fun catching up — and the success of that call led me to another, and another and another.

While it hasn’t been 17 years since I’d spoken to many friends, I must admit I wasn’t the best during the pandemic at calling people.

Fifteen months is a long time to be silent. Coming out of home isolation can be especially challenging for the introverts among us who gain energy from solitude and may have anxiety just thinking about returning to offices and in-person meetings.

Most of my calls have been returned by now, and it’s been highly rewarding. That’s why I’m telling you. Life is all about relationships; and while you may see what somebody is up to on social media or can find out some facts with an email, it’s not the same as a real conversation via phone or a face-to face get-together.

What has this got to do with radio?

People to lean on

We are all so busy at our stations that too many of us neglect personal and professional development and growth.

From a personal perspective, our friends ground us, they help us navigate the long winding road of life. If you’ve got pals who will tell you the truth — especially about yourself — admit your good fortune and take advantage of this resource that’s worth more than money. Living in your own echo chamber can lead to self-deception, loneliness and depression.

From a career perspective, it’s your network of former workmates, acquaintances, advisors and true radio friends who will be there — when you need professional guidance and assistance, when you are ready to grow your career in your next job.

Choosing the next career move in radio has always been challenging. Worse, terminations can be unexpected, swift and merciless. Gone are the days of long severance payouts. Even what we believe are solid contracts can be challenged, sometimes ending in reduced settlement payments.

Keep up your business relationships — not just with your peers at your station or office, but with consultants, vendors, concert/music promoters, and the people in other departments of your company. If you don’t, you can’t expect much when you’re in need. Relationships require active participation.

Career counselors will unanimously inform you that your network is the most important aspect of a successful job search.

As it happens, I’ve lost a number of friends in the last two years. There’s nothing like a few funerals to remind a person of their own mortality. It also dawned on me that I had not recently thanked people who have meant so much to me in my own career. Without being hired, mentored and remembered, I would not have gone far.

Over the years I’ve found that the folks who’ve had a positive impact on my life and career appreciate hearing from me. And there’s nothing like a personal phone call or an in-person visit to renew that connection.

Read more Promo Power columns.

The post Take Time to Renew Relationships appeared first on Radio World.

Speaker maker KRK, known for those yellow woofers, is expanding its headphones line with the KNS 6402 (shown) and KNS 8402.

Both models are of the closed back, circumaural design. Earpads, headpads and cable are replaceable. The KNS8402 has an inline volume control. Both ship with, adapter, soft bag and anti-microbial cleaning cloth.

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

According to KRK, the KNS 6402 ($99) has acoustic cellular foam pads and provides up to 26 dBA of isolation with a 122 dB maximum SPL rating and a frequency response of 10 Hz–22 kHz. The KNS 8402 ($149) features memory foam pads with premium leatherette covers for greater comfort during long hours of listening and work. The KNS 8402 headphones provide up to 30 dBA of isolation to block out even more external noise and feature a slightly higher SPL with a 124 dB maximum SPL rating and a frequency response of 5 Hz–23 kHz.

Send your new equipment news to radioworld@futurenet.com.

Info: www.krkmusic.com

 

The post KRK Expands Headphones Line appeared first on Radio World.

Andrea Cummis will be the next president of the Society of Broadcast Engineers, the first woman to hold that office.

SBE announced the results of its 2021 election for its national board of directors.

Cummis, CBT, CTO, is the chief technical officer of PBS39 WLVT(TV), in Bethlehem, Pa. and a member of SBE Chapter 15 in New York City.

She was unopposed in the election and will take office on Oct. 11. Cummis succeeds Wayne Pecena, who served two terms and remains on the board as immediate past president. (A list of all past presidents appears below.)

Others who will serve one-year terms as officers are Ted Hand as vice president, Kevin Trueblood as secretary and Jason Ornellas as treasurer.

Elected to two-year terms on the board of directors are Zhulieta Ibisheva, Jeff Juniet, Charles “Ched” Keiler, Geary S. Morrill, David Ratener and Dan Whealy.

Now going into their second year of current terms are Stephen Brown, Roswell Clark, Kirk Harnack, Thomas McGinley, Shane Toven and Fred Willard.

[Related: “Online Resources Blossom at SBE,” a 2020 Q&A with Wayne Pecena]

Cummis has more than two decades of experience in engineering, operations and new technology, and has worked in television, radio and new media.

She has been involved in many facets of media engineering, according to her LinkedIn bio, including space planning, staff planning and hiring, systems design and installation of production, post-production and on-air facilities, capital and operating budget creation and management, new technology research, staff training, asset management systems, transcoding for VOD and IPTV.

She is the owner of AC Video Solutions, a systems design and integration firm, and has worked with or for organizations such as the New Jersey Performing Arts Center, WTV, WNET New York Public Media, Vantage Technology Consulting Group, RadiantGrid Technologies, Total RF Productions and USA Networks, among others.

She holds degrees in electrical engineering and in law and technology, and has an MBA as well.

The society’s National Meeting and Awards Presentation will be held Oct. 11 during in Las Vegas during the NAB Show.

SBE Presidents List

Andrea Cummis 2021-

Wayne Pecena 2019-2021

Jim Leifer 2017-2019

Jerry Massey 2015-2017

Joe Snelson 2013-2015

Ralph Hogan 2011-2013

Vincent Lopez 2009-2011

Barry Thomas 2007-2009

Christopher H. Scherer 2005-2007

Raymond C. Benedict 2003-2005

Troy D. Pennington 2001-2003

James “Andy” Butler 1999-2001

Edward J. Miller 1997-1999

Terrence M. Baun 1995-1997

Charles W. Kelly Jr. 1993-1995

Richard Farquhar 1991-1993

Bradley Dick 1989-1991

Jack McKain 1987-1989

Richard Rudman 1985-1987

Roger Johnson 1984-1985

Doyle Thompson, Sr. 1983-1984

Ron Arendall 1981-1983

Robert Jones 1979-1981

James Hurley 1978-1979

Robert Wehrman   1977-1978

Glen Lahman   1975-1977

James Wulliman 1973-1975

Robert Flanders 1971-1973

Lewis Wetzel 1970-1971

Al Chismark   1968-1970

Charles Hallinan 1966-1968

John Battison, P.E. 1965-1966

 

The post SBE Elects Andrea Cummis as Next President appeared first on Radio World.

Dear RW:

Your article about grounding in the Rocky Mountains brings to mind a moment dating back to the early 1960s, when I was ham radio operator K7VPK and attending ASU/Tempe’s radio and TV program.

One of my experiences at that early age was meeting members of the “Mummy Mountain Radio Club.” Among them was Arizona Sen. Barry Goldwater, ham radio call sign K7UGA.

I was invited to visit the club up in Scottsdale north of Tempe; when I did I was amazed at what I saw. All high-frequency operating bands had their own operating rooms/positions in a custom-built “clubhouse,” the members of which included Goldwater, the CEO of the Donnelley Press in Chicago and other heavy hitters.

The estimated cost invested in building the clubhouse and obtaining equipment was north of $100,000, equivalent to nearly a million dollars today. Each ham band (80 meters, 40 meters, 20 meters, etc.) had its own operating room and complete Collins Kilowatt console. Simply the best of the best!

Now to the relevant part.

Since grounding was such a problem in mountainous Scottsdale, the question was how to be grounded effectively. Each operating position and custom antenna for each band to be worked needed to be grounded well for operating efficiency and safety.

The engineers installing the antennas suggested that the club members simply tap into a copper vein there on Mummy Mountain.

I was told that this took a bit of digging but it was done. The resulting electrical ground turned out, I was told, to be the best possible solution to the problem … in fact, an exceptional one.

Ham radio? Sen. Goldwater and his friends made sure they had nothing but the best; and they produced signals from the MMRC that were heard around the world. As a matter of fact, the MMRC facility was used to run phone patches for GIs in Vietnam as well as Goldwater’s home station on Camelback Mountain in Scottsdale for several years.

Don Watson, W5TNA is with NewsTalkRadio.com in Pensacola, Fla.

Send Letters to the Editor at mailto:radioworld@futurenet.com

The post Letter: Good Ground Was All Around appeared first on Radio World.

The FCC wants to know what you think about possibly modifying the Emergency Alert System to provide “persistent alerts” in extreme emergencies, and how such alerts might work on radio stations and other audio platforms.

Providing persistent alerts is one of several recommendations that were made to the commission by FEMA for improvements to EAS.

FEMA’s recommendations are in addition to alerting changes recently adopted by the commission in June. At that time the FCC issued a further notice of proposed rulemaking to explore FEMA’s ideas.

In addition to persistent alerts, FEMA thinks the FCC should should rename certain EAS terms like EAN and PEP to help public awareness.

The deadlines to comment on the proposed changes have now been set. Comments in PS Docket 15-94 are due Oct. 19, with replies due Nov. 18.

Persistent alerts

A big part of FEMA’s recommendations involves “persistent alerts.” FEMA thinks EAS should be modified to support “persistent display of alert information and/or persistent notification for emergencies that require immediate public protective actions to mitigate loss of life.”

Such alerts would persist on EAS until the alert time has expired or the alert is cancelled by the originator. Merely repeating an EAS message, FEMA says, does not address problems like those that came up in the false missile alert situation in Hawaii. It believes alert information should persist so people can “receive, review and collaborate, whenever they ‘tune in,’ with emergency information received previously from another emergency alert information source.”

The FCC is asking for comments on questions like the technical feasibility of assigning “persistence” to state and local alerts; what kinds of events would qualify; what changes would be required to EAS devices; and whether stations and others who carry state and local alerts on a voluntary basis would agree to carry persistent alerts.

One can envision a persistent alert remaining visible on a video platform, but the FCC also wonders what “persistent” would mean for radio stations and satellite radio, as wall as what role “smart” devices might play for alerts carried by ATSC 3.0 and HD Radio technologies.

Other recommendations

FEMA also thinks the FCC should modify the definition for the EAN event code from “Emergency Action Notification (National Only)” to “Emergency Alert, National,” or replace the EAN event code entirely with a new one called “NEM” for “National Emergency Message.” FEMA thinks “Emergency Action Notification” has no meaning to most people and may create confusion.

FEMA further thinks the FCC should change the EAS originator code for the Primary Entry Point System from “PEP” to “NAT,” which would stand for “National Authority.”

It notes that PEPs — radio stations that are the primary source of initial broadcast for a presidential alert — are not originators. It said using PEP as an originator code currently requires EAS video participants to scroll a message that begins with “The Primary Entry Point System has issued …” which FEMA says means nothing to the public and again could create confusion.

And probably least controversial is a recommendation from FEMA to delete the term “National Information Center” in FCC rules because there is no longer a National Information Center (NIC) in federal and national emergency response plans.

[Read the full FNPRM, starting on page 25 of the recent FCC order.]

The post The FCC Contemplates “Persistent EAS Alerts” appeared first on Radio World.

Inovonics has released two firmware updates — one each for the INOmini 635 FM SiteStreamer and INOmini 638 HD Radio SiteStreamer, respectively.

According to the company these updates will add RDS Radio Text Alarm features and modifies LED Header displays to the web interface.

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

The company has provided instructions to aid in the download and installation of the updated firmware.

The updates for the 635, Rev. 2.2.0.0, and 638, Rev. 1.3.0.0, are available directly from the website. Other Inovonics equipment downloads are also available.

Send your new equipment news to radioworld@futurenet.com.

Info: www.inovonicsbroadcast.com

 

The post Inovonics Releases SiteStreamer Firmware Updates appeared first on Radio World.

Logitek Electronic Systems has moved its console manufacturing facility in Houston, Texas, to a new location a few blocks away.

The company had been in its previous location for about 20 years.

In its announcement, President Tag Borland said the prior plant was “analog only.”

“With our more efficient manufacturing methods and space-saving console designs that take up less room on the floor, combined with the fact that we haven’t been making VU meters for quite some time, we found that we could work just as well in a more streamlined space,” he said.

The company’s networkable AoIP products include the mixIT and Helix touchscreen-controlled consoles and the virtual console Helix Studio.

Its new address is 5403 Bissonnet Street, Suite B, Houston TX 77081. Phone numbers remain the same.

The post Logitek Moves to New Location appeared first on Radio World.

The National Association of Broadcasters has announced that #GALSNGEAR, in partnership with the NAB, will host the Emerging Leaders Women’s Career Accelerator program at the 2021 NAB Show in Las Vegas. The one-day program will take place Tuesday, Oct. 12 and include multiple networking opportunities and two leadership workshops.

#GALSNGEAR works to ensure women in media tech gain visibility at industry events, access to the latest technology, and high-level networking and educational opportunities.

[For More News on the NAB Show See Our NAB Show News Page]

“We’re excited to partner with NAB to bring our Women’s Career Accelerator to NAB Show, empowering emerging leaders ready to advance their careers in screen media,” said director/producer and #GALSNGEAR founder Amy DeLouise.

The first leadership workshop, titled “Elevate Your Leadership Effectiveness,” will use a personalized leadership assessment and breakout sessions to help participants identify their natural leadership style, strengths, challenges and priorities. A second workshop, “Propel Your Leadership Brand,” will explore how to engage and align a personal leadership brand in-person and across digital channels.

Check out the current schedule of events.

“#GALSNGEAR educational and networking events at NAB Show have consistently supported and amplified women in media, entertainment and technology,” said April Carty-Sipp, executive vice president, Industry Affairs at NAB. “The #GALSNGEAR Career Accelerator brings together a new generation of leaders gaining valuable professional skills to advance in their chosen careers. I’m even more thrilled to participate in the program this year and do my part to help empower and encourage women in this business.”

For more information visit 2021 NAB Show.

The post #GALSNGEAR Announces Program for 2021 NAB Show appeared first on Radio World.

Shure says its latest podium mic, the Microflex MX415Dual, is aiming to be a standout with two condenser cartridges for “delivering reliable, high-quality audio for high-stake moments.” The dual elements allow for more than one feed, for instance, a house feed and a multbox or broadcast feed. Or if one fails or is damaged there is another to carry on.

The MX415 is mounted on a 15-inch gooseneck. It has a cardioid pattern though the cartridges are swappable with other Microflex cartridges of different patterns.

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

It outputs to twin 5-foot (1.5 meter) cables exiting from the bottom of mic, terminating in two TQG 4-pin female connectors that can connect to included in-line mic preamps with XLR connectors.

There is an integrated shockmount to minimize podium noise, foam windscreen and mesh ball grille along with communications RF shielding to go after mobile phone interference. It ships with mounting accessories.

Send your new equipment news to radioworld@futurenet.com.

Info: www.shure.com

 

The post Shure Intros Broadcast-Quality Podium Mic appeared first on Radio World.

STMicroelectronics IC microchips designed by ARM Ltd. in a storage tray at CSI Electronic Manufacturing Services Ltd. in April. (Chris Ratcliffe/Bloomberg via Getty Images)

The severity of the global computer chip shortage has broadcast equipment manufacturers finding creative ways to manage supply channels while trying to meet product demand. 

Despite the semiconductor shortages, people in the radio technology marketplace who spoke with Radio World say products are still being shipped, with mostly minor delays, thanks to prior planning. Equipment suppliers said they hope the semiconductor shortage will ease soon, perhaps by early 2022.  

The pandemic has disrupted global supply chains for integrated circuits since early 2020, as factories closed and transportation was delayed. Surging demand for motor vehicles and other consumer electronic products, prompted in part by economic stimulus measures, have exacerbated the situation.

While some suppliers were reluctant to discuss workflow issues for this story, others confirmed that their difficulty in sourcing components has worsened in recent months. Broadcasters are primarily seeing delays on computers and computer-based audio gear, sources said, but even transmitter delivery dates are being affected in some instances.

The scarcity of chips has had an impact on HD Radio. General Motors this summer decided to exclude HD Radio on certain pickup truck models in the 2021 and 2022 model years.  

HD Radio parent Xperi Corp. acknowledged there could be some “feature reductions in radios” in some cars but expressed confidence that HD Radio deployment in vehicles will continue to progress.

Global logistics

Scott Stiefel, COO of Telos Alliance, said a series of unplanned events — including fires at two chip factories in Japan — combined with the pandemic to contribute to the shortage.

“The same challenges affecting the auto, computer or household electronics industry are there for us,” he said.

“Chip shortages, end-of-life issues for low-volume components, as well as global logistics problems. But without question, the factory fires at the AKM and Renesas Fabrication facilities have impacted the electronics industry, already taxed by the COVID-related shortages. The mass buying and stockpiling over and above the normal demand have also created shortages in both supply as well as in logistics. Again not directly attributable to COVID, but a side effect of consumer behavior.”  

Inovonics President/CEO Ben Barber said chips and virtually all components have been affected. 

“Earlier this year we made the decision to ramp up our purchasing in order to get ahead of the delays. Making this type of investment has been expensive, but at the same time we have the raw inventory to continue to manufacture all of our product lines without being backordered,” Barber said.

Prices for chips are up. One microprocessor for which Inovonics normally pays $14 is now $60. “And lead times have also been extended in many cases to 42 weeks plus,” he said.

The shortage has affected virtually all parts including ICs, SMD parts, power supplies and even metal chassis, Barber said.

Tony Peterle, manager in the Americas for WorldCast Systems Broadcast, said the radio technology sector has been affected by the semiconductor shortage like every other area of industry. 

“Broadcast equipment is certainly no exception, but thanks to all our partners all over the world we have found immediate solutions and we continue to deliver,” he said.  

Peterle said most of WorldCast’s broadcast customers are thinking far enough ahead to give his company solid estimates on lead times.

“Most broadcasters are obviously aware of the component crisis and they are planning their project timelines accordingly.”

Another observer who asked not to be named said there are only a handful of companies that make the analog-to-digital and digital-to-analog components used in phones, cameras and just about anything that converts audio between analog and digital.

And of those, only two major chip makers, Cirrus Logic and AKM, produce the kind used in most pro audio and broadcast products. 

To make matters more difficult, the observer continued, AKM ADC ICs pinouts are different than Cirrus Technology’s equivalent ADC/DAC ICs, which makes it impossible to substitute one for the other without some redesign. 

“A year or more out”

The good news for broadcasters is that supply chain disruptions caused by the chip shortage haven’t necessarily resulted in immediate price increases for products.

“For now, we’re pricing our products based on our reserve inventories of components and materials, and re-evaluating by the month,” said Dee McVicker, a representative of Wheatstone. “We’ve been through volatile supply situations in the past — never this severe though, and one thing is always certain; things will change.” 

She described lead times on important components as “insane.” Nevertheless, McVicker said, Wheatstone’s manufacturing runs haven’t been compromised.

“We do both production runs of some products and customized runs of others, and that hasn’t changed any. But since we’re our own plant, we can scale our production according to our own needs,” McVicker said.

“If we had to rely on third parties to manufacture our products, we’d probably be in a situation where we’d have to batch our runs or, worse, have long wait times competing for component availability.”

Several equipment manufacturers described extra steps taken to limit the effects of the shortage and control supply chain volatility. 

“We are meeting daily with our vendors to make sure we can source chips and materials a year or more out. That takes a little bit of planning on our part and also close communication with our customers on their project time lines,” McVicker said.

IP audio codec maker Tieline said it manufactures its codecs in-house, which ensures as much control over the supply of critical components as possible; still, lead times have become exaggerated because of the chip shortage.

“We are definitely seeing lead times for components blow out, and it’s not always semiconductors that seem to have been affected,” said Charlie Gawley, vice president of sales for Tieline. 

“For some components, average lead times of 26 weeks or less have extended out to 52 weeks or more. And in one case, as far out to 2024. As you can imagine, this adds an additional layer of complexity to ensure the bill of materials for each product is available for manufacturing when required.”

Tieline believes the chip shortage will extend at least into early 2022, Gawley said. “However, we do not expect to be impacted given our order placements for components already placed.”

Gawley said Tieline has been able to absorb any extra costs and has not adjusted prices.

Several equipment vendors told Radio World that the chip shortage is affecting their research and development efforts and work on new products. 

Possibly softening the impact of the shortage is that more broadcast products now are based on software. However, “Our experience has shown us that not all products can be replaced by software,” said Todor Ivanov, CEO and owner of DEVA Broadcast. “Many of our devices are intended for use in the field and at transmitter sites where using PC-based solutions is not reliable enough. For all of those products, we have taken the necessary measures to make sure that no hardware shortages are experienced and that our customers can rely on our products at any given time.”

Sidebar: Steel Also Feels the Pinch Image: ERI

Steel prices in July were up 215% from 16 months prior, according to Fortune. 

A worsening shortage may scramble supply chains and increase the cost of broadcast towers. 

Tom Silliman, president of Electronics Research Inc., told Radio World in July that material for current projects was largely on hand and that work was continuing. However, he said, ERI’s supplier of steel for broadcast towers, O’Neal Steel, was unable to order additional material from steel mills other than what was on order.

“Rollings are closed at this time and there is not a date on when they will open them again. Definitely no additional orders for 2021,” Silliman said.   

Prices for the material that goes into tower members are going up terribly, Silliman said.

“Some of the solid rod suppliers don’t want to sell any more solid rod tower material now because the cost of the material is so high. They would rather sell other material,” he said.

ERI designs, fabricates and installs self-supporting towers, guyed towers and antenna mounts used by the broadcast industry. As of mid-summer it was experiencing only minor project delays, due mostly to a shortage of guy wire insulators for AM towers.

“This causes a problem because it pushes our crews into late fall, causing higher numbers of weather days,” Silliman said.

For new tower orders, Silliman said broadcasters should expect higher material costs and long delays in receiving tower steel.

“Material delivery time is way out. In 2020, O’Neal Steal was quoting us six-week delivery of tower steel, and now they are quoting six-month deliveries. And since prices for material has gone way up, tower prices will have to go up, too.”

 

The post Chip Shortage Hits Radio Technology Marketplace appeared first on Radio World.

The FCC’s process for assessing and collecting regulatory fees continues to draw daggers from the National Association of Broadcasters. The lobbying group says the commission is using a “pin-the-tail-on-the-donkey approach to assessing fees.”

The association has been vocal on this topic for the past few years and seems particularly determined this year, with fees scheduled to go up again.

NAB representatives met by teleconference with FCC staff members on Aug. 18 to review their arguments against the proposed hikes in fees to be paid by radio and television stations.

The average proposed increase in MD Docket No. 21-190 is about 8 percent, though some stations could see fees jump by as much as 15%.

[“State Associations Push Back on Fee Increases”]

According to a summary of the “ex parte” meeting, NAB objects to what it considers discrepancies in how the commission sets these fees and specifically argues that the FCC has no right to require broadcasters to contribute to a $33 million broadband mapping fee as directed in the proposal.

The NAB estimates that broadcasters use 0.07% of allotted spectrum but account for at least 16% of the FCC’s entire budget — all while offering a free service to the public.

The commission proposes collecting $374 million from all the industries it regulates. It could act on the proposal within days, given that the new fiscal year begins Oct. 1, according to legal observers, which adds a sense of urgency to broadcaster arguments.

During the recent meeting, NAB again said the FCC proposal ignores a requirement by Congress for the commission “to take into account factors that are reasonably related to the benefits provided to the payor of the fee by the commission’s activities,” as required by the Ray Baum Act of 2018, which states that the “touchstone” for setting fees should be benefits rather than licenses.

NAB also argues that under the Communications Act, the commission “must not only analyze the changes in the number of full-time equivalent employees (FTEs) across the agency, but also must adjust the resulting fees based on the benefits provided to the payor of the fee.”

It continued: “And apart from a very brief discussion of benefits provided in the context of non-geostationary orbit (NGSO) satellite systems, the proposed rulemaking notice setting the regulatory fees for the new fiscal year blows past this obligation as if Congress never mandated it.”

The broadcast group goes on to stake out its argument:

“The error infects the entire Notice, but is particularly acute when considering Congress’s unusual step of earmarking $33 million for broadband mapping beyond the commission’s general appropriation. The Notice’s treatment of the $33 million could not possibly be more violative of the statute.

“First, it makes no attempt to tie which FTEs [full-time equivalent employees] are working on broadband mapping to the fees associated with that project. If it had, it would have recognized that the Media Bureau has no role in the project and therefore Media Bureau regulatees are not responsible for contributing to its overall cost.

“Second, even beyond the first-step FTE examination, had the Notice bothered even acknowledging its benefits provided obligation, it undoubtedly would have concluded that broadcasters should not have to contribute to the $33 million broadband mapping cost because they receive no benefits whatsoever from that effort. The Notice’s failure to exempt broadcasters from that $33 million is a blatant violation of the statute.”

NAB concludes: “It is well past time for the commission to change its unlawful and unjust approach to regulatory fees. At the very least, the commission must exempt broadcasters from contributing to the commission’s broadband mapping efforts.”

The broadcast industry as a whole has been hyper critical of the FCC proposal. All 50 state broadcast associations in comments to the FCC have argued that their industry has been unfairly subsidizing competitors through fees for decades. Broadcasters also argue that the fee hike is unfair coming on the heels of a pandemic, hurt advertising revenue.

The post NAB Continues Its Fight Against Higher Station Fees appeared first on Radio World.

It’s not easy to get the FCC’s Media Bureau to cancel a forfeiture. But a broadcaster in Alabama has done so after pointing out a problem with the commission’s own online database system.

The commission had issued a notice of apparent liability to Autaugaville Radio, which owns AM station WXKD in Brantley, Ala., and an FM translator in Troy. The FCC said the broadcaster had failed to file for license renewal by April 1 as required, so it was apparently on the hook for a $4,500 penalty.

The station wrote back saying its attorney had thought the deadline was in June and that it did file on June 18. That explanation alone would be unlikely to impress the commission; but the station also told the FCC that until June 16, the FCC’s own LMS filing database did not reflect the actual expiration dates of the licenses.

“Instead, LMS listed the stations’ licenses as expiring on April 1, 2028,” according to a commission summary. “The licensee states that, until this error was brought to the attention of the bureau staff by licensee’s counsel, and corrected on June 16, 2021, LMS would not accept applications to renew the stations’ licenses.”

The bureau staff found that this was, in fact the case.

“While the licensee could have discovered this issue sooner if it had correctly calculated the deadline for filing applications to renew the stations’ licenses, the licensee brought the error to our attention upon its discovery, and filed the applications to renew the stations’ licenses two days after the error was corrected,” the commission wrote.

So the FCC has canceled the NAL and admonished the broadcaster for violating the rules.

The post Station Avoids Fine Thanks to FCC Database Error appeared first on Radio World.

Erica Farber

Erica Farber and Bill Siemering, prominent figures in U.S. commercial radio and public radio, respectively, are among eight new members of the Radio Hall of Fame.

The Museum of Broadcast Communications also named its first 33 “Legends” inductees, one for each year of the hall’s existence.

Farber is president/CEO of the Radio Advertising Bureau and the former publisher/CEO of Radio & Records. Siemering played a critical role in the founding of National Public Radio.

Bill Siemering

The other inductees are air talent. They are Brother Wease, Elliot Segal, Dan Patrick, Kim Komando, Javier Romero and “Preston & Steve,” aka Preston Elliot and Steve Morrison.

All will be honored at a ceremony in Chicago in October. The Radio Hall of Fame was founded by the Emerson Radio Corp. in 1988. The museum has run it since 1991.

The Radio Hall of Fame also decided to recognize of past innovators who have since died.

“While the industry celebrates 100 years of existence, the industry’s Hall of Fame is only 33 years into existence. The centennial milestone provides an opportunity to recognize the talents and efforts of 33 individuals in 2021, as well,” it stated.

The Legacy inductees are:

• Aku aka Hal Lewis, air personality in Honolulu in 1960-1980’s on KGU and KGMB;
• Raul Alarcon Sr., radio executive and founder of Spanish Broadcast Systems (SBS);
• Jackson Armstrong, air personality in Cleveland in 1960–1980’s on WIXY, WKYC, WKBW and other
• stations;
• Dr. Joy Browne, syndicated talk radio air personality based from WOR-AM / New York City;
• Frankie Crocker, air personality in Buffalo and New York City in 1950–1980’s on WUFO, WWRL,
• WMCA  and WBLS-FM;
• Don Cornelius, air personality, WVON-AM, Chicago;
• Tom Donahue, air personality in San Francisco in 1960– 1980’s on KYA, KMPX, KSAN;
• Bill Drake, programmer and founder, Drake-Chenault Enterprises;
• Arlene Francis, air personality in New York City in 1930-1960’s and first female host of NBC’s
• Monitor;
• Barry Gray, talk radio air personality in 1940-1980’s in New York City on WOR and WMCA;
• Toni Grant, talk radio air personality in Los Angeles in 1970-1980’s on KABC-AM and others via
• syndication;
• Petey Greene, air personality in Washington D.C. in 1960-1980’s on WOL-AM;
• Maurice “Hot Rod“ Hulbert, air personality in Baltimore and Memphis in 1950 -1970’s;
• Jocko Henderson, air personality in Philadelphia, New York and Baltimore in 1950-1970’s;
• Rodney Jones, air personality in Chicago in the 1960’s on WVON-AM;
• Chuck Leonard, air personality in New York City in 1960-1970’s on WWRL, WABC, WXLO, WRKS,
• WBLS and others;
• Melvin Lindsey, the originator of the “Quiet Storm“ late-night music programming format and
• Washington D.C air personality    the 1970-1980’s;
• Ron Lundy, air personality in New York City in 1960–1980’s on WABC and WCBS-FM;
• Mary Margaret McBride, nationally syndicated talk personality based in New York City, 1930-1970’s;
• Ruth Ann Meyer, programmer of New York City radio stations in 1950-1960’s;
• Murray “Murray the K” Kaufman, air personality in New York City, 1950-1980’s on stations WINS and
• WOR-FM;
• Manuel “Paco“ Navarro, air personality in New York City in 1970-1980’s on WKTU-FM;
• Pat O’Day, air personality, station owner and concert promoter in Seattle in 1960-1980’s;
• Eddie O’Jay, air personality and pioneer of R&B radio in Milwaukee and Cleveland in 19960-1980’s;
• Stu Olds, radio executive and CEO, Katz Media 1970-2010;
• Alison Steele, air personality in New York City in 1960-1980’s on WNEW-AM and WNEW-FM;
• “The Real” Don Steele, air personality in 1950-1980’s in Los Angeles on various stations;
• Martha Jean “The Queen“ Steinberg, air personality in Memphis and Detroit in 1950-1980’s;
• Todd Storz, radio executive and owner of Storz Broadcasting Company;
• Jay Thomas, air personality in New York and Los Angeles in 1970-1990’s;
• Rufus Thomas, air personality in Memphis in 1950-1980’s;
• McHenry “Mac” Tichenor, radio executive, broadcast station owner of Tichenor Media (Heftel);
• Nat D. Williams, air personality in Memphis in 1940-1970’s on WDIA-AM.

Museum Chairman David Plier said, “The combined list is the most diverse group of nominees in the hall of fame’s history, which is reflective of the audiences that are and have been listening to radio stations across America all these years.”

The post Radio Hall of Fame Announces 2021 Inductees appeared first on Radio World.

The FCC Media Bureau has found an FM translator permittee liable for $3,500 for apparently willfully violating FCC Rules regarding filing a renewal license.

The bureau issued a construction permit for FM translator station W285FR in Palatka, Fla., to Natkim Radio in 2018 with an expiration date of Jan. 17, 2021. However, Natkim did not file a covering license application by that date and the permit expired. Nearly two months later Natkim filed a petition for reconsideration demonstrating that the translator was built and that they wanted to proceed with licensing. The bureau treated the petition as a waiver request, granted it, reinstated the permit and gave the permittee until Aug. 13, to file a covering license application. Just before the deadline, on Aug. 12, Natkim filed the application.

[Read: For Willfully Operating Without a License, Permittee Handed $3,500 Forfeiture]

But the permittee failed to file a covering license as required by FCC Rules and continued transmitting for nearly a month after the permit expired.

As a result, the Media Bureau issued a Notice of Apparent Liability. The commission’s Forfeiture Policy Statement establishes a base forfeiture amount of $3,000 for failing to file a required form and a base forfeiture of $10,000 for construction or operation without a permit. Based on its review of the facts and circumstances, the bureau found that a $7,000 base forfeiture is appropriate because the licensee failed to file a covering license application for the translator and engaged in unauthorized operation after the permit expired.

Taking into consideration all of the factors required by the Communications Act, the bureau decided to reduce the forfeiture further to $3,500 because the station is a translator and as such the station provides a secondary service.

As a result, Natkim Radio has 30 days to pay the full amount or file a written statement seeking reduction or cancellation of the proposed forfeiture.

 

The post Missed License Renewal Earns FM Translator a $3,500 Forfeiture appeared first on Radio World.

Taking its name for Austin’s legacy area code, 512 Audio, based in that city, introduces itself with a handful of products, notably a pair of microphones.

Of chief interest to Radio World readers would be the Limelight microphone (shown). Roughly resembling a black version of a well-known radio broadcast mic standard, Limelight has a hypercardioid pattern with a dynamic capsule that “meets the needs of today’s podcasters, broadcasters, and streamers,” according to the company.

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

It has a built-in pop filter and low-frequency cut filter at 100Hz. The company specs Limelight 50 Hz–15 kHz.

Also coming out of the 512 Audio stable is the Skylight, a large diaphragm cardioid studio-style microphone. Both mics go for $199.99.

512 Audio is also offering a set of headphones, along with a boom arm and a metal mesh pop filter.

Send your new equipment news to radioworld@futurenet.com.

Info: www.512audio.com

 

The post Introducing 512 Audio appeared first on Radio World.

State broadcast associations are telling the Federal Communications Commission that its planned increase in regulatory fees will be harmful to radio and TV stations at a time when many stations face “an increasingly precarious situation.”

They also want the commission to start a proceeding that would lead to fees being allocated more fairly across industries that benefit from the FCC’s work.

[“Broadcasters Face Higher FCC Regulatory Fees”]

The leaders of several associations met via tele-conference calls last week with staff members of three FCC commissioners. The associations include those in Indiana, Minnesota, Georgia, Montana and Missouri.

The state groups echoed arguments that have been made to the FCC — so far without success — by the National Association of Broadcasters.

The associations described financial challenges facing broadcasters, especially those in small markets, where stations may be the only source of local news and information as well as a balance to misinformation on social media.

According to ex parte filings summarizing the calls, the associations complained about increases of “double-digit percentages year over year” and said that the FCC’s published Broadcast Totals “show a loss of at least 122 full-power commercial AM and FM radio stations since 2019, demonstrating the increasingly precarious situation many stations face.”

They also noted that the FCC’s most recent auction failed to attract a bidder for any of the offered AM station authorizations and for a third of the FM station authorizations.

This, they said, “further confirms an increasingly obvious fact: that the FCC’s proposal to charge broadcasters 16% of its operating costs while those same broadcasters hold only 0.07% of the spectrum regulated by the commission is an unsustainable approach to funding the commission’s operations.”

They also said that the fee increases “are due almost entirely to the commission’s decision to treat its work under the Broadband DATA Act as commission ‘overhead,’ to be spread across all FCC regulatees despite the fact that broadcasters have no connection to, and do not benefit from, that work in any way.”

That, they say, is contrary to the will of Congress.

“The commission’s traditional license-centric approach to setting regulatory fees is neither legal nor sustainable,” the associations wrote in their filings.

They said that approach “merely forces broadcasters to subsidize through excessive regulatory fees their fiercest competitors: social media and technology companies that consume vast amounts of the commission’s time and resources while paying no regulatory fees whatsoever.

“This subsidy is particularly offensive when some of these resources broadcasters are paying for are being used to encroach on broadcaster’s spectrum through unlicensed uses, reducing the ‘benefit’ of that spectrum to broadcasters while simultaneously benefitting technology companies who conveniently avoid having to pay for the cost of those proceedings since they are not an FCC licensee.”

The associations told FCC staffers that current law now requires it to diversify its portfolio of regulatory fee payors.

They want the commission to start a proceeding to examine how to bring its regulatory fee processes into compliance by expanding the universe of regulatory fee payors and acknowledging that the amount of fees must be governed by what is called the “touchstone” of the benefit the commission delivers to the payor.

[Read one of the ex parte summaries as filed with the commission.]

 

The post State Associations Push Back on FCC Fee Increases appeared first on Radio World.

Cornelius Gould has joined Angry Audio with the title of audio processing architect. Among his jobs will be helping to develop products for new media content creators.

Angry Audio is a Tennessee-based company founded in 2019 by Mike “Catfish” Dosch. It specializes in making “gizmos and gadgets.”

“Broadcasters around the world know Gould for his Omnia.11 work,” the company said in a press release. “What they may not realize is that he has been designing, building and tuning audio processing for decades. In fact, he is considered by many to be one of the world’s foremost audio processing authorities.”

Dosch said Angry Audio has a lot of customers working in podcasting and live-audio streaming. “With Corny on board, we have some new product ideas that should be real eye-openers,” he said.

Gould is best known in radio for his decade-plus at Telos Alliance. Before that he founded a streaming company and worked as an engineer for CBS Radio. More recently he was with Futuri Media in an R&D role; he also co-hosts a podcast about rocketry.

Send announcements for People News to radioworld@futurenet.com.

The post Corny Gould Joins Angry Audio appeared first on Radio World.