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The Office of Economics and Analytics (OEA), in conjunction with the Media Bureau (MB), announce an auction of certain FM broadcast construction permits. This public notice also seeks comment on competitive bidding procedures and proposed minimum opening bid amounts for Auction 106.

LONDON — Podcasting and on-demand services are challenging traditional live radio, but also offer exciting opportunities for broadcasters, the audience at the annual “Drive to Digital” conference has heard.

Steve Ackerman (right), managing director of production company Somethin’ Else talks to Matt Deegan at Drive to Digital 2019. All photos: Vincent Lo

More than 200 delegates gathered in London’s British Library for the annual event, organized by Digital Radio U.K., and hosted by broadcaster Penny Smith.

DISRUPTION

Clare McNally-Luke from United Kingdom’s media regulator Ofcom opened by showing radio listening’s weekly share of audio time at a healthy 72%. However, she sounded a note of caution, suggesting that disruption was underway, with new services challenging the definition of radio.

Belinda Doyle is program director at United Kingdom digital station JACK Radio.

Other audio platforms were borrowing from traditional radio strengths, she said, citing the example of Spotify’s “Your Daily Drive” playlist launched in the United States, which adds news podcasts from the Wall Street Journal and NPR to personalized music, to emulate the content of a radio show.

The BBC’s Alison Winter spoke about its new “BBC Sounds” app, which launched last year to replace BBC iPlayer Radio. It combined three separate offerings of live radio, music, and on-demand podcasts, which she said was crucial to attract new users to BBC Radio content, in addition to existing radio lovers. Winter revealed that BBC Sounds was now attracting 2.7 million weekly users.

[Read: Radio Techcon Opens Registration]

Belinda Doyle of JACK Radio suggested that podcasts could complement linear radio by helping to bolster brands. The U.K.’s JACK Radio is a digital station playing all-female artists, which has recently added “The Offside Rule” — an award-winning female-fronted football podcast produced by Muddy Knees Media — to its schedule.

TECHNOLOGY

On technology, Simon Bryant from Futuresource Consulting reported that they expected 12 million home audio sets to be sold in the U.K. in 2019, breaking all previous records. Smart speakers are driving this growth at 5.3 million units this year, and radio the fourth most popular activity on them.

The Drive to Digital podcast panel: (left to right) Matt Deegan, British Podcast Awards; Steve Ackerman, Somethin’ Else; Sadia Azmat, Comedian & Writer, “No Country for Young Women”; Iain Macintosh, Muddy Knees Media; and Leanne Alie, In-clued Consulting

Meanwhile, for in-vehicle listening, Kurt Dusterhoff of SBD Automotive reported that U.K. drivers still want radio, with FM as the most popular source. But in their next car, this desire is shifting to internet radio, with FM dropping five per cent, and IP radio rising 10%, mirroring trends in-home.

The event closed with a podcasting panel. Asked about the popularity of podcasts, Leanne Alie from In-clued Consulting pointed to the increasing diversity, and said the format allowed people to tell their own stories and perspectives, which hadn’t been the case previously for traditional radio.

Steve Ackerman from production company Somethin’ Else said that “once you have the on-demand habit, you can’t go back.”

Head of Audiences for BBC Radio & Education, Alison Winter

He was confident of the sector’s future, adding: “The audience growth is so aggressive and obviously the money is following, with big entertainment companies joining. It’s a global marketplace for ideas — for the first time, there’s a value to global IP rights. You can now test an idea and show there’s an audience, as we can see hour by hour analytics.”

The post Podcasts, On-demand Challenge Traditional Radio appeared first on Radio World.

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The Media Bureau dismisses in part and denies in part a petition for reconsideration filed by Florida Community Radio, Inc., and affirms the expiration of the construction permit for WRBD(FM), Horseshoe Beach, Florida

The Society of Broadcast Engineers Board of Directors, led by newly elected president Wayne Pecena, have announced the committee chair appointments for the next year. All were approved during the annual SBE Membership Meeting, Oct. 15–16.

The committee chairs are as follows:

Awards — Tom McGinley, CPBE, AMD, CBNT

By-Laws — Charles “Ched” Keiler, CPBE, 8-VSB, CBNE

Certification — Ralph Hogan, CPBE, DRB, CBNE

Chapter Liaison — Mark Fehlig, CPBE, 8-VSB

Education — Geary Morrill, CPBE, CBNE

Fellowship — Troy Pennington, CSRE, CBNT

Electronic Communications — Roswell Clark, CPBE, CBNT

Finance — Roswell Clark

Frequency Coordination — Ted Hand, CPBE, 8-VSB, AMD, DRB

Government Relations — Kevin Trueblood, CBRE, CBNT

International — Charles W. Kelly Jr.

Membership — Steve Brown, CPBE, CBNT

Mentoring — Chris Tarr, CSRE, AMD, DRB, CBNE

Nominations — Jim Leifer, CPBE

Publications — Jason Ornellas, CBRE, CRO

Social Networking — Kirk Harnack, CBRE, CBNE

Sustaining Membership — Vinny Lopez, CEV, CBNT

Technologies — Shane Toven, CBRE, CBNT

Hogan, Pennington and Kelly do not serve on the SBE Board of Directors.

“The skill and experience of the SBE Board of Directors and committee chairs is wide and varied, and I look forward to drawing on their abilities to continue forward progress of the SBE as we implement plans from the 2018 strategic planning conference and develop new opportunities for our members,” said Pecena.

In addition to the committee chairs, Pecena appointed Roswell Clark and Geary Morrill as directors to serve on the SBE Executive Committee. They will join other committee members Pecena, Vice President Andrea Cummins, Secretary Kevin Trueblood, Treasurer Ted Hand and Immediate Past President Jim Leifer.

 

The post SBE Sets 2019–2020 Committee Chairs appeared first on Radio World.

What’s happened with digital radio over the last year? And what’s next?

This latest Radio World ebook offers insight into digital radio progress to date. It looks at opportunities, challenges and future goals for DAB+, Digital Radio Mondiale as well as HD Radio.

In addition, “Digital Radio Developments” highlights the particulars of each standard, give tips on how to integrate the Emergency Warning Functionality into a national alerting network as well as how to build a sound digital radio distribution strategy, and more

Learn more in the latest free Radio World International ebook. Read it free now — click here.

 

The post Digital Radio Developments appeared first on Radio World.

Tom Vernon takes a deep dive into the history of radio automation systems. Matthew Wesolowski touts the benefits of a compromise proposal for FM Class C4. Paul Kaminski gives you a look at the dashboard of the Hyundai Kona, the North American Utility Vehicle of the Year. Buyer’s Guide explores new offerings in remote control, signal monitoring and test. This and plenty more.

SPECTRUM POLICY

Is There an Afterlife for “Franken FMs”?

TV licensees that present themselves as radio stations at the low end of the FM dial consider the term “Franken FM” disparaging. They believe they provide an important service. But their future is in doubt.

TECHNOLOGY

Go on the Road With a Nomad

A Canadian engineering firm thinks it has a faster, simpler way to measure FM/HDR antenna performance.

ALSO IN THIS ISSUE:

• Hyundai Kona Offers Big Capability and a Simple Interface
• Workbench: A Very Odd Case of Studio RFI
• Buyer’s Guide: Signal Monitoring and More

 

The post Inside the October 23rd Issue of Radio World appeared first on Radio World.

Here in the 21st century, it’s difficult to imagine broadcast automation without thinking of computers; you can’t have one without the other. But it wasn’t always this way.

Computers and automation systems have both been around for a long time but the two worlds didn’t begin to merge in a big way until the mid-1970s, when IGM introduced the 750 system with a DEC PDP-8.

Most of the hardware, playback media and terminology of these earlier analog systems is long gone and forgotten. That means it’s time for a ’70s flashback.

FLASHBACK

Let us don our wide-lapeled, burgundy, three-piece polyester suits, set the date for April 1974 and dive headlong into the time machine.

We emerge just in time for the opening of the NAB show of 45 years ago, and we visit the Sparta booth to see what’s new in broadcast automation systems.

 

Three or four racks of equipment were typical for a mid-sized automation system.

At first glance the three racks of equipment look intimidating. But when we break it down, we see that it’s just audio tape reproducers, a controller or some sort, and ancillary devices such as silence sensors and logging equipment.

The first thing we’ll look at are playback systems.

Unlike the digital audio files of today, there were different tape media for different lengths of content. Most of the music, especially for the popular beautiful music and easy listening formats of the day, was recorded on larger 14 -inch NAB reels of 1/4-inch tape.

Beautiful music and easy listening stations usually relied on playback decks that could handle the larger 14-inch NAB reels, such as the Sparta Corinthian.

Sparta’s Corinthian was one such machine. With 1 mil tape rolling at 7.5 inches per second, six hours of content were stored. Foil leader at each end of the tape would reverse the machine at the end of three hours and switch tracks. Stereo decks were available in half- and quarter-track configurations. The capstan was direct drive with a synchronous motor, giving a timing accuracy of 99.8%.

While Sparta built their own 14-inch playback machines, other automation system manufacturers used the popular Scully Model 270.

With other formats, some stations preferred to have reels with music from different categories, and conventional playback-only recorders with 10-inch reels and auto-reverse were employed. Again, Sparta manufactured their own machines, while other companies used a variety of recorders, from Revox A-77s on the economy end to Ampex 440s on the premium side.

In addition to the standard NAB “A” carts, automation systems used “B” and “C” carts for station IDs and time announcements.

Commercials, PSAs and jingles usually were recorded on NAB “A” size carts, which could hold about 10 minutes of tape. Several commercials could be be recorded on each cart, so they could be played in rotation. Carts were loaded into Sparta RS-224 carousels, which held 24 carts each. Depending on the size of the station, format and commercial load, there could be as many as four carousels in an automation system. Automation often had a separate rack-mounted cart machine that could handle A, B and C carts, dedicated to top-of-the-hour station IDs.

MAKE IT SOUND LIVE

One of the criticisms of early automation systems is that they lacked a “live” sound. But:

Here at the 1974 NAB, we see that problem being addressed.

There in the rack of Sparta’s demo automation system is a TA-581 time announcer. And what an amazing piece of equipment it is. When the salesman slides it out on the drawer, we see two C-size carts that hold the time announcements, one for odd minutes, the other for even. Time checks can be programmed as events. We’re told that we can purchase pre-recorded carts with the time announcements, or make up our own, for a more localized feel.

The Sparta TA-581 time announcer had two “C” carts for even- and odd-minute time announcements, as well as a quartz-controlled clock.

The clock is controlled by a crystal oscillator, making it super accurate, according to the salesman. The only reference time signals available to us in 1974 are from the National Bureau of Standard’s WWV, and the network tone at the top of the hour. That oscillator may drift slowly, so once a month, the salesman explains, it’s good to check it against the network.

The geek in us wonders though: What happens to that clock after a power failure?  Won’t it give inaccurate time announcements, ruining the illusion that we’re a live operation?

 No worries, explains the salesman. The time announcer is disabled after a power failure until reset, so inaccurate time checks are never aired.

Master clock and network join functions were performed by the Sparta DC-24.

A fairly new arrival in automation systems is a net join, enabling automated stations to join the network for news, then break away for the next event. Sparta’s DC-24 has an LED display for 12- or 24-hour time, driven from a clock that is almost identical to the one found in the time announcer. Plug-in time cards or thumbwheel switches are available for selecting program fade, network join and break times. The DC-24 can control up to four timed events per hour. It also provides timing signals for program time correction. And just in case something goes horribly wrong, pushbuttons on the front panel can manually do the network join functions. Although we don’t see one on the show floor, there are other network join devices that work off the tones sent by the network just before the newscast begins, and immediately after it ends.

Every station’s requirements for automation are different, depending on format, commercial load and market size. Each Spartamation system is custom-built to customer requirements using the aforementioned components.

That just leaves one question. How did automation systems do all of this, and more, without the use of computers?

The short answer is that it was fairly easy, albeit without much of the flexibility that we take for granted today.

 

The brains of Spartamation (also spelled as Sparta-Mation) was the 1052 automatic program controller. It delivered automatic start/stop control and overlap audio switching for 10 sources, plus two special channels for network and fill music. The basic model had a 52-event format capability, with an 11 x 52 matrix board for the format information.

For greater flexibility with carousels, the RS-250 Random Access could be purchased, as it acted as a sub-programmer for the 1052 controller. Once it was installed, two carousels (48 carts) appeared as a single source to the 1052. The 250 determined which carts would be played, which skipped and in what order. When there was no commercial scheduled for an availability programmed into the 1052, the “skip” setting on the 250 would cause the controller to ignore the play command.

Sparta’s 124 and 224 carousels featured 24 cart capacity, teletype logger output and maximum shift time of 4 seconds from cartridge stop to next ready. Maximum drum rotation time was 22 seconds.

The 250 also featured “search-ahead cueing,” which insured that the other carousel had the correct cart loaded ahead of time, so carousels could play back to back with no dead air. An LED readout displayed carousel and tray number to play next. Event position was programmed via a series of slide switches located in a slide-out drawer. This was the 1970s equivalent of non-volatile memory; event programming would be preserved during power outages.

Carts that were produced for automation made use of the secondary and tertiary cue tones. The 150 Hz secondary tone was added at the end of the audio, and it was the signal to the controller to start the next event. Also, a logging encoder was used to record the five-digit code on the cue track that was used for identification. Selection of the correct digits for encoding was usually made via  rotary switches on the encoder.

WARNINGS & LOGGING

While a number of syndication companies, such as Bonneville Beautiful Music, TM Programming, Drake-Chenault and Century 21, distributed pre-recorded music tapes, some stations preferred to create their own. In addition to the usual production facilities, making your own music tapes for automation required additional items. Stations recording 15-inch reels needed a recorder that would handle the larger reels. Also necessary would be an EOM generator to record a 25 Hz tone at 5 dB below reference level for 1.5 seconds on the left channel.

The right combination of cart and tape playback systems, along with a controller and random access, could give a smooth-running automation system. Other essentials included a silence sensor, line amp, 25 Hz filter and program logging.

Sparta’s 1052 Automatic Program Controller used a diode pin matrix board for a 52-event capacity. An FX-52 Format Expander could be added to the system to handle an additional 52 events.

In Sparta systems, the AP-2 alarm panel would beep and flash a warning light whenever the auto restart function of the automation system had been triggered. Auto restart would advance the program controller by one event when a silent period was sensed. This could be the result of brief power outages or tape/equipment failures. In any event, the operator on duty needed to check the tapes and reset the clock if necessary.

The LAM-1 line amp provided VU meter monitoring of both program and cue levels in addition to the traditional line amp function. Optional plug-in 8-watt monitor amplifiers were available for loudspeakers. Also optional was the HP-40 40 Hz high-pass filter. It would remove the 25 Hz EOM tones from the program output. Otherwise, they could be quite audible over the air.

Greater flexibility with tape cartridges was possible by using a random access such as the Sparta RS-250. It would combine two carousels as a single source to the 1052 Automatic Program Controller.

The demo system at our Sparta booth would have had a CBS Audimax connected to the output to ensure a reasonably consistent level between sources. This was a fairly common practice. Gates systems of the same era usually came with two Sta-Level amps.

The FCC regulations for maintaining program logs applied to automated stations in the same way they did for live operations. Just because a commercial was scheduled to run on automation was no proof that it did run.

A logging system would “listen” to what was played, and create an FCC-compliant program log. For carts and tapes, information encoded on the cue track was coupled with a timestamp in 2400 format from the digital clock. We note that these logs follow the letter of the law, if not the spirit.

A typical log printout might include an entry such as “1317  05218.” To figure it out, we would need the encoder directory, usually maintained by the sales department when commercials were recorded. In this case, we discover that at 1:17 p.m. (i.e., at 1317), the automation played a McDonald’s :60 (because the encoder had assigned the cart for the McDonald’s spot a five-digit code of 05218).

Carts were encoded for logging with the Century series record/playback machine and encoder (right). The teletype printer (left) would print out the time stamp from the digital clock, along with the five-digit code that was recorded on the cart.

Logging systems in later years would by advertised as English language, meaning that the tedious task of looking up five-digit codes had been eliminated, and the logs could be easily read by someone who didn’t speak binary.

Dot-matrix printers would not be readily available for a few years, and the program log was usually printed out on a teletype machine, similar to the one used at stations for the AP or UPI news service. Some systems used a printer that used a 2-inch roll of paper and looked similar to an adding machine.

As we head back up the aisle toward the time tunnel and our return to the 21st century, we marvel at all the things that were possible with broadcast automation before the integration of computers. We also wonder: Whatever happened to Spartamation systems, since Sparta isn’t recalled as a major player in the automation market? And for that matter, what happened to Sparta itself?

In 1976, just two years after our visit to the NAB, Sparta had become part of the Cetec Broadcast Group, which was a union of five California-based companies.

Cetec Jampro manufactured TV and FM antennas, Cetec Vega made wireless microphone systems, while Cetec Audio continued with Sparta’s line of consoles, including its Series 10 quad boards. Cetec purchased Schafer automation, and it became Cetec Schafer.

Some of the important automation accessories for 1974 Sparta automation include the LAM-1 line amp/monitor panel (top), AP-2 alarm panel (middle) and 25-SEN sensor/filter (bottom).

Cetec Sparta dropped its automation product lines and focused primarily on transmitters. Sparta had been doing pioneering work on solid-state AM and FM transmitters during the early 1970s, and their SS1000A was the first solid-state AM transmitter type accepted by the FCC. The Sparta AM line featured 1, 2.5 and 5 kW units, while their FM transmitters were solid-state at 250 and 500 watts, and solid-state up to the final tubes at higher power levels. The company also continued to manufacture its Century II modular cart machines, available as triple deck (one motor) desktop and rack-mount units.

Tom Vernon is a longtime Radio World contributor. He wrote here in the previous issue about the history of transmitter remote controls.

The post The Time Has Come to Talk of Many Things appeared first on Radio World.

Radio and music junkies have long claimed that by the time radio stations start airing a song, it’s been playing on Spotify for weeks, and that radio is falling behind the curve. Can that be true?

Music research company Integr8 Research decided to get to the bottom of this story. To do so, they compared Spotify’s numbers to data from the Nielsen-BDS powered Billboard Radio Songs chart during the same period to see if radio really is late to the party, or if something else is going on. The data set they used was the top 200 most-streamed songs on Spotify from January through August 2019.

But first, some background is in order, in the form of an earlier post from Integr8, Is Spotify Replacing Record Stores or Radio Stations? Spotify users, claims Inegr8, are comprised largely of an artist’s fan base, who are anxious to check out their latest project. There are also music fans who are anxious to see what all the excitement is about. Integr8 says that radio listeners, on the other hand, are a more diverse group, and it takes longer for them to discover and warm up to new songs.

The difference, they claim, is in usage patterns between the two media. Integr8’s research suggested that new songs are released at about the same time on radio and Spotify. It further claims that the average lifespan of a top 10 song on Spotify is under nine weeks, while the average lifespan of a top 10 song on the radio is over 16 weeks.

Comparison of song cycles between Spotify and radio.

That being the case, says Integr8, if one simply compares what’s #1 on Spotify to what’s in radio’s power rotations, radio is always going to appear to be on a slower timetable.

What can we learn from all of this? According to Integr8, the critics are wrong about radio being the last to release new songs. The key, they say, lies in understanding the difference in consumption patterns. That’s not to say there aren’t lessons for radio in this research. Integr8 believes that music directors will need to carefully weigh both the impact on listenership and on their brand when the listeners have mixed reactions to songs that skyrocket on Spotify.

And what does that mean?

The answers will be forthcoming in a Integr8 webinar that will air Nov. 13 at 2:00 EST/11:00 PST entitled “What Radio Can Learn From Spotify.”

The key topics include:

• What are the different consumption patterns for new music on Spotify — and how radio can use those patterns to spot real hits;

• When should radio start — and stop — playing songs;
• Why Spotify is replacing record stores more than radio stations — and why it matters for how radio programmers interpret Spotify data;
• How new releases have a major impact on music consumption that’s often ignored by radio.

The webinar can be registered for here.

 

The post Is Radio the Last One to Add New Songs? appeared first on Radio World.

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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.

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.” 

 

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