Industry News

Closeup of custom audio console (designed by the author).

The author was director of engineering at Drake-Chenault Enterprises Inc. from 1974–1989.

A recent Tom Vernon article (“The Time Has Come to Talk of Many Things, of Reels and Carts and Carousels, and Automation Things,” Oct. 23, 2019) touched on the history of automation. At the invitation of Radio World, I’d like to share thoughts about my own experiences that readers may find interesting. 

Drake-Chenault Enterprises was a successful producer of music formats for automation, with about 300 clients stations across the country. The production of music programming tapes for automated radio stations at Drake-Chenault evolved into a highly regimented process that produced a polished, consistent product week after week, month after month. A typical automated broadcast station could be airing tapes that were anywhere from one week to one year old. There needed to be absolute consistency in programming, studio engineering and tape duplication in order for the final product to sound seamless on the air. 

Terry Tretta in Studio E.

In 1974, Drake-Chenault produced music tapes for several formats: XT-40 (Top-40), Hit Parade (AC), Solid Gold and Classic Gold (Oldies) and Great American Country. There were two “house announcers” who did the voicing for these formats. Billy Moore voiced XT-40, Hit Parade, Solid Gold and Classic Gold formats; Bob Kingsley voiced Great American Country. Once a week, Billy and Bob would come to the studios and record the voice tracks (VTs) for all the music reels to be produced that week. The music librarian would pull the LPs and 45s that were needed for each reel. The studio engineers would then mix the music from records with the VT tape to produce a finished master reel. The masters were recorded using 1-mil tape, so we got up to 90 minutes, usually 20–25 songs, on a 10-inch reel. 

ONE SECOND EARLY

Broadcast automation equipment of the ’60s and ’70s was usually limited to “easy listening” music formats, because the hardware of the era wasn’t capable of executing a tight, fast-paced pop music format. With easy listening, it was OK if there was some silence between songs; not so with Top-40! Top-40 needed tight segues, jingles, spots, time announce, weather and other elements in rapid succession. The problem was how to make an automation system run tight and quick?

The answer was developed by D-C: We put the 25 Hz “cue” tones at the end of each song one second early, so the automation equipment had a “one-second head start.” This would compensate for the start-up delay of the reel-to-reel playback decks, and yield tight segues without any “wow-in.” 

Closeup of a three-track mastering recorder.

The next challenge was to figure out how to put those inaudible 25 Hz tones at the end of each song, but precisely one second early. The answer will explain why we used multitrack mastering decks in the D-C studios.

Master tapes were recorded at 7.5 inches per second on custom three-track recorders. At the end of each song on the tape, a cue tone was recorded on a separate track. However, it wasn’t the usual 25 Hz cue tone and it wasn’t recorded one second early. It was a 1 kHz tone that was recorded in “real time,” i.e., at the logical segue point for the song, not one second early.

[Read more great articles from the Nov. 20 issue of Radio World]

Because this tone was audible (through a “cue” speaker) and was on a separate track, it was easy for the studio engineer to place it at the proper segue point, tight against the end of the song. The cue tone could be re-recorded as necessary until it’s placement was appropriate to the song ending. The one-second advance would happen when the master tape was duplicated. 

Custom three-track heads used on mastering recorders.

Drake-Chenault’s standards for technical quality were absolute, and our studio engineers were perfectionists. We carefully watched levels, double-checked cue tone placement, fixed fades and manually edited out tics and pops! The studio staff would spend hours with a razor blade removing tics, pops and other noises that were common on vinyl records. LP tracks were often used (after editing, to match the 45 “hit” version) because the quality of LP vinyl was usually superior to the poly-plastic used to press 45 rpm singles. 

To ensure technical consistency, a full set of Level, EQ and head alignment tones were recorded at the head and tail of each master tape. We went to great lengths to be sure that there was no phase error in the audio, which would cause a degraded signal when a stereo station was heard on a mono receiver. All audio was checked using a vectorscope to ascertain mono-compatibility. We would often discover phase error in 45s and LPs; it was corrected before transferring the audio to a master tape. The turntables were equipped with Shure V15 cartridges and Marantz “audiophile” preamps. The audio path was clean and direct, without any “house EQ” or level compression. Voice tracks were recorded using Shure SM7 microphones.

DUPLICATION

Once a master tape was produced, we made second-generation copies that were shipped to our client stations. 

Dan Musselman loads the Tape Duplicating System.

Tape duplication was done in-house, using 25 Technics RS1500 two-track recorders. The system ran “tails-out” so the audio was actually being recorded in reverse. A three-track master deck was used to play the master tape, which had left, right and cue channels. When the system sensed a 1 kHz cue tone on the master tape, it triggered the 25 Hz tone, which was injected into the left channel audio. When the 1 kHz master cue ended, the 25 Hz tone generator would stay on for one additional second, hence “stretching” the 25 Hz cue tone so it started exactly one second before the 1 kHz cue on the master. This one-second pre-roll was controlled electronically, so it was exact and consistent.

The duplicating system produced copies that were flat to 15 kHz, and typically had less than 30 degrees of phase error at 10 kHz. To achieve this level of quality, each “slave” recorder was hand-aligned to each new “pancake” of tape before the duplication process was started. The duplicating engineer would align the record head of each recorder for zero phase error. Then the master tape would be started and the duplication process would begin. After duplication, each tape copy’s alignment tones were checked on a special “QC” deck. We again verified level, stereo balance, EQ and phase (head alignment) before the tape was shipped. 

Drake-Chenault produced about 1,000 music format reels each week. In the 15 years I was there, we never missed a deadline! 

For more details, visit www.drakechenault.org and click on “Behind the Scenes in the Production Dept.”

 

The post How D-C Cranked Out All Those Tapes appeared first on Radio World.

Russian broadcasters took a deep dive into the realm of digital radio with a conference, “Digital Broadcasting Standard DRM: Results of the Experimental Zone and Development Prospects in the Russian Federation,” held in St. Petersburg on Nov. 18.

The conference featured a number of speakers who provided insights into where digital radio stands in Russia.

Victor Demyanovich Goreglyad is deputy director general of RTRS.

Viktor Demyanovich Goreglyda, deputy director general of RTRS, gave a presentation about the prospects of Digital Radio Mondiale in Russia, which he believes would work as the technology to switch the FM band to digital broadcasting. He specifically highlighted that using DRM will not created new digital channels while also allowing for the transmission of additional information.

RFmondial’s Albert Vaal had two reports that he gave to the conference, the first focused on reviewing the DRM standard and the second talked about the experiences other countries had in implementing the standard, like India and China.

Other speakers at the conference included Sergey Sokolov of Digital Systems LLC talking about the plan for transmitting part of the DRM Simulcast complex; Sergey Myshyanov from St. Petersburg State University of Telecommunications shared the results from Russia’s experimental zone; Vasily Gerasimov of GPM Radio explained additional services are available with digital radio; and sound engineer Densi Davydov talked about the different approaches to multiband dynamic sound processing for analog and digital broadcasting.

In addition, Professor Alekseevich Kovalgin of SPbSUT shared info on sound data compression algorithms for digital broadcasting systems; Oleg Guminsky, a student at the school raised issue of market availability of DRM receivers; Igor Hvorvo, associate professor at ITMO University touched on regulatory support for digital broadcasting.

The conference also offered two demonstrations of digital radio broadcasting that compared the sound of FM and DRM formats.

The conference was organized by FSUE Russian Television and Radio Broadcasting Network, Digital Systems LLC and St. Petersburg State University of Telecommunications.

The post DRM Front and Center at Russian Conference appeared first on Radio World.

John Schneider’s epic Radio Historian’s calendars are always a treat for radio aficionados.

His latest, the Radio Historian’s 2020 Calendar, is no exception. Perhaps the best ever, it is packed with colorized black and white photos of radio facilities, mostly studios and mostly pictures taken in the 1920s, 30s and 40s. Highlights include the Lindbergh baby kidnapping, Orson Welles and Burns & Allen.

Also outstanding are facility pictures of Powel Crosley’s WLW and Edwin Armstrong’s New Jersey FM test site.

Not to be missed and it makes a great Christmas gift (assuming the intended hasn’t already beaten you to it!).

 

The post Radio History Calendar Available appeared first on Radio World.

Photo by Paul Kaminski

WRSU(FM) 88.7 FM is the student voice of Rutgers University, with studios on the main campus in New Brunswick, N.J. The station broadcasts from the Student Center as it has done since 1969. 

Over those 50 years, WRSU navigated the challenges inherent in using analog equipment that often was near the end of its life cycle. But originating a broadcast schedule that includes three daily newscasts, music shows, live performance programs and more than 150 local and remote sports broadcasts a year was difficult under any circumstances; and the station felt that its product needed more focus on its audio luster.

Mike Pavlichko is the broadcast administrator and advisor for WRSU. “Our main studio was done [rebuilt] 10 years ago, but nothing else had really been touched in 30 years,” he said. 

Program Director Kelly Brecker, Music Director Bennett Rosner, DJ Blake Lew-Merwin, GM Justin Sontupe, Jake Ostrove (sports) from left, on the night of the first broadcast from the new FM studio. Station Advisor Mike Pavlichko said, “We played a legal ID followed by ‘Suite: Judy Blue Eyes,’ which also was the first song that we played when WRSU switched from carrier current AM to FM in 1974, followed by ‘Turn Your Radio On’ by The Suburbs.”
Courtesy WRSU

There were three 2-inch conduits interconnecting the studios; the conduits were full of wires, many of which weren’t connected to anything after years of patches upon patches being applied to equipment to keep the station on the air.

Nick Straka’s company NS Engineering had done projects for WRSU including a news production studio and a transmitter upgrade; he was called in to help plan what would come next. Straka is an SAS field applications and sales engineer, with much of his work done in the greater New York City area (there are large SAS installations at iHeart NYC, New York Public Radio, CBS News Radio, Fox News Radio and ESPN). Straka also heads broadcast integration company DNAV, along with Daniel Hyatt. 

“The more we went through the planning phase, said Straka,  “the more it became obvious to put the station on auto-pilot and gut everything out.”   

MASHED AND SMASHED The Core64 connects WRSU’s Air, Production and News studios through a single length of Cat-6 cabling. The Core64 allows operators and engineers to fine tune program source selection and intercom/talkback choices on the fly.
Photo by Nick Straka

For two and a half months over the summer break in 2019, the station played recorded programs on the air while every bit of legacy analog wiring between the three studios was removed. WRSU transitioned from an analog plant with some digital sources, to an AoIP plant with some analog sources. 

At the beginning, they found that legacy wiring was unlabeled, and used nonstandard connections. 

“We found daisy chained distribution amps; each (audio) bus had a different AGC looped on it. By the time the audio got to the Orban Optimod 8600 at the transmitter, it had been mashed and smashed,” Straka said.

After the removal of analog equipment and installation of the AoIP architecture, all audio between the studios (newsroom, production and air) is now carried on one Cat-6 cable in one conduit.

Music Director Bennett Rosner sits at the SAS iSL 28.3 console in the WRSU air studio, with General Manager Justin Sontupe, left, and news anchor Ryan Margolis during the “R U Awake” morning show.
Courtesy WRSU

The heart of WRSU’s facility is an SAS Core64 Audio Engine. Straka says the Core64 provides dependable flexibility and expandability for future expansion (up to 512 by 512 channels). “If more AES67/Dante capacity is needed, it’s easy to slide in another card in the frame,” he said.

[Read: John Storyk on Podcast Studio Design]

When WRSU wanted to add a second preparation-and-playback personal computer in the air studio for the morning show, the installation was no more complex than downloading a driver for the PC and connecting that PC to the SAS crosspoint map. That process took two minutes. 

The WRSU Air Studio was reconfigured when the legacy analog equipment, wiring and technical racks were removed. Custom furniture by Studio Technology and increased space allow guests and operator to face each other in the studio.
Photo by Paul Kaminski

In the Main and Production studios, SAS 28.3 iSL consoles (bearing the Rutgers scarlet color) are installed in custom furniture from Studio Technology. Each of those consoles are connected to SAS Rio Bravo IP engines. All of the 24 main sources have their own faders, which makes training and operation easier for WRSU’s students and community volunteers.

[Read other great articles from the Nov. 20 issue of Radio World]

Now any audio source in the plant can be called up for broadcast, and the consoles can be reconfigured quickly to meet programming requirements. 

For more flexibility, Henry Engineering Multiports are installed in each studio, so programmers can connect their audio sources from personal music collections, and play those sources through the console. Denon DN-C635 CD players were recycled from the previous installation.

The 50-year-old space in the Student Center is concrete block, so moving walls to facilitate the installation wasn’t possible. Technical equipment was installed in the main studio. Once that equipment was relocated, Straka says Studio Technology took custom measurements to design and build an air studio that, for the first time, allowed guests to sit across from the hosts.

General Manager Justin Sontupe said, “We are kind of the college radio sound. If you go on Spotify, you can find different playlists, top 40, etc. Here, we have some of the not-as-popular music, not as mainstream. What you hear on 88.7, you’re not going to hear elsewhere.” To help Sontupe and the music department support that content, WRSU installed an RCS Zetta automation system with RCS Gselector music scheduling software.

RCS Zetta automation and RCS GSelector training in the production room at WRSU. The automation and software gives the music programmers flexibility in scheduling, and helps maintain the station sound in certain dayparts.
Photo by Paul Kaminski

Automation is used to run overnights and assist with live programming. The RCS system is being loaded with a library of tens of thousands of songs to reduce the reliance on CD playback, or worse, streaming a song from YouTube. Once the library is in place, students will learn voice tracking to fill the overnight hours.

Connections to the outside world are made with Comrex Access and Access NX codecs, which get a workout during football and basketball seasons. Telephone connections are made through a Comrex STAC phone system.

[QMusic and Joe Inaugurate New Studios]

The audio from the Student Center Studios feeds an STL consisting of a Harris Intraplex T1 as the main feed with Comrex BricLink as the backup. The STL feeds Orban Optimod 8600 processing. From there, WRSU uses two GatesAir FAX3 transmitters (main and standby) with ERP of 1,400 watts from a 190-foot tower on Rutgers property off Route 1. The station broadcasts from its original tower, three-bay antenna and concrete block building dating from its FM sign-on in 1971. 

The cost for the upgrades for WRSU were estimated to be around $250,000.

With one of these Henry Engineering Multiport Audio Interfaces in both the Main and Production studios, programmers of specialty shows can bring their own music on a jump drive or laptop. The bi-directional interface makes it easy to aircheck as well.
Photo by Paul Kaminski

The flexibility, digital wizardry and remodeling that went into this rebuild do more than future-proof the facility; they give the students an idea of what they may face in the broadcast environment off campus.

“That’s what we want to give them, the real-world experience. They’re going to go out and they’re going to have a leg up for that internship. They’re going to know how to use an automation system and audio over IP.”

Equipment Sampler

SAS Core64 Audio Engine

SAS iSL 28.3 Consoles (Main and Production)

SAS iSL 12.2 Console (Newsbooth)

SAS Rio Bravo IP engines (Main, Production and Newsbooth)

Pioneer PLX 500 Turntables

Henry Engineering Multiport

Yellowtec Mika! Mic and monitor arms

Comrex Access and Access NX IP codecs

Comrex STAC studio phone system

RCS Zetta Automation

RCS GSelector music scheduling software

iMedia Logger by Win-OMT

Studio furniture by Studio Technology

Acoustic Treatment by Sound Seal

 

Paul Kaminski, CBT, has been a Radio World contributor since 1997. Twitter: @msrpk_com  Facebook: PKaminski2468.

The post Scarlet Knights’ Station Gets a Fresh Start appeared first on Radio World.

MADISON, Wis. — It’s undeniable that streaming radio, something that has been around for quite a while, is steadily becoming more and more important in our daily lives. Especially when you consider the huge influx of smartphones and smart speakers in the market over the past five years. 

Until recently, it has required quite an investment to stream your radio station online, both in terms of equipment and in the time it takes to configure the server properly. Let’s face it, streaming can be a bit of a pain to get going for engineers of any skill level, even with the most basic setup possible.

When we started discussing how to improve our streaming configuration at Wisconsin Public Radio, I was tasked with finding an easy-to-use, robust and reliable solution that would integrate with our new audio over IP installation. I had considered using a custom-built system with custom software to run the stream, but the problem with custom solutions is that 90% of the time they are not easy to use and not as reliable as they need to be. Ruling out custom solutions led me on the search for a mysterious box that did it all, one that had the reliability, ease of use and tight integration with our AoIP system we were looking for. 

This search ended with the Z/IPStream R/2 from The Telos Alliance, the streaming encoder that satisfied all of the requirements and more. The R/2 allows us to reliably integrate directly with our AoIP network with a simple web interface while leaving the option open for analog or AES inputs. 

[Read: How to Process Audio for Streaming, Properly]

There were several things that set the Z/IPStream out from the competition. Most notably is the option to have Omnia.9 processing built into the box, letting you really get full control of your station’s streaming sound. If you don’t need the full power of the Omnia.9, there is an Omnia-based three-band processor available in the box as well. 

Another factor that sets it apart is the ability to run multiple different stream-encoding settings with the same audio source with multiple different output types like Icecast, SHOUTcast or RTMP servers without even having to think about if you are running the correct software. I can honestly say the R/2 lets me sleep better at night. I know that if we need to change streaming providers, all I have to do is set up the stream in the easy-to-use web interface, and we will be up and running in minutes rather than hours or days if we had to configure or build a new streaming box just to change providers. 

I believe it is critical to invest in a proper streaming infrastructure; it may be just as important as a transmitter in the coming years. While streaming radio is changing the way radio stations work, there is one thing that will never change, whether the equipment is analog or digital, living at a transmitter site or in a datacenter: Engineers will always need a solution they can rely on for critical applications. For Wisconsin Public Radio, the R/2 is just that. It has been running in our datacenter for close to six months and it has been exactly what we needed for a reliable and powerful streaming solution. 

For information, contact Cam Eicher at The Telos Alliance in Ohio at 1-216-241-7225 or visit www.telosalliance.com.

The post User Report: Sweet Dreams, Sweet Streams appeared first on Radio World.

BUDAPEST, Hungary — Digital Radio Mondiale transmissions began from Budapest, Hungary, last June. Although two Hungarian broadcasters previously tested DRM on medium wave, the transmissions are the country’s first DRM trials on shortwave.

The antenna used in the trial is located at the Budapest University of Technology.

The Department of Broadcast Info-Communications and Electronic Theory at the Budapest University of Technology is conducting these latest trials. Csaba Szombathy, head of the broadcasting laboratory, is also head of the project, which will last for at least 12 months.

While the 11-meter 26,060 kHz frequency is well known for use in local broadcasting, it’s rarely implemented for international broadcasting. Both World Radio Network (now owned by Encompass Digital Media) and Vatican Radio conducted DRM trials on shortwave in the 26 MHz range in London and Rome in 2005 and 2008 respectively. Researchers have also performed tests in this frequency to measure coverage and determine optimal mode and bandwidth on various occasions in Mexico and Brazil. The new Hungarian trials will add to this research.

The Department of Broadcast Info-Communications and Electronic Theory at the Budapest University of Technology began testing DRM trials in June.

Szombathy initially operated the transmitter with just 10 W of power into a 5/8-inch vertical monopole. Radio Maria, a Catholic station, is providing a 25-hour program loop, while a Dream DRM software-based encoder broadcasts the signal using AAC encoding. In spite of the low power, the program was reportedly received in the Netherlands.

In early September, Szombathy moved the antenna and transmitter to a slightly different location to improve coverage. He increased the power to 100 W.

The second stage of the project is demonstrating DRM’s multimedia capabilities. Germany’s Fraunhofer IIS loaned the laboratory a content server, which provided a substantial upgrade to their setup. Szombathy’s station is transmitting with a xHE-AAC codec. The project also features Journaline data service, which Fraunhofer describes as “hierachically structured textual information.”

A diagram showing the compact DRM shortwave setup.

Although a number of Indian medium-wave stations broadcast in xHE-AAC, the Hungarian station is the only shortwave station with regular xHE-AAC transmissions. Fraunhofer previously supported a German university station broadcasting in xHE-AAC. That station, Funklust, is no longer on shortwave.

Szombathy says he welcomes any DRM receiver manufacturer or developer to Budapest to conduct field tests using any receiver they are working on.

The station may go on beyond its one-year project. “It depends on what we archive or where we get during this year,” explained Szombathy. “If I can generate sufficient interest, there’s a chance it’ll transition into a permanent, live broadcast.”

Hans Johnson has worked in the broadcast industry for over 20 years in sales, consulting, and frequency management.

The post Hungary Studies DRM Shortwave appeared first on Radio World.

NEW YORK and GHANA — Headquartered in New York with key personnel based in Africa, Atunwa Digital is a digital network that advises media enterprises on monetization strategies. We develop full-scale digital marketing and advertising strategies, helping clients from planning to execution and analytics.

Two years ago, we launched our initiative to help African audio content publishers better leverage digital distribution and advertising opportunities to get the most monetization value from their content. We find that while a lot of African media enterprises have loyal, global audiences listening to their content regularly, they do not possess the in-house technical expertise nor advertising capacity to fully realize its built-in value. 

We were seeing a trend where many of these organizations were leaving revenue on the table by receiving only a small percentage back from their streaming or podcasting service provider. 

COLLABORATION

We set out to address this issue by helping creators of African content reach both their local and diaspora audiences through online streaming, with the ability to serve geo-targeted advertising to their listeners, all while taking control of their digital future. 

To do this, we needed to find an audio streaming technology provider who could supply not only the tools and infrastructure needed for online delivery, but also the support and expertise that our customers would need as they develop their own digital media autonomy. We wanted to work with a company that we could depend on for support, while collaborating with us to design the optimal streaming workflows for our clients. 

A recommendation from one of our partners led us to StreamGuys, and we determined that they would be an ideal fit. In addition to having great tools, technology and support, they were willing to deal with us on a collaborative level. We now use the complete suite of StreamGuys services and solutions, from their robust content delivery network to their analytics tools. 

At Atunwa, our advertising offerings span both programmatic and direct sales approaches, as we have established relationships with both multinational and local brands looking to reach the African demographic globally. StreamGuys’ integration with industry-leading ad platforms allows the insertion of dynamic, server-side, targeted advertising into our clients’ live streams and podcasts. 

The targeted addressability of the ads is particularly valuable in capitalizing on revenue opportunities from the African diaspora living in the United States, Europe and other markets, as that audience receives spots that are relevant to them.  

Another significant challenge faced by African content providers has been unauthorized redistribution of their content. It is crucial that content owners regain control of their streams and have visibility into their daily earnings. Unauthorized usage leads to revenue being taken away from the original content owners. 

StreamGuys’ tools including the SGPassKey system enable our clients’ streams to be restricted to authorized distribution partners and are also integrated into StreamGuys’ embeddable SGplayer media player, giving us end-to-end security for both affiliate and consumer delivery. 

The SGrecast live stream repurposing system enables our clients to turn live productions into on-demand podcasts, with automatic template-based publishing ensuring they are submitted correctly to aggregators. The fact that StreamGuys’ dynamic advertising capabilities are unified across both live streams and podcasts is advantageous; rather than managing two separate systems, podcasts just become a seamless extension of live operations.

The results of working with StreamGuys have been impressive. As an example, they have enabled us to deliver over tenfold growth in the monetization of radio content online for respected Ghanaian media organization Multimedia Group Limited, as well as significantly growing their digital traffic by taking back control of their content. Across five key MGL stations, monthly total listener hours increased by 152% and monthly cume by 96% in their first month of full operation with StreamGuys, and both metrics more than tripled over the past 18 months.

There has always been significant value in African content providers’ programming. Our goal with Atunwa is to build a digital network whereby we become the most trusted monetization source for African content publishers and the resource for brands/advertisers looking to connect with African audiences globally. StreamGuys’ streaming technology and expertise have allowed our clients’ digital media operations to become more independent, unlocking that value through the power of digital advertising. 

For information, contact StreamGuys at 1-707-667-9479 or visit www.streamguys.com.

The post User Report: StreamGuys Helps Atunwa Digital Help Broadcasters appeared first on Radio World.

The studio of WXOX, a low-power FM in Louisville, Ky., features a mural by Wilfred Sieg of the Art Cartel. WXOX is among the stations that filed comments to the FCC.

The low-power FM service in the United States has grown to more than 2,100 stations. Advocates say it has matured to the point that those stations should have an opportunity to improve their signals through technical upgrades.

The FCC is considering a Notice of Proposed Rulemaking that would, among other things, allow for more widespread use of directional antennas by LPFM stations. Currently the rules allow LPFMs to use directional antennas under special circumstances, including as part of a second adjacent waiver request or for LPFMs licensed for public safety purposes. The commission is also proposing to allow LPFMs to use boosters.

The approximate service range of a 100 watt LPFM station is about 3.5 miles, according to the FCC.

DIVERSITY & LOCALISM

Advocates say the commission was understandably conservative at the outset of the service almost two decades ago, authorizing small coverage areas with very low powers and height, and imposing strict transmitter requirements. Now, they say, LPFM deserves additional engineering options to improve reception. 

Commission Chairman Ajit Pai wrote in a blog post this year: “When the commission launched the service in 2000, it designed LPFM requirements to be simple. The purpose was to make it easier for non-profit organizations with limited engineering expertise and small budgets to readily apply for, construct and operate stations service highly localized areas.”

Pai said the NPRM includes changes to increase flexibility while maintaining interference protection and the core LPFM values of diversity and localism.

The proposed rules would not be “a carte blanche for all LPFMs” to use directional antennas, said Michi Bradley, founder of REC Networks and an LPFM advocate who has pushed for rule changes.

Bradley said the main beneficiaries of the change would be a handful of LPFM stations near the Mexican border. Currently, stations within the Mexican border strip zone, within 125 kilometers, are limited to 50 watts ERP non-directional, Bradley said. 

[Read more stories from the Nov. 20 issue of Radio World]

“The proposal would add a third category to allow LPFM stations to use DAs to limit power to 50 watts or less along radials that are within 125 km of the border and to allow the full 100 watts in directions away from Mexico,” Bradley said.

Another aspect of the proposed directional antenna changes is to permit, in certain cases, the use of composite directional antennas, as opposed to off-the-shelf models. 

“This would give LPFM stations more flexibility to use antennas, such as the Nicom BKG-77, which are not listed in the FCC’s standard pattern list, as well as use multiple skewed antennas in order to maximize coverage while still protecting second adjacents or meeting international agreements.”

The FCC in its NPRM stated that it doesn’t think the use of DAs will be widespread: “We believe that directional antennas, whether off-the-shelf or custom models, will not be used widely in the LPFM service due to their higher cost and limited necessity. Nevertheless, the use of such antennas could, if properly engineered, provide significant flexibility to LPFM licensees subject to international agreements and to those that must relocate in areas with few available transmitter sites.” 

The FCC is also contemplating a new definition for LPFM minor changes to include those that involve overlapping 60 dBu contours of the station’s existing and proposed facilities or a move of 5.6 km or less.

In addition, the proposal would allow LPFM stations to retransmit their signals over FM booster stations without a waiver in order to fill in terrain-associated gaps in service. REC believes very few LPFM stations would benefit from having FM boosters but that in some cases it may help fill in certain gaps in challenged coverage areas.

EXPERT ASSISTANCE

A Radio World review of comments filed through early November showed many commenters urging the FCC to adopt the technical upgrades. 

Steven White, director of Triangle Access Broadcasting, Inc., said the FCC’s original goal of installing simple technical rules made sense under the circumstances.      

“What became apparent was that, while the LPFM rules are comparatively simple, expert assistance was still required for many organizations that just don’t happen to have the right balance of people within themselves,” he wrote.

“If technical services are required anyway, then it is only proper to make the fullest use of those services and maximize the use of spectrum achieved with directional antennas.”

Veteran broadcast engineer Dana Puopolo wrote, “I support this proposal because it is well past time the commission stop treating low-power FM stations as second-class citizens. No other class of full-power FM station, translator or booster has the amount of technical restrictions as low-power FM stations do.

“For example, no other FM facility is restricted to such a small operating power, use of directional antennas, certification requirements for transmitters, use of an arbitrary 12 kilometer buffer and other restrictions as low-power FM stations are. The low-power FM service has become a mature service. It should be allowed the same rights (and responsibilities) as any other FM service.”

[NJBA: FCC Must Protect Full-Power Stations]

The Inge Davidson Foundation, licensee of WZML(LP) Bryn Mawr, Pa., wrote in support. 

“For far too long, low-power FM stations have been at the bottom of the pecking order. No other class of full-power FM station, translator or booster has as many restrictions as low-power FM stations do,” said Linda Davidson, chairwoman of the foundation.

Mike Starling, president and GM of Cambridge Community Radio and WHCP(LP) in Cambridge, Md., expressed support for the “common-sense LPFM technical improvements outlined in MB docket No. 19-193.” Starling is a former director of technical operations at NPR.

VOICING CONCERNS

Other commenters, including full-power broadcasters, expressed concern about increased crowding in the FM band.

Representatives of Entercom Communications met with Chairman Pai recently and said that “certain modifications to the LPFM technical rules proposed in the Notice of Proposed Rulemaking … could bring increased congestion to the FM dial leading to interference to full-power stations,” according to a public filing.

The New Jersey Broadcasters Association reminded the commission of the need to “adhere to the obligations of secondary broadcast services” as it proceeds.

“Specifically, the obligation that secondary services not interfere with full-power radio broadcast stations,” the NJBA wrote. “In addition, the need for further expansion and competition from LPFM services is dubious at best — given that the radio broadcasting industry has already been subjected to increased competition from the recently-enacted FM translator rule changes, digital media, satellite radio, podcasts, internet and other media sources.”

The National Association of Broadcasters told the FCC, “NAB is concerned that the proposal to allow LPFM licensees expanded use of directional antennas could cause interference to full-service FM stations. We further object to the commission’s proposal to grant a blanket authorization to LPFM operators to use boosters,” the association wrote.

[Buffer Compromise Would Boost FM Class C4]

In addition, NAB supported the commission’s rejection of proposals to allow LPFM stations to increase power above 100 watts, which was suggested in REC Networks’ petition. 

REC Networks has asked the FCC to reconsider 250-watt stations (LP-250). Under its proposal, Bradley said, LP-250 would only be available as an upgrade to already licensed LP-100 stations and be considered a minor change. In addition, any LPFM station proposing LP-250, FM translator relief or LPFM-to-LPFM short-spacing would be subject to an interference remediation rule similar to the one recently adopted by the FCC for FM translators.

“REC’s LP-250 proposal has been refined for many years, taking into consideration the input of NAB, EMF [Educational Media Foundation] and other opponents, and is statutorily sound,” Bradley contended.  

Numerous LPFM broadcasters, filing comments on the current petition, also brought up a desire for LP-250 to better serve local communities. 

[Is There an Afterlife for “Franken” FMs?]

Sharon Scott, president of WXOX(LP), a volunteer community radio station on 97.1 MHz in Louisville, Ken., commented on her support for the boost to 250 watts. 

“While reviewing LPFM rules, we hope you will consider increasing our maximum allotted power from 100 watts to 250 watts of effective radiated power at 100 feet height above average terrain. This modest increase would greatly improve our ability to deliver the diverse voices of our community to those whom it matters the most,” Scott wrote. 

Park Public Radio, which holds the license for KPPS(LP) in St. Louis Park, Minn., wrote, “Proposed rules do not substantially help the needs of incumbent LPFM broadcasters, and further reforms are necessary to address the unfavorable rules that LPFM operators face versus FM translator operators.” KPPS’ Jeff Sibert said he believes the commission should reconsider its tentative rejection of an LP-250 service. 

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

The post LPFM Stations Seek Technical Upgrades appeared first on Radio World.

Mayah Communications has set a new marketing and development cooperation with Ferncast GmbH, the company announced on Tuesday, Nov. 12.

Detlef Wiese is CEO of Mayah.

Mayah, which has crafted ISDN and IP audio codecs, is now moving into cloud and virtual machine applications, something that Ferncast has experience with from their products based on aixtream technology.

“Mayah is bringing its experience and knowledge of the market, while Ferncast develops innovative broadcast solutions with their highly skilled developers team of PhD and Msc with a close relation to the RWTH Aachen University and the Institute of Communication Systems (IKS),” said Dr. Hauke Krüger, CEO of Ferncast.

“The Ferncast team is creative, dynamic  and experienced at the same time,” said Detlef Wiese, CEO of Mayah.

Dr. Hauke Krüger is CEO of Ferncast

“It is a pleasure to work with them and an exciting big step for the broadcasting industry. I am sure the customers will benefit from this cooperation and the resulting innovative professional audio solutions.”

The post Mayah Communications, Ferncast Announce Strategic Alliance appeared first on Radio World.

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

For years, radio and digital have been considered rivals. Could there now be the start of a new alliance, particularly for community media?

The growth of smart speaker audiences has been covered exhaustively by many outlets. NPR and Edison Research issued a joint report in the summer. And, throughout noncommercial media, there is a quiet anxiety about the Echo Dots, Google Home Minis and other appliances … well, dotting many an American home. Why?

Attitudes about smart audio among radio professionals vary. Some people see smart speakers as an existential threat to radio. Other people see smart speakers as privacy encroachments they’d never use. But increasing numbers of Americans — well over 70 million units are in U.S. residences now — say smart speakers are essential devices they can’t live without. Such ubiquity indicates smart speakers are here to stay. Community radio only eschews adaptation at the steep cost of relevance.

[Read: Community Broadcaster: All-Podcast Radio]

Through apps like Stitcher, iHeart and TuneIn, most community radio stations are already present on smart speakers, thanks to integrations Apple, Amazon and Google have with such tools. But smart speaker innovation is fast, and the devices do far more than stream radio stations these days.

That’s why Google’s latest announcement could invigorate community media organizations nationwide. Many of these local institutions have fascinating local coverage, but do not have the technical muscle.

Enter Google with an intriguing proposal.

In a Nov. 19 press release, Google unveiled a new initiative using its Google Assistant framework, available through its Google Home family of smart speakers as well as its operating system built into millions of Android smartphones. When you tell your smart speaker or enabled smartphone to play the news, you will get a blend of news stories tailored to your location, user history and preferences. News stories are all just a few minutes long.

The game-changing endeavor has been led by public media veteran Brenda Salinas Baker. Many people know Salinas as a dynamic leader in the noncommercial media system. Her passion for an informed public and educational broadcasting has shone brightly for years. With a variety of commercial and noncommercial content providers baked in at launch, the commitment to providing users with a diversity of media choices shines just as brightly.

Ostensibly, you’ll get more local media served up to you, and far more options as this initiative grows. A Google blog post reads, “Over the past year, we worked with publishers from around the world … to think through the future of audio news. Together, we built a prototype that brings the artificial intelligence of Google News to the voice context of the Assistant.”

Here is where community radio may come in.

Google has opened up the platform for community and other media news producers to join in this endeavor. You can visit the Audio News experience form to submit a feed or feeds for consideration. Note the guidelines for publishers. Your news submissions must adhere to length and other guidelines. For community media organizations already producing local news, these rules should be easy to abide by.

There may be radio loyalists who would blanch at the suggestion that Google curating short-form, location-based audio for users is good news for stations. Yet the tide has been shifting on from-the-box radio listenership for awhile. Ultimately, community radio stations are the content and engagement business. The platform is less relevant to the audiences, and donors, we hope to create relationships with.

A virtually no-cost entry into the devices people already love with a company many trust is an offer that does not come around often. Are community radio stations willing to reshape their fortunes? Those decisions are now in the hands of our most courageous local media leaders.

The post Community Broadcaster: “Google, Play Me Community Radio” appeared first on Radio World.