Radio World

People enter the Federal Communications Commission building in Washington. 

The FCC is shuttering its doors to visitors, effective immediately, as a response to the coronavirus, which was officially labeled a global pandemic by the World Health Organization.

The FCC said that for the foreseeable future, no visitors will be allowed into its facilities, with the exception of those receiving special permission from the Office of Managing Director. However, the FCC said that such permission will be restricted unless there is a clear operational necessity.

FCC employees have also been instructed to telework unless they cannot otherwise accomplish their work.

It will remain business as usual, however, as the commission plans to conduct its regular and ongoing work. It encourages those with business before the FCC to schedule necessary meetings by teleconference.

Consulting with the Public Safety and Homeland Security Bureau, the Office of Managing Director and Office of General Counsel, the FCC will monitor developments regarding the coronavirus and implement new or ease precautions should circumstances change.

The post FCC Bars Visitors from Facilities Due to Coronavirus appeared first on Radio World.

One in a series of articles this week reporting on what the radio industry is telling the FCC about all-digital on the AM band.

National Public Radio “generally supports” allowing stations to transition, if they wish, to all-digital AM transmission using HD Radio in the United States. But it believes the commission needs to go further on how it would handle interference complaints from neighboring analog stations in the band.

About 80 AM public radio stations are affiliated with NPR or receive operational funding from the Corporation for Public Broadcasting, including WNYC(AM) in New York City.

[Read: Small-Market Owners Caution Against “AM Stereo Situation” With Digital]

NPR says it has significant interest in any measures to help AM broadcasters better serve the public by improving the listening experience.

“Facilitating the expansion of HD Radio and its additional functionality for program and public safety information and services would serve the public interest, provided the transition to all-digital HD Radio operation does not cause harmful interference,” NPR wrote in comments filed with the FCC this week.

“As it has in the past, NPR supports the expansion of HD Radio, but not at the expense of current analog AM service.”

NPR goes on to note the “concerns of others in the FCC record” over the potential for interference. Discussion of all-digital on the AM band in the United States has often centered around worries over interference.

The broadcaster does suggest in its comments several ways the FCC can help mitigate the risk of harmful interference from all-digital deployment. “NPR urges it to collaborate with industry to monitor both the progress of stations that adopt all-digital AM and the effects of such deployment on all-digital stations’ analog neighbors,” it wrote.

[Read: NAB Is All-In on All-Digital AM]

“Second, NPR suggests that the commission consider periodically disclosing general information about the number of stations transmitting all-digital AM signals, the number and type of interference complaints it receives, and how such complaints were resolved to help stakeholders understand the full landscape.”

NPR acknowledges certain FCC policies might prevent it from disclosing specific facts about complaints it receives.

“Finally, NPR encourages the commission to issue a public notice on or about the first and second anniversaries of the effective date of any rules it adopts here, seeking comment on the positive and/or negative effects of any all-digital AM deployments.”

NPR, which produces, acquires and distributes programming to nearly 1,200 public radio stations nationwide , also agrees that adopting the NRSC-5-D standard for all digital audio broadcast operations in the United States is appropriate.

 

The post NPR Supports All-Digital on AM, With Caveats appeared first on Radio World.

Paul McLane is editor in chief of Radio World. Marguerite Clark is editor in chief of Radio World International.

The necessary and prudent decision by the NAB to move or cancel its big spring show obviously causes a lot of understandable questions and short-term uncertainty in our industry. We’d like to take a moment to explain what Radio World readers and advertisers can expect from us in coming weeks.

Our core ongoing mission is to bring together buyers and sellers of specialized broadcast technology, and to help radio industry engineers and managers advance in their jobs and careers by exploring key technical and business trends.

Those goals usually converge at the annual convention, which we’ve covered in depth for 43 years; that’s why so many of our stories and ads are created during the spring show season.

Our team members were already making plans around a possible show postponement. Now we are working hard to adjust RW’s familiar offerings to these unique circumstances.

The key point for us right now is that commerce goes on. We have no doubt that the NAB Show will return vigorously next year (and possibly in some form yet this year). But meantime, radio engineers and managers need to buy new products … trends that would have been discussed during the show conferences are still newsworthy … and manufacturers need to get their word out to professional consumers.

Radio World, as the industry’s leading radio technical brand, has a crucial role to play in coming weeks. We will continue and expand our coverage under our “Spring Show @ Home” initiative.

Expect us to continue to report on new products that would have been shown at NAB, while also exploring new ways to put them before you. Our Best of Show Awards program, webinars, and Sneak Peeks and Must See newsletters all will be offered in slightly modified form as part of the Spring Show @ Home series. If anything we feel these information channels have an even more important role than ever in helping shine a spotlight on new offerings.

All of these are being created with the idea of helping you to do your job — whether you are a user of technology, or a creator of that technology.

Meanwhile we also seek to cover the ongoing impact of the coronavirus on the industry in a responsible manner. And we want to hear from our readers as well as our advertising partners about how we can best serve you.

Thanks for bearing with us as we adjust our own processes to serve you best. Let’s face it, this is an unusual business situation. But like radio itself, the broadcast technology industry is vibrant, enduring and evolving, and we’re proud to be part of it. We welcome hearing from you on this or any matter.

Paul McLane
Editor in Chief
Radio World

Marguerite Clark
Editor in Chief
Radio World International

 

The post A Note to Our Readers & Advertisers appeared first on Radio World.

The National Association of Broadcasters has created an online Coronavirus Response Toolkit to help broadcasters cover COVID-19 developments accurately and effectively. 

NAB added new downloadable COVID-19 public service announcements Thursday. The PSAs are available in both English and Spanish, and scripts are available to stations who want their own talent to read the information. 

Additionally, the toolkit features editorial guidelines, including lists of trusted resources and social media accounts to ensure stations point listeners in the right direction for COVID-19 information. 

“As COVID-19 impacts everyday life, it is important for broadcasters to communicate credible news and information to keep people safe and informed,” NAB President/CEO Gordon Smith said in an announcement about the coronavirus toolkit. “I encourage all broadcasters to utilize resources in the toolkit to help their local communities during this critical time.”

The toolkit also includes information to help stations mitigate coronavirus–related staffing concerns and to create internal plans to cope with disruptions related to the pandemic. 

The NAB also aborted plans for the April NAB Show Wednesday due to the coronavirus spread. The association has not yet announced whether it will reschedule the event. Some groups who had planned colocated events, such as Nautel’s NUG@NAB and PBS’ TechCon have cancelled their events, while others are formulating their own responses and deciding whether or not to postpone.

Visit the Centers for Disease Control’s coronavirus page for more information and the latest updates on the U.S.’ mitigation strategy. Learn more about social distancing and how it can help stop and/or slow the spread of diseases, per CDC recommendations.

The post COVID-19 Response Toolkit Now Available From NAB appeared first on Radio World.

The author is sales and marketing manager at 2wcom.

The way people consume media content is changing significantly. Like the expansion of IP, this greatly influences the convergence of media production and distribution units for radio, video and the internet.

Anke Schneider

Broadcasters therefore have the chance to adapt to the transitioning media-consumption behavior and use it to their advantage.

• Target group orientation: Keep in mind that besides the attractive younger audience, it‘s crucial to offer each target group the content they want, whether mobile or stationary.
• Cost and time efficiency: By treating a contribution as a cross-media project, the video, radio and internet units are no longer separated.
• Expand the value chain and encourage interaction: Cross-media content production and distribution means all playout sources can refer to each other. This leads to significantly higher coverage. Moreover, by integration on social networks, the opportunities of interaction with the audience increase. Both aspects include the chance of deploying new marketing formats.

TECHNOLOGICAL ADVANCES

Results of these developments include international projects such as 3GPP and 5G-Xcast. The latter is designed to build a universal and multidirectional IP network for efficient large-scale media distribution via 5G-Xcast. The project focuses on the dynamic switching between unicast, multicast and broadcast and also enables spectrum-efficient distribution of program content to a large number of simultaneous users with only one stream.

End users can receive reliable live and linear high-quality content without burdening their mobile data contingent. With a view toward the future, 5G-Xcast will allow national and private broadcasters to launch new on-demand formats or offer interacting facilities, besides classical linear content.

The transformation to cross-media production can only be achieved with a solid technical foundation. It’s important to carefully consider which approach best meets system requirements and the associated applications. For example, the best-of-breed approach is focused on using only those components per device that best meet the technical requirements. This method can be expensive and each eligible solution must be evaluated in regards to e.g. compatibility aspects or its compliance with the IT security guidelines.

A diagram of a cross-medial studio setup. The audio description contribution, Facebook commentary and radio contribution are produced in parallel, but separated from the video. A multimedia over IP network server enables for hybrid distribution of audio/radio content. Credit: 2wcom Systems.

Here are a few significant points focusing on interoperability and flexibility:

• Choose standards and protocols that optimally support respective use cases. The SMPTE ST 2110 standard is designed for cross-media production. In its structure, audio, video and ancillary data are separated, which allows for the ability of handling each one individually depending on the playout source. This is very practical, as SMPTE ST 2110 can receive all AES67 streams at a 48 kHz sample rate. It is interoperable with all common standards supporting pure audio/radio productions, such as Ravenna (distribution networks), Livewire+ (studio) or Dante (concert halls, conferences or studio). A specific application could be, for example, the audio description in a video, which helps blind and visually handicapped people aurally better follow the story. For this purpose, it’s sufficient to produce the audio content with one of the previously mentioned standards. Due to the structure of SMPTE ST 2110, the respective audio can be added to the stream, already including the video signal and ancillary data. Besides the flexible handling of different stream sources, an uncomplicated negotiation and management of all connections is possible for unicast and multicast streams because all relevant protocols are supported (SIP for unicast and RTSP/SDP for multicast). Unicast, for instance, makes sense in case of permanent point-to-point connections between studios. In order to be able to deal with advertising and discovery, connection management and network control in environments based on SMPTE ST 2110 and AES67, the Advanced Media Workflow Association (AMWA) has published the NMOS standard. Recently launched, this standard is constantly being refined based on technical real live requirements.
• Compatibility of audio algorithms can’t be taken for granted. Especially AAC profiles and Opus are implemented in different ways, which leads to incompatibility in regards of frame sizes. It is therefore important to put every manufacturer through its paces to ensure all possible variants of an audio algorithm are supported.
• Conversion of audio formats, protocols and standards according to the use case. That is, considered in terms of bandwidth economy, it makes sense to convert an audio stream for publication on a website from the high-quality PCM format to the compressed AAC xHE format. Or, to provide a stream not only for audio over IP networks but also for DAB+, it must be possible to transform from Ravenna standard to AES67.
• An intelligent content management of streams is essential, amongst others because the number of audio streams for a production is significantly higher compared to the number of video streams. It enables the combination of the appropriate elementary streams into logical groups. For example, Facebook comments mostly differ, so the “normal audio comment stream” is replaced with the “Facebook comment stream.” Hence, for further processing, you can select the relevant ones.
• Virtualization counts on scalability and maintenance. Most broadcasters want to be able to expand their networks as easy as possible, add new services with just a mouse click or mirror the configuration of one device to another. Scalability can be notably improved by using virtualization strategies. The possibilities that have been introduced by Docker or VMware to copy instances, take snapshots or run them across multiple hardware devices is a great improvement for scaling and maintaining networks.
• That has also a major impact on needed rack space. Thanks to virtualization, applications can share the same hardware or even run as a swarm across multiple hardware units with different hardware configurations. That reduces the number of devices needed, because server hardware has, in most cases, a lot more processing power than the specialized hardware of codec manufacturers. Thanks to AES67 and other audio over IP standards the requirements for real hardware interfaces are slowly disappearing and that is opening the door for virtualized solutions that are depending on an all-IP infrastructure.  With high bandwidth and robust IP lines audio processing in the cloud becomes possible. In consequence manufacturers have to pick up the pace and offer their solutions as virtualized software.

ENSURING TRANSMISSION ROBUSTNESS

There are various ways to ensure transmission stability. By standard software feature and/or protocol the SMPTE ST 2202-7 standard ensures dual-streaming of a generated IP stream. In the case of packet losses of the first stream, the respective packets can be reconstructed from the second stream. Another method is to transmit the stream in up to four different audio qualities.

In case of failure, the decoder switches to the next quality available. If unicast streams are sufficient for certain scenarios, SRT [Secure Reliable Transport] can also be used. SRT was originally designed for video, but supports audio perfectly, too. It offers a much better protection against packet loss than other FECs with low latency. Moreover, SRT offers encryption of the content.

An example of KroneHit’s cross-media radio election reporting with analyses and graphics for the homepage. In addition to radio and video, the station also integrated an online editorial team. Source: KroneHit, Austria

By device, this requires a logical concept that defines exactly how encoders and decoders should be cross-connected and when to switch to the backup device. In principle, this structure is similarly adaptable for all parts of a system.

In addition, hybrid distribution comprises not only an alternative source as a backup but also to increase coverage by reaching regions still lacking of IP or certain end customer devices like DAB radios. The possibility of using several sources in parallel means the produced content can be distributed via IP, FM, satellite or DAB.

The IRT’s 5G-Xcast project allows end users to receive top-quality linear and non-linear content with their 4G/5G-capable devices. Source: IRT Institut für Rundfunktechnik

By bandwidth and stream management, it is obvious redundancy by software does not come with low bandwidth and especially video streams are real bandwidth drivers. By using a SDN [software-defined network] controller the optimal path through the network is chosen for the traffic. In addition, an orchestrator handles the high number of streams.

Finally, synchronization in IP networks, and particularly audio syncs to the video, can be achieved by PTPv2. With parallel hybrid distribution via satellite this takes place via GPS using the 1pps signal.

The post Cross-Media Adoption Unites Media Production, Distribution appeared first on Radio World.

“There’s sadness in this building today.”

NAB Executive Vice President of Communications Dennis Wharton told Radio World that the decision not to hold the NAB Show next month made for a “poignant moment” Wednesday. “It was a tough call but it was the right call.”

Whether the convention will be rescheduled or replaced with something else later this year is uncertain. NAB did not use the words cancel or postponement in its announcement, and Wharton confirmed that the association has been discussing various options.

But the sheer immensity of the annual spring event and the complexity of planning needed from exhibitors, speakers and attendees would certainly seem to limit the choices.

Some observers have speculated that NAB could hold an event in Las Vegas in the summer, or somehow modify its fall NAB Show New York. Wharton declined to comment and said it’s too early to discuss possible outcomes.

“The last few days [we] have been focused on rolling out this announcement responsibly and professionally, and assuaging some concerns of our members and exhibitor base,” he said.

He declined to estimate the potential cost to NAB of the decision or to discuss any insurance arrangements, other than saying “It’s obviously a financial hit.”

[Related: My Brief History of the NAB Show]

Wharton, who has attended every spring show for more than three decades, expressed sadness for others who have made the spring trek to Las Vegas part of their professional life.

The first of what became the NAB Show was held in 1923, in the earliest days of the modern radio industry. The only cancellation was in 1945.

 

The post Decision to Abort Makes for “Poignant Moment” at NAB appeared first on Radio World.

This is one in a series of articles about what the industry is telling the FCC about all-digital on the U.S. AM band.

A group of smaller-market AM owners want the FCC to allow voluntary all-digital transmissions; and they cautioned the commission against repeating the AM stereo situation of the 1980s.

The collection of broadcasters — in all 25 licensees — consists of groups such as East Texas Broadcasting and Georgia-Carolina Broadcasting that typically operate AM stations in smaller markets.

The comments were submitted to the FCC by their attorney John Garziglia of Womble Bond Dickinson LLP. They say broadcasters can control their own destiny by deciding whether to invest in all-digital AM technology. They cite the “significant” harm to AM listenership from interference and reception issues, and the availability of higher-fidelity alternatives.

[Related: The NAB Is All-In on All-Digital]

“The AM broadcasters believe that allowing for all-digital AM operations is one means by which this listener erosion may be stemmed in the future. The undersigned AM broadcasters ask the FCC to make the all-digital AM mode of broadcasting available to them to use at their option,” they wrote.

The group recognizes that listenership could potentially drop since people with analog radios will be unable to receive the new signals, but they argue that it is the broadcasters, not the FCC, that can best discern what mode of broadcasting is most likely to attract audiences now and in the future.

All-digital AM operation should be allowed “both day and night,” the broadcasters say. They also are asking the FCC for some flexibility to be built into the new rules: “That any decision by an AM station to operate in an all-digital mode is discretionary and reversible, so that no station is required to operate in an all-digital mode, nor is any station who chooses to do so locked into that mode of operation.”

[Related: Let “Mr. Market Decide” Best AM Digital System]

But the broadcasters said that mistakes made during the launch of AM stereo in the mid to late 1980s should be avoided this time.

“The undersigned well-remember the listener and broadcaster confusion that surrounded the failure to adopt a specific AM stereo standard some decades ago, and have no wish to foist that uncertainty once again on the public and broadcasters,” they wrote. “Therefore, the undersigned AM broadcasters fully support the FCC’s decision to reject in this proceeding any comments advocating for a different AM digital mode of broadcasting.”

Digital Radio Mondiale has asked the FCC to allow DRM to be considered for use in the United States. The FCC has stated in a footnote to the current NPRM that it declines to reconsider the choice of IBOC HD Radio

 

The post Small-Market Owners Caution Against “AM Stereo Situation” With Digital appeared first on Radio World.

The National Association of Broadcasters will not hold the NAB Show, at least in April, due to public health concerns about coronavirus.

NAB President/CEO Gordon Smith made the announcement. See the full text at bottom of this article.

“We are currently considering a number of potential alternatives to create the best possible experience for our community,” Smith said.

The show markets itself the world’s “largest and most comprehensive convention encompassing the convergence of media, entertainment and technology.” It drew approximately 91,400 people to Las Vegas in 2019, and featured some 1,600+ exhibitors.

International attendance is an important part of the event; last year about 26% of people came from abroad. Of those, about 30% were from Asia.

As of Wednesday afternoon the show’s website proclaimed “The show is on” and continued its message that organizers were “moving forward responsibly” while taking direction from the WHO and CDC. But the World Health Organization on Wednesday declared coronavirus a pandemic, and the NAB announcement followed quickly. The number of U.S. cases surpassed 1,000 this week, according to a dashboard published by the Center for Systems Science and Engineering at Johns Hopkins University.

“This was not an easy decision. Fortunately, we did not have to make this decision alone, and are grateful to our NAB Show community for engaging with us as we grappled with the rapidly-evolving situation,” Smith said.

Recent days had seen an increasing number of exhibitor cancellations including familiar video names like Ross Video, Avid and Adobe, and some separate conferences that had timed their events to the big show pulled out, such as PBS TechCon, as other event organizers watched and worried.

Beyond broadcasting, a number of major events in cities around the United States have been cancelled or postponed. In many cases their planners say they intend to conduct virtual events or to offer other platforms for dissemination of show content and product information.

Here is the NAB statement:

NAB President and CEO Gordon Smith Announces NAB Show Off for April, Reviewing Options for Event Later This Year

Washington, D.C. – NAB President and CEO Gordon Smith today issued the following letter to the NAB Show community regarding plans for NAB Show in light of coronavirus concerns:

Dear NAB Show community,

As you know, we have been carefully monitoring coronavirus developments both domestically and globally over the past few weeks.

In the interest of addressing the health and safety concerns of our stakeholders and in consultation with partners throughout the media and entertainment industry, we have decided not to move forward with NAB Show in April. We are currently considering a number of potential alternatives to create the best possible experience for our community.

We have decided not to move forward with NAB Show in April.

This was not an easy decision. Fortunately, we did not have to make this decision alone, and are grateful to our NAB Show community for engaging with us as we grappled with the rapidly-evolving situation. This Show is as much yours as it is ours, and it is important to us that we move forward together.

For nearly 100 years, NAB Show has provided superior value and the best possible experience for exhibitors and attendees. We knew that if we could not deliver on those expectations, we would not move forward. More importantly, keeping the community safe and healthy is NAB’s highest priority; therefore, we are deferring to the developing consensus from public health authorities on the challenges posed by coronavirus.

We are deferring to the developing consensus from public health authorities on the challenges posed by coronavirus.

We are still weighing the best potential path forward, and we ask you for your patience as we do so. We are committed to exploring all possible alternatives so that we can provide a productive setting where the industry can engage with the latest technology, hear from industry thought leaders and make the game-changing connections that drive our industry forward.

I want to stress that despite our disappointment at how this year’s Show has been impacted by global public health concerns, we are more excited than ever about the future of NAB Show and our relationship with you.

We are grateful for each and every member of our Show community. It is your passion for the industry that makes NAB Show a success year after year, and it is that same passion that will drive us into the future as we look ahead to new possibilities later this year and beyond.

The post Breaking: The NAB Show Is Off, at Least for April appeared first on Radio World.

One FCC commissioner is personally asking for the Senate to be mindful of one particular part of the newly requested Federal Communications Commission budget — and it involves the money the commission needs as it attempts to tackle pirate radio activity in new ways.

FCC Commissioner Michael O’Rielly sent a letter to Sen. John N. Kennedy (R-LA), chairman of the subcommittee on Financial Services and General Government, as the committee goes about reviewing the $339 million budget request of the commission. Specifically, O’Rielly asked Kennedy to give close consideration to the efforts the commission must now make to implement the new PIRATE Act.

[Read: It’s Official: PIRATE Act Signed Into Law]

Passage of the PIRATE act, short for Preventing Illegal Radio Abuse Through Enforcement Act, in January 2020 was a welcome change, O’Rielly said, since it gives the commission new tools to combat pirate radio operators.

But those new tools come with an additional price tag. The commission has its work cut out for it, O’Rielly said, as it attempts to address the estimated 300-plus pirate operators that exist across the nation.

“With passage of the PIRATE Act, Congress has demanded that increased attention be paid to radio pirates and that enforcement action by the commission against pirate radio be as aggressive as possible,” O’Rielly said in his letter.

The act gives the commission the authority to levy fines of up to $100,000 per violation and $2 million in total. The act also streamlines the enforcement process; requires the FCC to conduct mandatory pirate radio enforcement sweeps in cities with the highest concentration of pirate radio use; and seeks to ensure more coordination among federal, state and local law enforcement.

According to O’Rielly, now that the act is in place, the FCC needs the subcommittee to appropriately prioritize pirate radio enforcement, whether that be through new funding or a reallocation of existing resources.

“Thankfully, by substantially increasing allowable penalties and requiring annual sweeps … the act provides us with potential tools at our disposal to address this issue,” O’Rielly said.

 

The post O’Rielly Seeks Funding to Implement PIRATE Act appeared first on Radio World.

The spring NAB Show is approaching. Between now and then Radio World will conduct several short Q&As with manufacturers about their plans and offerings, to help you get the most out of the big annual trade show. Jochen Richter is head of sales, Radio, while Clark Novak handles radio marketing for Lawo AG.

Radio World: How has business been for the company since last year’s NAB Show?

Clark Novak: Business has been excellent. AoIP networks have been installed by the world’s largest broadcasters, and now medium- and even small-sized radio stations are either actively planning for or investigating IP adoption. Lawo has always been a vocal proponent of standards-based networking, so the latest studies showing how AES67 has helped accelerate the AoIP transition are very encouraging. Those studies also theorize that ST2110 standards (for interoperability between audio and video systems) will spur AoIP adoption even further, which is why Lawo’s newest radio products are ST2110-30-compliant.

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

RW: What are you hearing from your customers about their business outlook this year? In what areas should we expect growth or the most interesting projects?

Jochen Richter

Jochen Richter: We’ve seen more investment in AoIP technology for joint TV and radio facilities — the RadioFr MediaPARC project in Switzerland is one of the most visible, along with projects by large public broadcasters in the U.S. and Canada. Engineering managers are seeing with their own eyes the monetary benefits and economies of scale that IP networking and interoperability bring to their tables.

RW: The last year has proven rather rocky for much of the radio industry with the largest group owner making a big move to chart a new business/operational model. Stepping away from your particular segment, what is your feeling for the overall health of the radio industry?

Novak: It’s true that the landscape has been changing in the U.S.A., but Lawo’s presence in International broadcasting has shown us changes of a different nature in other countries. Mostly, it’s for the better. We believe that, from a global perspective, radio is very much alive and very healthy.

RW: You’ve been active in the radio broadcast equipment market for many years. What’s the biggest problem or challenge facing users in this segment right now?

Richter: The biggest challenge for users will be keeping and improving efficiency in daily workflows, as radio broadcasters are increasingly called on to serve multiple platforms for linear plus on-demand services. Top management expects high efficiency, and that means all workflows have to be streamlined. Lawo is a great fit for the radio part; our software applications, like VisTool, provide collaborative platforms that easily integrate with both third-party applications and the RƎLAY family of applications for IP-streaming and virtual radio scenarios.

RW: What new goodies will your company be showing? Why should attendees visit your booth, C3012?

Novak: Radio is always looking for ways to maximize budgets, so we think people will really want to see Power Core MAX. It’s a new version of our very popular Power Core AoIP mixing engine that can power two, three or even four mixing surfaces, depending on how you size them. Very powerful, and very cost-effective.

We’ll also be showing AoIP Stream Monitor, which is the first diagnostic tool expressly designed for radio plants using AES67-compliant IP networks. You can build monitor walls with information for up to 16 critical streams, and look at detailed statistics for each one. It can even be virtualized to allow multiple screen displays with real-time status on dozens of channels. It’s an indispensable tool for modern radio.

Clark Novak

RW: AoIP and touchscreens have been technology marvels that have dazzled at the NAB Show in the last few years. Any cool stuff we should know about this year?

Richter: I think we will continue to see more touch-based mixing interfaces. They’re intuitive, easy to customize, cost-effective, and younger broadcasters love them. They’re a natural fit for AoIP applications.

RW: What do you anticipate will be the most significant technology trend at the 2020 NAB Show?

Novak: The interest in virtualization, and moving applications to cloud-based servers continues to increase. I believe more vendors will showcase products aimed at serving this interest.

RW: Will you be attending any sessions or looking forward to any events?

Richter: Lawo has already gained a lot of experience with large cloud-based infrastructure projects, so we plan to focus on sessions that center around all cloud-based production and processing workflows. We are very interested to see and be a part of shaping the next trends in software orchestration and workflow optimization.

RW: You’re a show veteran, how has the show changed since your first visit?

Richter: Since the mid-’90s, NAB has very clearly decided not to concentrate only on technology, but has changed its focus to workflow and business needs as well. The attendance by top management has definitely increased and this means decision makers are attending, which is good for the whole industry, and definitely for the business of radio. Finally, the convergence of media and the focus on user experience, including streaming services, are central points now.

 

The post NAB Exhibitor Viewpoint: Jochen Richter, Head of Sales, Radio and Clark Novak, Radio Marketing; Lawo AG appeared first on Radio World.

This is one in a series of articles about what the industry is telling the FCC about all-digital on the U.S. AM band.

The National Association of Broadcasters says the FCC should allow individual radio stations on the AM band to convert to all-digital HD Radio transmissions if they wish to do so.

The FCC has proposed allowing AM stations voluntarily to broadcast in MA3 all-digital mode of the HD Radio in-band on-channel (IBOC) digital radio. Monday was the first comment deadline.

The NAB says experimental testing has demonstrated the viability of all-digital AM and that broadcaster interest in pursuing the technology is evident. “Allowing stations to voluntarily transition to all-digital AM service will benefit listeners with enhanced AM service and improve AM broadcasters’ ability to succeed in the increasingly competitive audio marketplace,” NAB wrote.

The carriers in an HD Radio MA3 signal are shown in a slide from the NAB Technology department.

The association believes digital for AM is the way forward and cites the propagation characteristics of the AM band as one of the reasons.

“Analog AM signals are vulnerable to RF interference from fluorescent and LED light bulbs, computer monitors, flatscreen TVs and other devices. NAB has noted that some automakers are choosing to exclude AM radio from their all-electric vehicle dashboard radios because of electromagnetic noise.”

Allowing a voluntary transition to all-digital AM operation “may help reduce or even reverse these trends since digital broadcasting is generally less vulnerable to interference and provides improved audio fidelity and a wider audio bandwidth,” NAB said.

In addition to better sound quality, all-digital will provide other benefits to listeners, NAB argues. MA3 digital mode allows AM broadcasters to provide auxiliary data such as song and artist information and emergency notifications that include text and images, according to NAB.

Existing analog-only AM receivers would not be able to receive all-digital signals. But NAB says there are nearly 70 million cars on the road equipped with HD Radio reception capability, with that number growing steadily. And any loss of listeners due to all-digital operation migration would likely be mitigated by the fact that so many AM stations now employ FM translators, NAB says.

“The commission points out that more than half of all AM stations now have FM translators, potentially softening the blow of any loss of listeners and serving as an important part of an analog to all-digital transition strategy for AM broadcasters,” the association says.

It said that field and lab tests by NAB Labs (now called PILOT) have illustrated successful operation of all-digital AM radio service. “These tests showed that all-digital AM provides audio quality on par with FM stereo, and acceptable daytime coverage even out to the 0.5 mV/m analog contour of most of the tested pathways.”

[Read a commentary about all-digital by Cris Alexander.]

NAB believes the chances of all-digital AM operations causing interference with analog AM stations “is a lesser concern compared to digital hybrid operations because the former produces fewer emissions at the outer limits of the occupied bandwidth.” But it concedes: “By its nature, the all-digital signal is a stronger interferer to co-channel analog signals than are legacy analog AM signals.”

NAB included in its comments a remedy to complaints against all-digital AM stations from neighboring analog signals. “For example, the station operating in all-digital mode may reduce power or reach some other arrangement with an aggrieved co-channel station.” It adds various technical and regulatory options already exist for reducing or eliminating unacceptable interference caused by hybrid digital stations that should similarly apply to all-digital service.

In addition, NAB supports the FCC’s proposal to incorporate the NRSC-5-D standard into the digital broadcasting rules.

[Learn about all-digital for AM in depth in Radio World’s recent webinar “Digital Sunrise for AM,” available on demand.]

 

The post NAB Is All-In on All-Digital AM appeared first on Radio World.

Codec manufacturer Tieline will unveil the new Gateway IP audio codec for the first time at the NAB Show. The Gateway is a compact and powerful multichannel IP audio transport solution for radio broadcasters and can stream up to 16 IP audio channels with support for AES67, AES3 and analog I/O as standard

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

The Gateway’s applications include STL, studio-to-studio and audio distribution missions, as well as managing multiple incoming remotes at the studio. It is interoperable with all Tieline IP codecs and compatible over SIP with all EBU N/ACIP Tech 3326- and 3368-compliant codecs and devices.

Tieline VP Sales, APAC/EMEA, Charlie Gawley said, “The new Gateway codec increases channel density with 16 bidirectional mono or eight bidirectional stereo streams of IP audio in 1RU to reduce rack space requirements.”

The Gateway also has Tieline SmartStream PLUS redundant streaming and Fuse-IP data aggregation technologies.

It is configurable through an embedded HTML5 Toolbox Web-GUI interface, the Gateway can also interface with the TieLink Traversal Server for simpler connections and is controllable using Tieline’s Cloud Codec Controller.

An optional WheatNet-IP card is also available.

NAB Show Booth: N6214
Info: www.tieline.com

 

The post NAB Sneak Peek: Tieline Opens the Gateway appeared first on Radio World.

The NAB says the 2020 NAB Show is still on, as of Tuesday, March 10.

A spokesperson told TV Technology that “the show is moving forward as planned.” The association updated its coronavirus update page on Tuesday, announcing that it is “continuing to evaluate the national and international situation carefully.”

The NAB says it is taking its direction from global, federal and local health officials, like the WHO and CDC, which at this time have put no travel notices or restrictions on public gatherings for the U.S.

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

Concerns over the impact of coronavirus (COVID-19) on large gatherings has prompted a number of cancellations, including SXSW, which was expected to attract several hundred thousand to Austin, Texas, this month. PBS TechCon, which holds its annual gathering in Las Vegas just prior to the NAB Show, also cancelled its event last Friday.

Several high profile exhibitors backed out of the show on Monday, including Ross and Adobe. NAB says that 96% of its exhibitors are still planning to attend, and of the 4% no longer attending, the association claims more than 80% would be coming from China, which has implemented travel restrictions.

“Ross has been at every NAB since 1974 and this has not been an easy decision to take, but we have a clear duty to our employees, our customers and families,” the company announced, adding that is was looking for alternative “virtual” ways to get its NAB Show news out to its customers and attendees.

Adobe said in a blog post: “Over the past few weeks, we have been closely monitoring and evaluating the situation around COVID-19 and have made the difficult but important decision to cancel our presence at the show this year.” Adobe had previously cancelled its summit that was also scheduled to be held in Las Vegas.

NAB is working on ways to both minimize the risk of transmission on the show floor — including implementing a “no handshake” policy — and to add value to in-person attendees remotely.

For the latest updates on how the coronavirus is impacting the NAB Show, please visit the NAB Show’s dedicated page, as well as TV Technology’s coronavirus updates.

 

The post NAB: “The Show Is Moving Forward as Planned” appeared first on Radio World.

One of the benefits of travelling to Las Vegas for the NAB Show is the number of unofficial industry events taking place coincidentally.

One such event is the Davicom Exchange Forum, scheduled for April 21, starting at 7:30 a.m. at the Wheel House at the High Roller.

The DEX, as it’s nicknamed, “serves as a platform for technical exchanges between Davicom community users, specialized training and support professionals and those new to the benefits and flexibility of Davicom’s remote site management systems.”

Planned are brief presentations, informal discussions along with lessons of practical experience shared by the user community. Registration required and a breakfast provided.

Go here to register for this free event, limited number of tickets available.

 

The post NAB Sneak Peek: Davicom Exchange Forum Scheduled for April 21 appeared first on Radio World.

I’m still a fan of the classic AKG K240s, once a familiar sight in many a radio station, with their open-backed design and rather open sound as well. However, the AKG K275 and AKG K371 headphones reviewed here are closed-back and more in line with modern performers/recordists who like the tight isolation, extended bass and high SPLs of closed-backs.

AKG K275 K275

The K275s offer a round, closed-back, over-ear design and slow-retention foam ear pads. They don’t look like it, but they fold right up for easier transport, with a three-axis hinge and rotatable cups, and they come with a nice cinch-top storage bag. At 295 grams (0.65 pounds), these AKG headphones are slightly heavy in use, but still comfortable because of the soft ear pads. These headphones will only go so small, however, as the headband tension defines fit, so smaller people and those with bald heads might want to try them on before purchase.

The large 50 mm drivers operate at a low-ish 32 ohms, enabling efficient use with a 109 dB SPL/V rating and wide response from 16 Hz to 28 kHz. Sonically, I found the 275s to have a warm high end, with more of a bottom end emphasis and plenty of low-mids, not the carved out middle that is so common. The low end isn’t terribly defined, so I had trouble making mix decisions, but I found that performers liked tracking through them quite a bit. Bassists and guitarists appreciated the full, warm response, even if they weren’t such a hit with vocalists.

The stereo imaging was strong, with a well-defined phantom center, and dynamics were slightly constrained at higher volumes (like most headphones). Although I wasn’t able to mix on the 275s solely, I did find them a useful mix check for excessive low-mids and to make sure that higher-pitched elements were well represented.

The two big steel bands that are the backbone of the 275s seemed amply strong and durable, and the three cables provided (coiled, short straight and long straight) are connected via a nice LEMO connector, ensuring long life and durability.

K371 AKG K371

Even though the 371s are foldable, over-the-ear and closed-back, they’re really nothing like the 275s. Here, the ear cups are oval, with a softer slow-retention foam, and their lighter 255-gram weight (0.56 pounds) makes for a comfier fit. These cans have ear cups on sliding bands, unlike the sliding headband of the 275s, which allows for a snugger fit. Plus, they still fold up (the ear cups and their support arms snap and fold inward).

Once again, we’ve got 50 mm drivers, but this time with pure oxygen-free voice coils (and the accuracy that reportedly brings). These phones have 32-ohm impedance but yield a very efficient 114 dB SPL/V, with an extremely wide frequency response of 5 Hz to 40 kHz.

The K371’s sonic signature is decidedly different from the 275, with a tighter and more defined low-end response, more punch, still a warm top end, and upper-mids that are much more forward. Dynamics and imaging seem comparable to the 275s and sufficient.

I found performers liking these AKG headphones, too, with instrumentalists and vocalists enjoying them, but bassists not so much (nor myself when mixing). As much as I loved the comfort and fit of these phones (I can wear them for hours without fatigue), I never could get over one prominent midrange frequency bump (around 600 Hz) that got in the way of my mix decisions. This response made vocal and upper instrument decisions tough, but I still found the 371s to be a great bottom-end reference checkpoint. Their nicely moderated bass response is well distributed and quite even across the spectrum, providing great insight to bass and drum mix decisions.

The three cables and storage bag complement the 371s as well, making them a good choice for users who wear headphones for very long periods of time, who want effective isolation and comfort, and those who like their guitars/vocals/snares more prominent than their kicks/basses/toms.

Product Capsule

AKG K275 and K371

Headphones

Thumbs Up

+ Comfortable to wear for extended listening sessions

+ Foldable

+ Solid sound quality

+ Ships with three cables

Thumbs Down

– Not completely accurate for critical mixing

– Flattish low end (K275)

– Sound bump around 600 Hz (K371)

Price: K275 — $99; K371 — $149

Contact: AKG at 1-888-452-4254 or visit www.krksys.com

The post Product Evaluation: AKG K275 and K371 Headphones appeared first on Radio World.

Italy has been at the forefront of digital radio adoption in Europe for two decades, with three national and several local DAB+ multiplexes on the air today.

The Plan de Corones site serves Italy’s South Tyrol region, a mountainous area by the Austrian border.

Approximately 83% of the Italian population can receive DAB+ broadcasts today, with well over 150 different transmission sites from the three national broadcasters. These networks stretch from the northern border south through Italy’s famous boot-shaped peninsula — with some networks extending into Sicily and Sardinia.

EVOLUTION

Of the three national services, DAB Italia has perhaps the most interesting history. The network operator, owned by private radio service providers, launched its initial tests in Northern Italy in 1998, and was actively involved in regulatory development for the emerging medium. Those developments stretched into the second decade of the new century, resulting in DAB Italia’s 2012 commercial launch.

The Torcegno site covers the Trentino region not far from the Austrian border.

The technology has continued to evolve and change in those ensuing 13 years — changes that brought new challenges and benefits. Notably, the introduction of a second-generation audio codec in 2007 shifted testing from DAB to DAB+ due to the enhanced service and quality capabilities that the latter offered.

“The launch of the MPEG-4 AAC+ Version 2 codec presented us with a more efficient audio encoding standard,” said Hanns Wolter, technical director, DAB Italia.

“The previous MPEG-1 Layer II standard limited us to around 10 DAB radio services for each multiplex. The second-generation standard doubled that capacity while also reducing the associated transmission costs. It was an important development in efficiency that has allowed us to protect our investments over many years.”

To serve the Piedmont region, a large Kathrein 10-bay, Band III Yagi antenna is top-mounted to the tower. The same tower supports a large, top-mounted Aldena antenna.

Naturally, as with any early digital radio service, there weren’t many possibilities of reaching an audience. “There were no DAB+ receivers in 2007,” he said.

“It took us at least four months to procure a DAB+ receiver for our own tests, and we could only verify the operation with test equipment. We immediately heard the audio quality improvements, and soon followed the efficiency benefits.”

The efficiency largely comes down to the number of transmitters required. “We need 40 to 50 FM transmitters to achieve the same results that we do with 10 DAB transmitters on a single frequency network,” said Wolter. “This really opened the door for commercial DAB+ radio in Italy, because those tests proved we could deliver cost-efficient digital transmissions.”

EARLY INNOVATION

DAB Italia’s efforts have paid off. With more than 120 live transmission sites from the Austrian border south through Naples, Italians with DAB+ receivers — currently estimated at more than 4.5 million — can receive 16 DAB Italia digital radio programs (three other channels are used for testing). Many are broadcast exclusively in DAB+, while others are also available as FM simulcasts.

“We cover much of Italy, but we are still building the network,” said Wolter. “We add between 20 to 30 transmitters a year. It’s a continuous rollout intended for national diffusion.”

That national perspective is mainly focused around road travels. “Italians drive a lot and are often stuck in traffic. Therefore, 70% of Italian radio consumption happens inside the car,” said Wolter.

In the northwest corner near the Swiss and French borders, the Gerdaz site covers the broad Aosta Valley region.

The early rollouts focused on major cities to address the most heavily traveled regions. Italy’s geographical footprint expands over 116,350 square miles, which means there are plenty of open highways, expansive countryside areas, and challenging terrain. Italy’s two mountain ranges, the Alps and the Apennines, are monumental, with the latter running north to south through much of the country.

All of this means that to make a true impact, DAB Italia soon looked beyond the major metropolitan areas. “We sent a strong signal to the automobile industry: We are providing Italy with a network, and it’s time to get DAB receivers into your cars,” said Wolter. “Our tests showed that the performance and propagation were especially good in the valleys, and we were penetrating the more challenging mountainous terrain. We were achieving capabilities that we simply could not do in analog.”

TACTICAL APPROACH

By the seaside in northwestern Italy, the Monte Fasce site covers the Liguria region, including the capital city of Genoa.

The DAB Italia team tries to locate each transmitter site based on what will provide the best coverage, including rooftops and traditional high broadcast towers in cities, and hilltops to penetrate valleys in rural areas.

Regardless of location, each new site involves extensive planning and theoretical studies. “There are a number of hurdles and constraints in an SFN deployment,” said Wolter. “We have to precisely calculate the delays across each transmitter for the receivers to decode the signals accurately. If the signals are outside a time interval of 246 microseconds, the RF interference contributed by the different transmitters will disrupt reception. Staying within that time interval will both influence and limit site selection.”

The site buildouts are simple by comparison. DAB Italia favors simple antenna systems from Kathrein or Aldena Telecomunicazioni, both of which Wolter says are simple to install and control. DAB antennas are approximately half the size of FM antennas, which makes it easier to place and position the antenna.

The network includes a mix of transmitters from six vendors, some of which are no longer in business. The most recent phases have utilized GatesAir S.r.l. (formerly ONEtastic) and Syes transmitters, both based in Italy (GatesAir S.r.l.’s parent company, GatesAir, is located in the United States). Wolter notes that both companies strike the balance of price, performance, and space-efficiency they are seeking as their network grows.

“Over the last years we have supported these manufacturers in the development of their DAB transmitters with the capabilities we needed to operate correctly our network,” said Wolter. “We worked closely with them on the software development side to access information on system performance. An important recent development is the integration of satellite receivers into the most recent transmitters they shipped. That removes the cost of external receivers. They are active listeners and respond to our requests.”

DAB Italia has deployed 15 GatesAir’s Maxiva transmitters since early 2019 covering a range of power levels and network requirements. “The first GatesAir transmitter we installed provides DAB+ service to the city of Verona, but we also have a number of medium-power transmitters and gap fillers.

Most of these transmitters deliver power levels of 100, 250 or 450 W. But we have gap fillers as low as 25 W, and a few higher power systems that go up to 2.5 kW. All have a 40% efficiency rating, and the higher power transmitters reduce energy use by 15 to 20%.”

The multiplexes come into the transmitter sites from eight radio content providers, using a Factum Radioscape system that takes in signals via IP, satellite and fixed radio links. DAB Italia ingests the various contributed signals into the Factum multiplex, which combines and distributes the signals to the various transmitter sites.

“Our system is really a server farm,” said Wolter. “Audio processing is handled by the content providers, and we manage distribution of the finalized signals. The Factum Radioscape system integrated encoders, which leverage Dolby or Fraunhofer audio codecs. Each has a digital audio interface or AoIP.

The DAB Italia network has a mix of transmitters, including GatesAir (formerly ONEtastic) transmitters for recent deployments in Ferrara and Asti.

“We can adapt a broad range of bitrates based on the quality of the originating signal we receive,” explained Wolter. “We rely on our content providers to appropriately process the audio for DAB, which is quite different compared to processing for FM. DAB offers more bandwidth, which means less processing is required. Too much processing will create a loss in audio quality.”

The majority of DAB Italia’s 19 channels are currently encoded at 48 kbps using HE-AAC+ Version 2 coding. Some are encoded with lower bitrates of 32 kbps, while others leverage higher bitrates of 64 kbps.

[Read: 2020 Looks Good for Digital Radio, Smart Speakers]

“It’s an interesting compromise that still results in exceptional audio quality for the broadcast, provided the source signal is pristine,” said Wolter. “You cannot correct a bad source with higher bit rates; the quality will not improve. The listener will just notice the problems more easily.”

DAB Italia leverages the ETI protocol for contribution and distribution, but is looking at EDI for backup streams. “EDI had just been finalized as we began rolling out the network, and the modulators and transmitters at the time did not support it,” he said. “We are looking to roll out a system that will seamlessly switch between ETI and EDI sources, which gives us the option of having either IP or satellite as the backup.”

The Radioscape system includes an ETI output, and additional equipment then converts the signals to ASI before being sent into a DVB-S2 multiplex. The satellite receivers at each transmission site extract the ETI signal before sending the streams into the transmitters. Where older transmitters without integrated satellite receivers are used, DAB Italia leverages external extractors and receivers from 2wcom.

CAREFUL INVESTMENTS

As DAB Italia works with private radio service providers, they are limited to a certain annual budget. That budget is used to manage the rollout of new sites and maintain the existing network.

“We’re funded by FM revenues, which means we don’t have the budget to roll out 100 to 200 transmitter sites a year in a way that public networks can afford,” said Wolter. “It forces us to make thoughtful investments, and it has provided the opportunity to gain experience in building DAB networks.”

This also means that the network operator needs to use existing resources wisely. Therefore, labor and system maintenance require some very careful planning.

“DAB maintenance is a complex subject in Italy, as a large majority of the existing engineering base is not trained for digital,” said Wolter. “It’s mostly a different generation of technicians that have years of FM experience, but don’t quite understand digital radio. It’s very difficult to convince them to take a laptop to the transmitter site.

“But we have found that most DAB transmitter failures are generic — things such as the power supply, or a software issue. The simplest and easiest way is to change out the transmitter at the site and take it back to the lab.”

Wolter notes that GatesAir has reduced the maintenance burden with more modern and clever designs. “It’s almost like a Lego box, especially with their smaller transmitters,” he said. “They have interlocking parts and no cables. These are compact transmitters with separate amplifiers. It also makes for an interesting tunnel coverage solution, which we are now evaluating.”

Wolter expects to significantly expand the network over the next two years, taking the DAB Italia service to smaller cities, towns and roads, one by one. The most recent GatesAir transmitters recently went on the air in Ferrara and Asti, which represents their expansion strategy into smaller cities.

“We will extend highway coverage further, focusing on areas that are underserved,” he said. “Our second step is to install a local transmitter in every major regional or provincial towns. We ultimately expect to have a network of more than 400 transmitters throughout Italy, and to run it at approximately one-tenth the cost of a comparable FM network.

“Italy is closely interconnected with other European realities and we always keep an eye on new technical developments to keep our system at the highest level of reliability and efficiency,” concluded Wolter.

The post A Look Inside Italy’s Digital Radio Rollout appeared first on Radio World.

Bext Corp. is bringing the XD Series of FM transmitters to NAB Show attendees.

The company says these transmitters can be customized at time of ordering. Buyers can choose from a menu of features or options, selecting and paying only for the ones they actually need at the moment. Courtesy of software-defined configurations, most other additional features or options can also be activated at any time by remote, should the user need more of those at a later date.

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

Features or options available for this line include: digital audio modulation; built-in highly customizable audio processor and stereo generator; built-in FM receiver; built-in satellite receiver; onboard audio storage; built-in RDS encoder; and a built-in user manual file (USB accessible even with unit powered down or inoperable).

There’s also the capability to accept audio via AES67, AES192 (MPX over IP), AES-EBU and webstreaming; graphic user interface can be used via web; programmable email alerts; and built-in phase locking to GPS reference.

XD transmitters will be available in power levels of 150 W, 300 W, 600 W, 1 kW, 2 kW, 3 kW, 5 kW, 10 kW, 15 kW and 20 kW.

All models up to 1 kW can operate on 120 V AC power, while all models up to 5 kW are 2, 3 or 4 RU.

NAB Show Booth: N4219

Info: https://bext.com

 

The post NAB Sneak Peek: Bext Introduces XD Series FM Transmitters appeared first on Radio World.

The owner of HD Radio technology, not surprisingly, hopes the FCC will allow individual AM-band stations in the United States to switch to all-digital transmission if they wish.

Xperi said it will work with the broadcast, consumer electronics and automotive communities to push forward all-digital MA3 broadcasting if the FCC adopts the proposed rule. Comments to the commission about all-digital AM (Docket MB 19-311) are due today (March 9). Reply comments are due April 6.

The FCC proposed last fall to allow U.S. AM radio stations to turn off their analog signals and broadcast in the in-band on-channel (IBOC) mode known as MA3. Analog-only receivers — of which there are countless millions — would not be able to receive the all-digital stations; but the growing number of cars equipped with HD Radio receivers would.

[Read a new commentary from Xperi: “Is AM All-Digital Right for Your Station?”]

Xperi told the FCC that HD Radio broadcasting provides many benefits over traditional analog radio, including crystal-clear, static-free sound, multicasting, enhanced metadata — including artist, song title, and album information — traffic services and enhanced digital emergency alerts.

For broadcasters with cost concerns, Xperi says it is prepared to make the transition affordable. “Currently, Xperi offers AM stations a license to use all-digital technology in perpetuity without any initial or ongoing licensing fees.” It noted the cost to upgrade facilities to accommodate all-digital operations will vary by station. “By providing broadcasters with the flexibility to transition if they want and when they want, however, the commission will facilitate a transition driven by market forces rather than regulatory fiat,” Xperi wrote.

[Watch Radio World’s recent webinar “Digital Sunrise for AM,” available on-demand, for an extended exploration of this topic.]

The company addressed concerns about interference: “Because all-digital signals have less spectral occupancy, the potential for interference is greatly reduced as compared to hybrid mode. Moreover, the HD Radio system was designed to operate in a mixed environment of analog, hybrid and all-digital stations, with all-digital signals designed to protect analog and core digital services within their protected contours,” it wrote.

The company also continues to push the FCC officially to adopt the NRSC-5-D standard as the official standard for each digital radio station. “NRSC-5-D is a mature standard that already serves as the de facto standard for both hybrid and all-digital transmissions in the United States,” Xperi said.

Only one AM station, WWFD licensed to Hubbard Radio, operates in full-time all-digital under special temporary authority from the FCC.

The NAB has favored the FCC’s move to adopt all-digital AM.

 

The post Xperi Urges FCC to Allow All-Digital on AM appeared first on Radio World.

Two major broadcast industry events have been postponed due to concerns over COVID-19 outbreak.

The 2020 edition of Radiodays Europe has been indefinitely postponed, General Manager Peter Niegel announced in a Monday email. 

According to the Radiodays Europe email, the steering board’s decision was made “after extensive consultation to ensure the health and safety of our participants, speakers, commercial partners and staff.” Niegel cited concerns over travel logistics, crowd safety and other factors related to coronavirus, saying the attendant health risks make “it impossible for Radiodays Europe to hold an event at this time.” This is a significant change from last week’s messaging.

Niegel’s announcement promised that new dates for Radiodays Europe will be announced on the event’s website. It is unclear whether the event will still be held in Lisbon, as originally planned.

Additionally, CABSAT has been rescheduled from late March to Oct. 26–28, according to the event’s website. The event will still be held at the Dubai World Trade Center. 

CABSAT organizers emphasized that the United Arab Emirates is still open for business: “Whilst the UAE remains completely safe for travel, and has deployed the strictest medical and hygiene protocols, we fully recognise that for some specific shows, we have a high majority of key participants significant to the event’s programme that are unable to travel due to restrictions in their home countries.”

The CABSAT update also notes that the postponement was supported by stakeholders and they expect “greater participation” and “more inclusive access” with the new timeframe. 

[What Radio Exhibitors at NAB Show Are Saying About Coronavirus]

Coronavirus jitters are also affecting events scheduled for the summer and late fall. However, “IBC2020 is proceeding as planned, Sept. 11–15 in Amsterdam,” according to a statement updated March 5. 

IBC planners said, “We are aware of the concerns that Coronavirus (Covid-19) may be causing and would like to reaffirm our commitment to delivering a safe and successful IBC2020. We are monitoring the situation very closely and will take the advice of the relevant international, national, local authorities and agencies to ensure the safety and wellbeing of all involved with our event in September.” 

Organizers noted that they “ will ensure that IBC2020 is fully compliant with all required regulations,“ including those they expect European Union health authorities to publish soon. 

The post Radiodays Europe and CABSAT Postponed Due to COVID-19  appeared first on Radio World.

Getty Images/Plume Creative

The Multicultural Media, Telecom and Internet Council is worried that some broadcasters and state associations are trying to “totally eviscerate, diminish or cripple” enforcement of the FCC’s Equal Employment Opportunity rules. 

Some broadcasters have argued that current rules, “with their laudable goals,” require burdensome paperwork and nonproductive effort, especially at smaller companies; they laid out those arguments as part of an FCC notice of proposed rulemaking.

MMTC recently replied with a 22-page letter from its President Emeritus and Senior Advisor David Honig to Chairman Ajit Pai and the other four commissioners. It says some broadcaster proposals are contrary to the intent of the NPRM.

RESET SMALL-STATION EXEMPTION?

MMTC found “common ground” with broadcasters on certain issues, including the need for the FCC to publicize its EEO whistleblower and anti-retaliation rules. 

But it took issue with the overall tone of comments to the commission. “This proceeding is not about how to totally eviscerate, diminish or cripple EEO enforcement,” Honig wrote. “Instead, the NPRM called for comments on how to improve the current EEO enforcement system.”

The regulations disallow the use of race and gender in hiring decisions, while seeking to ensure that qualified persons, including minorities and women, can learn of and compete on an equal footing for job openings. 

They also require broadcasters to take steps to provide notice of each full-time opening and participate in recruitment initiatives like job fairs and internship programs, along with additional steps. 

According to the FCC, each year it audits the EEO programs of approximately 5% of both radio and TV stations. It also can review compliance at the time of a broadcaster’s license renewal.

According to a summary on the Broadcast Law Blog, the back-and-forth began when the FCC asked for comments on its NPRM in MB docket 19-177, prompted by complaints raised in connection with abolition of the Form 397 Mid-Term report.

Much of the debate focuses on comments from a group of 82 broadcasters, represented by attorney John Garziglia of Womble Bond Dickinson, that submitted joint comments last year. They believe that the FCC’s documentation and paperwork approach to nondiscrimination and employment diversity is not working.

“In the absence of evidence that the current FCC’s paperwork and recordkeeping requirements prevent or reduce discrimination, or increase employment diversity, the FCC should generally direct its regulatory efforts to finding effective ways to achieve the important goals of nondiscrimination and employment diversity,” the group wrote. 

The coalition of 82 broadcasters — some consisting of one or a few stations, others with dozens — titled its filing “EEO Enhancements” but concluded: “If the FCC’s paperwork and recordkeeping requirements do nothing toward reducing discrimination or enhancing diversity, they should and must be jettisoned.” 

But it also told the FCC that its members have “no desire to lessen or diminish the FCC’s quest for diversity in employment, and full and transparent opportunities for all seekers of jobs in the broadcasting industry. To the contrary, [we] believe that the commission can do more to achieve its goal.”

These broadcasters proposed requiring a wide outreach through a nationally or regionally recognized job-oriented website for every full-time broadcast station employment opening, no matter how few employees it has. “The placement of an internet posting for an open position at a broadcast station is something that most stations now do, and requiring it of all broadcast stations is not an undue burden and is an effort that may bring future broadcasters into the now exempted stations.”

The group also proposes to put an end to the consideration of market-based “employment units,” given the abolition of the broadcast station main studio rule, in favor of an examination of a broadcaster as an entire entity. It calls this “a more pragmatic and sensible definition of employment unit.”

“In return, however,” the broadcasters continued, they asked the FCC to reset the small-station exemption for EEO documentation and supplemental initiative requirements. 

“Reduce EEO paperwork for small broadcasters by exempting entities with fewer than 50 full-time employees, which is the number … regarded by the human resources profession as demarcating smaller from larger entities,” according to the filing. 

“DAMNING INDICTMENT”

The MMTC’s Honig responded directly to several comments from the coalition, which he said “expressly advocated heading backward toward less enforcement, less accountability, and more opportunities for intentional discriminators. … Their approach would help no one but the bad apples in their industries that seek to evade accountability for discrimination. Such comments are not responsive to the NPRM.”

Moreover Honig is troubled by the “hostile language” in some filings. 

“According to the 82 Licensees, EEO compliance imposes a crippling resource burden that simply takes away from the important task of broadcasting. There is no evidence to support this assertion.”

Comments by state broadcast associations also caught the attention of MMTC. Associations wrote in a joint filing: “Many of the proposals presented in this proceeding would dramatically increase burdens on broadcasters while at the same time being of both questionable constitutionality and little practical utility in achieving the commission’s stated goals.” 

In addition, the associations wrote, the FCC “has not found a single broadcaster to have engaged in discrimination since the advent of the first EEO rules in 1969.”

The National Association of Broadcasters echoed that theme: “To our knowledge, the commission has conducted tens of thousands of reviews of broadcasters’ EEO programs since the rules became effective in 2003, without one finding of discrimination. This includes random EEO audits, mid-term reviews and license renewal examinations,” NAB commented.

To this line of argument, Honig replied in his December letter: “The fact that an industry contains discriminators, but they never get prosecuted, much less held liable, is certainly not a strong argument for weakening the obviously insufficient EEO compliance program in place now. That is a damning indictment of the agency’s enforcement program. It is simply not the case that broadcasting is the only industry in the nation whose thousands of employers included no racial or gender discriminators for the past 50 years.”

MMTC said it believes its position is bolstered by comments by several individuals including Dr. Jannette Dates, dean emerita of the Howard University School of Communications, Dr. Valerie White, associate professor at the School of Journalism & Graphic Communication at Florida A&M University; and Zemira Jones, president and CEO of the All American Management Group and former vice president of operations for Radio One.  

Another MMTC witness, Robert Neal, president and general Manager of WQID(LP), Hattiesburg, Miss., and executive director of the International Black Broadcasters Association, wrote: “It is absolutely without question that racial discrimination persists in the radio and television industries. I have seen extraordinary well-qualified African American managers, announcers and salespersons get shunted aside when jobs open up. Often they find out the jobs were available only after they were filled,” Neal wrote.

“EDGE OF CONSTITUTIONALITY”

Whereas EEO supporters asked the FCC for more frequent EEO audits, the National Association of Broadcasters pleaded against this.

“Rather, the commission should minimize the unjustified burdens of EEO audits by eliminating audits for small broadcasters,” NAB wrote. It added, “the record [FCC proceeding] lacks support for additional EEO rules and regulations.”

The NAB estimated the cost of an audit in the $3,000 to $5,000 range. NAB also said that the commission “should be wary of imposing more EEO rules, as the current regime already flirts with the edge of constitutionality, and there is no evidence of discrimination in broadcasting that justifies additional regulation or that more EEO rules will actually increase employment diversity.”

The association said additional EEO rules are unjustified and unnecessary.

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