Radio World

Mark Jorgenson is president/owner of Jorgenson Broadcast Brokerage and Eddie Esserman is managing director of Media Services Group. They were interviewed by Suzanne Gougherty, director of MMTC Media and Telecom Brokers at the Multicultural Media, Telecom and Internet Council. MMTC commentaries appear regularly in Radio World, which welcomes other points of view on industry issues.

Suzanne Gougherty: In today’s climate what do you see has the strongest advantage to using a media broker? For instance, we realize that during deals communications can break down and emotions can run high. This is one of many areas where brokers can help bring the two parties back to the table. What other skills to brokers have that many in the industry are not aware of?

Eddie Esserman: In any climate a media broker serves as a good insulator and facilitator between or among the parties. While in some cases brokers aren’t neutral, they are interested (and usually only compensated) when a deal gets done. Brokers know the village of deals and as the saying goes, “It takes a village.” That’s often the case in a deal. We almost always know the attorneys on both sides of a deal, frequently the engineers, consultants, and other parties in a transaction. In some cases, the parties may have been long time competitors and others friendly neighbors, both can hinder a deal’s progress.

Mark Jorgenson: Good brokers bring years of experience to each transaction. While no two deals are the same, experienced brokers have handled enough different situations that they can help the parties navigate whatever may come up in the negotiations. Buyers look at the transaction from their side of the desk and sellers see things from their side. Brokers are often the bridge that connects these two viewpoints. By getting each party to look at the transaction from a broader perspective, there’s a better chance they’ll come to terms and get the deal done. That’s a vital role a broker plays in every transaction.

[Read: How a Broadcast Multiple List Website Got Started]

Gougherty: Please tell us your 20/20 vision for the future of AM radio and how you see it changing for the best or the worst? Are there still enough new entrants to keep the AM dial alive with new innovative programming?

Jorgenson: AM radio definitely has more challenges than FM. It is an older technology and is more susceptible to interference and noise in today’s crowded electronic spectrum. It remains an effective vehicle for many spoken word formats and will likely remain so for a while. But, to be commercially successful, it will need to attract compelling and unique content that can’t be found anywhere else. That will require new talent and new ideas.  Both seem to be in short supply on AM.

Esserman: While there are a few entrants on the AM band, they are virtually all spoken word, and most not being programmed in English any longer. At best the future of AM is highly challenged. I note that Teslas, for example, do not include an AM radio. While I applaud the HD Radio experimentation on AM, I doubt that it will significantly alter the trajectory of the band’s future.

Gougherty: Have you seen an uptick in more new entrants in ethnic populations, or women buying AM or FM radio stations?

Jorgenson: Radio is a great vehicle to reach niche audiences. While many ethnic and foreign language populations in the U.S. live in concentrated areas, everyone is mobile, and radio does a great job of reaching a mobile audience.  Internet and phone apps are challenging radio’s role in reaching ethnic audiences but so long as there is local content that is important to the station’s audience, radio will continue to deliver.

Esserman: A little, but only that. I have seen some couples buying stations, which is great. Radio stations make great family businesses.

Gougherty: What should the FCC consider next for the growth and sustainability of radio in the next decade?

Jorgenson: I believe the FCC understands that radio competes in a very broad media landscape. It competes for audience and advertisers with other radio stations, TV stations, websites, streaming music services, phone apps, Google, Facebook, Instagram, etc. Many of these competitive media are not regulated like radio and therefore have significant market advantages. If the courts would allow more consolidation of radio ownership, the radio industry would be better able to face those new competitors.

Esserman: I believe the FCC is open to further deregulation on ownership caps as proposed by the NAB and any action on that front was at least sidetracked for now by the court ruling this summer.

Gougherty: Has access to capital or financing been an issue for your buyers? And if so what can the industry do to support new entrants — the incubation program?

Esserman: Most smaller deals now do include some element of owner financing. The Small Business Administration, while not an easy process to navigate is a good source. I’ve done deals that included an SBA element. There are consultants that are well worth their fees, to help get deals done.

The incubator idea is a good one. It’s mentoring with a bonus. I fear that as it’s presently in place it will prove cumbersome, hard to benefit the smaller broadcaster who could use a break, and have limited participation. I hope I’m wrong.

Jorgenson: The lack of access to capital is a major problem in radio, particularly for small deals. With the backing of the Small Business Administration, there are some banks that will do a radio deal if the buyer has sufficient collateral and is willing to personally guarantee the loan. Sellers are realizing that, to get their station sold, they may need to do a cash/terms deal and patiently wait for a few years for the total purchase price to be paid. I don’t see the current Incubator Program having a major impact on helping new entrants into ownership.

Gougherty: You both have heard of the “Krasnow Rule,” named after our MMTC vice chair, Erwin Krasnow, which is — “95% of deals get done because the buyer and seller like each other.” Please share an anecdote illustrating the rule?

Esserman: I’ve known Erwin for decades, and the Krasnow Rule was certainly true. When it’s true today it surely facilitates a deal. Over the past decade, I think that’s changed a bit. Often the buyer and seller don’t know each other today. When they do, it certainly helps if they do, or at least get to like each other during the process. When we were a less-consolidated industry owners couldn’t own many stations and had similar numbers of stations, originally no more than seven AM and seven FM? stations. That was broadened to a dozen.

So we are an industry of many individuals who had many opportunities to meet at both state and national gatherings, and friendships and mutual respects ensued. When the industry changed to allow owning hundreds of stations it just wasn’t likely that these larger owners, especially after a few iterations of leadership, would know those who held few properties.

Jorgenson: No one has seen more deals done in our business than Erwin Krasnow. And he’s absolutely correct that having a buyer and seller who trust each other makes the transaction easier for everyone. However, with over 10,000 radio stations in the U.S., most buyers and sellers do not know each other. It’s the broker’s job to help create the trust and report needed to get a deal done.

 

The post 20/20 Vision: Prospective From Two Seasoned Media Brokers appeared first on Radio World.

At a Digital Radio Mondiale stakeholders meeting in New Delhi, India, on Feb. 12, All India Radio (AIR) briefed more than 100 attendees that it has made great progress in its rollout of DRM.

Credit: All India Radio

AIR says that today it has 35 DRM transmitters in the AM band, four of which are now working in pure DRM digital mode.

The broadcaster adds that it has extended the pure DRM hours of transmission for the remaining sites, and that DRM transmission has also allowed for the broadcast of more varied content.

With this progress, representatives of the chipset, receiver and car manufacturers say they would like to take greater advantage of what DRM has to offer.

They have asked that a framework be developed to bring DRM to the public, with clear milestones and a clear launch for DRM. AIR said that it is planning to develop a multiplatform publicity campaign to launch soon.

[Read: The Power of Digital Radio During Emergencies]

AIR also used the meeting to make additional announcements like the conversion of six more high-power medium wave transmitters to DRM. The broadcaster further highlighted the increase of pure DRM transmission times, the possibility of sharing airtime with private broadcasters and enabling the DRM emergency warning feature in conjunction with the Indian disaster national agency.

“With communication, cooperation and confidence, AIR, with the support of the various committed stakeholders in India, some of which are consortium members, can set a launch date to make available all the DRM benefits to the Indian population,” said Ruxandra Obreja, the DRM chairman.

The post AIR Updates DRM Progress, Nears Public Launch 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.

Is it that time of year again?

President Donald Trump has introduced his proposed 2021 budget. Once again, the White House proposes eliminating public funding for educational broadcasting, except for two years of funding for wrapping up loose ends of legacy support.

Slashing public broadcasting has been in every White House budget since Trump took office. The president’s full budget will be released in the spring. Then, Congress will then have its say.

[Read: Community Broadcaster: Coming Down on Content]

Each year, lawmakers have spurned the president. It is reasonable to assume amendments will happen again in 2020. Moreover in a presidential election year, when voter energy is especially passionate, it is likely cuts like public broadcasting won’t make it to the final budget. The bottom line is many in Congress are worried about their races. The budget is already a hot potato. Public broadcasting enjoys wide support among everyday Americans. Every incumbent’s record will be excavated by opponents. Savvy politicians are unwilling to give their rivals ammunition.

However, the left-field nature of the budget deserves attention.

Most Americans have heard of public broadcasting through public television and radio. It is doubtful many know how much federal funding goes to such programming. The interest group Protect My Public Media estimates funding represents .01% of federal spending. The grand total? This funding amounts to about $1.40 per American annually.

The White House contends federal funding is no longer necessary. In the budget, the administration zeroes in on the large public media brands in its justification for cuts. “Services such as PBS and NPR, which receive funding from CPB, could make up the shortfall by increasing revenues from corporate sponsors, foundations, and members,” the proposed budget reads. “In addition, alternatives to PBS and NPR programming have grown substantially since CPB was first established in 1967, greatly reducing the need for publicly funded programming options.”

CPB counters these assertions by noting the diversity of public broadcasting.

In a Feb. 10 statement, Patricia Harrison, president and CEO of the Corporation for Public Broadcasting, said, “Through public media initiatives such as American Graduate and Ready To Learn, stations provide high-quality educational content and community engagement that helps Americans prepare for success in school and career. As the most trusted news source in America, local public media stations offer journalism that elevates local stories to a national audience. Further, public media stations’ infrastructure provides critical communications functions during local and national emergencies to first responders and emergency management officials.”

At heart is a need for common ground. If we agree in the importance of funding education, and the value in media as an educational tool, how can we support a system that we agree on?

In addition, one can ask that there is a greater commitment to expanding our nation’s investment in educational media. CPB does so much with its resources, but it is evident that it needs to be able to support many more initiatives. Media is so ubiquitous today. For the next generation, students go to the internet as often as they hit the books. Policymakers must look into expanding educational media funding to ensure the United States stays strong and creates even more opportunities to learn.

It seems highly unlikely many of the decreases Pres. Trump wants for the 2021 fiscal year will pass. Nevertheless, it is important for every station to speak loudly about the educational purpose they serve, and the need for the country to keep educational broadcasting part of its education arsenal.

The post Community Broadcaster: D.O.A.? appeared first on Radio World.

Radio World has learned it’s possible that thousands of radio stations in the United States failed to register their C-Band earth station terminals with the FCC prior to its 2018 deadline and presumably will be ineligible for reimbursement funds set aside by the FCC to cover the cost of a C-Band repack.

The alarm is being sounded by a person on the infrastructure side of the industry familiar with Chairman Ajit Pai’s draft Report and Order to make the lower 280 megahertz of the C-Band (3.7–3.98 GHz) available for flexible use, including 5G, through a public auction.

Radio and TV broadcasters utilize 3.7 to 4.2 GHz for satellite C-Band downlinks. However, the draft order released last week indicates incumbent satellite services are expected to be repacked from the 500 MHz to the upper 200 megahertz of the band (4.0–4.2 GHz).

[Read: C-Band Auction Could Begin in December]

There are provisions within the FCC C-Band draft Report and Order that spell out reimbursements to radio stations with incumbent C-Band earth stations that will be impacted by the relocation of spectrum. However, an industry source closely following the issue says he estimates as many as 2,000 radio stations never registered their C-Band downlinks.

“I estimate at least 25% of radio stations did not register their C-Band downlinks before the fall 2018 deadline, and they will be cut off from reimbursement of their costs to upgrade dishes,” the person said. “Their decision may have cost them each $1,000 to $5,000 because new equipment must be installed on their dish to block upcoming 5G cellular interference.”

The satellite infrastructure insider says the FCC’s reimbursement plan is “quite generous” and will protect the majority of radio broadcasters, but unregistered earth station sites will have to pay for the new gear out of their own pocket. “That might be a $500 dish filter and a few hundred dollars for labor to repoint it, but what happens if the dish has marginal reception already. It might become unusable and then you need a new $4,000 dish and more money for a new pad,” he said.

The FCC acknowledges in the draft order there is concern by some in the industry that a substantial number of small rural radio and television stations and private networks that rely on C-Band programming failed to submit registration filings. However, the FCC says it will not open another window for the registration of earth stations, according to the draft order. There are approximately 20,000 registered earth stations in the contiguous U.S., according to the FCC.

“I’m sure all of the major broadcast groups took the time to register, but I know of many small broadcasters who ignored doing so,” according to the satellite equipment supplier.

For those who have unregistered earth band downlink, their only recourse apparently is to lobby the FCC for reconsideration. “If there are hundreds of radio stations contacting the FCC in the next few weeks, all asking for an extension to register their C-Band downlinks, it is possible they could get in on the planned reimbursement program, but only if the FCC rethinks the situation,” the person said.

The post C-Band Repack Could Be Costly for Many Radio Stations appeared first on Radio World.

Audinate’s upcoming Dante AV Product Design Suite will ship this quarter. The PDS is intended to aid users in creating AV-over-IP products that employ the Dante AV technology used in more than 2,500 existing Dante products from more than 450 different manufacturers.

The Dante AV Product Design Suite is designed to help OEMs to build an AV-over-IP endpoint with low latency over a 1 Gbps network. It provides interoperability for audio distribution and control, delivering independent, synchronized audio and video streams. Based around the Dante AV module, the Dante AV PDS may be modified, branded and differentiated by OEMs via software, control and integration with other members of their product lines.

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

The Dante AV PDS is designed to be a feature-complete AV-over-IP solution for the professional AV market, implementing a codec, local HDMI and HDCP, ancillary data channels, and control. The onboard Dante AV Module provides Dante clock synchronization, control, discovery, transport, messaging, management, updates and more. A set of hardware documents, design files and a software SDK allows OEMs to create complete, fully interoperable Dante AV products with end-to-end HDCP support.

The Dante AV PDS includes a complete implementation of the intoPIX JPEG2000 codec supporting UHD and Cinematic 4K resolution, up to 60fps, up to 4:4:4 chroma subsampling, up to 10-bit color depth, up and down scaling, and ultralow latency dual block encoding and decoding.

The Dante AV PDS implements a software control stack which is accessed through the Dante API and Dante Controller. In addition to codec control, this software supports the routing of ancillary data channels for control over Dante, including USB HID, infrared, serial (RS422), and consumer electronic control for HDMI devices. All of these signals are transported over Dante and appear as routable channels, just like audio and video.

The Dante AV PDS comes with basic metal enclosure design, packaging design, preliminary EMI and thermal product scans, manufacturing instructions, and test fixture design guidance. Each Dante AV PDS contains two preconfigured Dante AV Endpoint Design Boards and five Dante AV modules in order to validate end-to-end performance.

Info: www.audinate.com

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Fig. 1: Amprobe ULD-420 Ultrasonic Leak Detector

You may be familiar with Amprobe; for years they have manufactured a clamp-on ammeter, which you clamp around a wire to measure the current. 

The company has released a product that detects leaks. It’s the ULD-420 Ultrasonic Leak Detector. The handheld detector is easy to use and provides an accurate location of an inaudible air or non-flammable gas leak. The detector can also identify vibrations and electrical discharge by picking up the ultrasonic sound produced by the leak or disturbance. 

This product sounds like it is ideal for detecting transmission line air leaks, but the manufacturer says it can also be used on plumbing, heating and air conditioning systems, even motors or electrical systems. Read more at Amprobe.com; enter “ULD-420” in the search box.

*** Fig. 2: An inexpensive volt pen detects high voltage before your hand does.

I’m happy to report that big box stores like Lowes and Home Depot are now stocking the safety “volt pen” I discussed recently as a Telos representative on an SBE webinar. Head to the electrical aisle to pick up one of these lifesavers.

For those unfamiliar, it’s shown in Fig. 2. It’s an AC inductive probe that glows red when it senses AC voltage. Before reaching into any equipment, pass the volt pen around breakers and disconnects to ensure they are “off.” The version shown in the photo is a Southwire Non-Contact AC Voltage Detector, model 40116N. We also found it on Amazon.

***

Newman-Kees Principal Engineer Frank Hertel makes note of a relay contact transmitter and receiver pair that monitors eight separate switch contact input signals, and sends the status of each via an embedded device server to the matching relay output receiver. The combo costs under $900. Use it when you want to send contact switch or relay information over a Local Area Network or a wireless network link using TCP/IP protocol. The device is model IPG-8T and IPG-8R and you can get more information at www.fmsystems-inc.com/product/ipg-8tipg-8r.

While you’re on the site, click on the FM Systems Publications tab, then “Engineers Corner.” In addition to some interesting articles on relays and maximum cable lengths, read the article “When LEDs Act Like Photocells.” The article explains that in addition to providing an efficient light source, an LED can be used as a photocell to supply a voltage output that actually responds to the light levels in a room. It turns out that when light strikes the P-N junction of the silicon, electrons flow, generating a voltage, albeit a small one. You’ll find the article fascinating.

***

Frank also passed on an interesting note for engineers returning equipment for repair. 

He and his son Dave provide equipment repair services at Newman-Kees. They have noticed that some products were shipped by UPS but with final delivery handed off to the US Postal Service. Many of these shipments arrived damaged.        

This damage issue is not unique to Frank and Dave’s company. Other repair techs report similar instances of rough unconcerned handling. It appears to Frank that the problem is not UPS, but rather when the shipment is handed off to the USPS for final delivery. His suggestion is to instruct the UPS agent to ship UPS Ground (or UPS 3 Day Select, UPS 2 Day Air or UPS Next Day Air). Failure to stipulate a UPS service leaves it up to the agent to choose USPS Handoff Delivery, which saves UPS money.

So the bottom line is to be sure to specify one of the UPS services when shipping equipment, and ensure there is no handoff to USPS for final delivery.

***

Phil Florig, W9IXX, wrote to pass on a link to a small company that manufactures another version of the “walk the plank” mousetrap. Head to https://kentuckymousetraps.com/store to see several versions for both mice and rats. Phil just bought the rat version, we’ll wait for a report on its effectiveness.

***

Randall Davidson is the director of radio services at the University of Wisconsin/Oshkosh’s WRST(FM). Randall was pleased to see Dan Slentz’s submission about the Public News Service. Randall’s station uses it and has told others who are looking for a good, free news source. 

Randall also wanted to tell you about another inexpensive option for stations to consider. Feature Story News offers hourly five-minute, three-minute and 30-second audio newscasts each weekday via download from stable URLs. The five-minute version is the three-minute offering plus “FSN Extra,” a 90-second feature on one topic. The last newscast on Friday evening is branded “Week in Review” and can be used throughout the weekend. 

The network was founded in 1992 by former ITN reporter Simon Marks. They have reporters in 30+ bureaus around the world, providing video and audio packages for a variety of clients, and they offer this news service to radio stations for $15/month. 

Randall uses a software package called Radio Spider to download the newscasts twice an hour and direct them to buttons in their playback system, so the content is always fresh. WRST has carried this service since 2011, and Randall says he couldn’t be happier with their service. For information, go to featurestorynews.com.

This is another opportunity for engineers to demonstrate their usefulness to the radio station. Let your manager know about this; the price will make the GM smile, and whether or not they use the service, it demonstrates your interest and involvement in all facets of the radio station. 

***

With the New Year, set a goal and get certified by the SBE in 2020. Successful completion of any level of certification not only provides you with a professional certificate, but also a letter to your boss from the SBE, complimenting you on your achievement. An ideal combination for a salary review! Plus, recertification credit is provided to engineers who share a tip published in Workbench. Thank you for sharing your tips and high-resolution photos by sending them to johnpbisset@gmail.com.

John Bisset has spent 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award.

The post A New Ultrasonic Leak Detector Pinpoints Leaks appeared first on Radio World.

San Francisco Public Press Executive Director Michael Stoll holds up a copy of the newspaper at the “Civic”/KSFP launch event.
Credit: Event photos by Jennifer Waits

Just a few blocks from San Francisco City Hall, news and public affairs station KSFP(LP) launched out of a “glorified storage closet” that once housed thousands of newspapers. 

The San Francisco Public Press, a 10-year-old non-profit, membership-based print and web newspaper focused on in-depth local news, is an unusual entrant into the community radio space, although it owes its very existence to a public radio-style model. 

“We always considered ourselves a newspaper inspired by public broadcasting, and now we have a radio station inspired by a newspaper inspired by public radio, so we’ve kind of come full circle in a way,” said San Francisco Public Press Executive Director Michael Stoll.

TIME SHARE

Hitting the airwaves in San Francisco last summer, KSFP joined time-share partner San Francisco Community Radio KXSF(LP) on 102.5 MHz. One of the last low-power FM radio stations to launch from the 2013 application window, KSFP broadcasts daily from 4 to 10 a.m., and from 4 to 10 p.m. via an antenna on Sutro Tower.

For about a year, San Francisco Community Radio’s KXSF was the sole station on 102.5 FM, transmitting during the other 12 hours.

Funding for the effort came from Public Press members as well as institutions like the James Irvine Foundation, the California Endowment and the Ethics and Excellence in Journalism Foundation.

Operations Manager Laura Wenus, left, interviews “Muni Diaries” co-founder Eugenia Chien and producer Peter Clarke.

While KXSF’s crew of volunteers was full of folks with radio experience, San Francisco Public Press staffers were less seasoned and sought help from the broader radio community, including KXSF, to get up and running. 

As the vision for the station crystallized, two experienced radio producers were brought on board to oversee the station and its programming. 

At an evening event last August, community media supporters gathered at Impact Hub in San Francisco’s Mission District to celebrate the debut of both KSFP(LP) and its flagship show “Civic.” It had been a long road to the airwaves for San Francisco Public Press; and radio veterans in the room shared that they were happy about the rare launch of a new radio station in San Francisco.

“ENORMOUS RESOURCE”

KSFP Operations Manager and reporter Laura Wenus and KSFP Program Director Mel Baker are the core team managing KSFP, with Stoll serving as general manager. Wenus and Baker also are host and producer, respectively, of “Civic.”

Rather than launching with a full slate of original content, they opted to start slowly, beginning with the radio show and podcast “Civic,” which developed out of the journalism being done in the Public Press newsroom. 

In the studio of KSFP(LP)

Stoll acknowledges that while there’s been a lot of buzz in journalism circles about podcasting, KSFP wants to ensure that it’s taking full advantage of the opportunity that it’s been given with LPFM. 

“Everybody’s been talking about this sort of pivot to audio in the nonprofit local journalism space really for the last two to three years. … People have been starting to take it really seriously, but most of the organizations have tepidly dipped their toes into podcasting … they haven’t put a lot of energy into the volume of content or staffing or the distribution. It’s often considered kind of an add-on,” Stoll said. 

Understanding that 12 hours of daily airtime on KSFP is an “enormous resource,” Stoll and team have tried to be thoughtful and methodical about bringing their current work to the airwaves. 

Although they are entering a crowded radio dial in San Francisco that includes a variety of non-commercial powerhouses, KSFP’s hyperlocal news focus sets them apart. 

“We have a reputation for truthful, careful journalism in print, and we’re translating that into other media in a way that is aimed at keeping the work that we’re doing in print and print style journalism on the web relevant to new audiences.”

With “Civic,” airing at 8 a.m. and 6 p.m. on weekdays), San Francisco Public Press hopes to not only have something “of interest to San Franciscans,” but that also “encourages and enables civic participation,” according to Wenus. 

“Civic” features interviews and stories focused on local San Francisco issues and news. To pique interest in the show, the launch party featured a live on-stage interview that would form the basis for a future episode. Wenus’ entertaining conversation with the team behind public transportation-themed storytelling blog/podcast “Muni Diaries,” had the audience engaged, with many sharing their own amusing and harrowing public transit stories during the Q&A that followed. 

Other recent shows have included stories about climate change, homelessness, mental health and San Francisco elections. With an understanding that audio on demand is increasingly important, “Civic” is running both terrestrially over 102.5 and in podcast form, with additional bonus episodes available online.  

For now, the station is an FM-only venture, with a live stream on its wish list. Wenus shares that one of the exciting aspects of the project is the simultaneous launching of a radio station, radio show and podcast. She said it’s been interesting “trying to straddle those worlds.”

“EXCITING POWER” Mel Baker

From its small studio, Wenus and Baker record “Civic” and oversee the daily tasks of the radio station, slowly building out the schedule. It airs syndicated news and public affairs shows such as “Radio Survivor” and KQED shows like “The California Report Magazine,” “Political Breakdown,” “Making Contact,” “Bioneers,” “Reveal” and “Philosophy Talk” — and rounds out the remaining hours with PRX Remix, a stream of “stories, podcasts and documentaries” from non-profit media company PRX’s 24-7 stream. 

They’re also in talks with several independent audio producers for original programming that would have its broadcast home on KSFP.  The hope is that local producers will take to the KSFP airwaves, bringing additional programs to the schedule in months to come. 

The team is optimistic about its place in the media landscape. 

“There is just so much enthusiasm for the idea of … expanding the airwaves,” Stoll said, “and bringing new voices to the air and new choices.” 

Radio will allow them to reach new audiences. Baker speculates that, “Audio is a living breathing medium for communicating. People have more ear time than eye time. You can listen to more stories than you can ever read or watch, so that’s the exciting power of this medium.”

Jennifer Waits writes frequently about community, college and low-power radio. She is a co-founder of Radio Survivor, which produces a free syndicated weekly show that airs on KSFP.

The post KSFP Highlights Journalism, Public Affairs appeared first on Radio World.

Wheatstone.com has a major new element: an online spare parts store.

According to a press release, the Wheatstone Store offers “spare cards, sub-assemblies, modules and other discontinued or out-of-production components for Wheatstone, Audioarts, PR&E and VoxPro products.”

This means DIYers have a new way to ensure their console surfaces, FM/AM/HD audio processors and complete AoIP studio systems stay in tip-top shape, according to the company.

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

But never fear, the Wheatstone Store doesn’t mean the company’s support team is being put out to pasture. Customer support can be reached online or via 1-252-638-7000.

The company considers the Wheatstone Store to be an addition to its existing online support, including the manuals, white papers and tutorials as well as technical and discussion forums already hosted on wheatstone.com.

Note that the products themselves will not be available via the Wheatstone Store; customers must go through existing distribution channels or order directly from the New Bern, N.C., factory.

 

The post Wheatstone Store Sells Parts Online appeared first on Radio World.

Getty Images/PashaIgnatov

The author is chairman of the Washington State Emergency Communications Committee. In 2016 Radio World interviewed Freinwald about EAS reform. We checked in with him for this issue.

The Washington SECC has a reputation for thinking outside the box when it comes to how they deal with Public Alert and Warning, in particular EAS. We think of ourselves as “progressives.”

The structure of the Washington SECC is an open, ongoing, cooperative and collaborative process that welcomes everyone involved with public alert and warning. We meet every other month, operate two in-state email list-servers, and often have ongoing committees working to deal with specific needs and tasks. 

Our EAS plan is unique in that it covers a broad range of areas that go well beyond what is required by the FCC. For example, Amber, Wireless Emergency Alerts, Organizational Structure, etc. The FCC is only interested in a portion of what we do. Yet, the idea is to be more inclusive for more public alert and warning systems.

Not long ago, the FCC announced that they are moving toward hosting State EAS Plans online via a process they call Alert Reporting System or ARS. After closely looking at what the FCC was proposing, it was decided that this would be a good time to perform an extensive update to our State Plan. 

To accomplish this task, the SECC created the Plan Revision Committee. Its goal was to review our existing plan and make changes indicated by the FCC’s proposed changes.

WA-PAWS

One of the first addressed was to rename our new plan. Whereas the FCC would be hosting the Washington State EAS Plan (online) and whereas the contents would likely differ from our Plan, it was determined that having two plans with the same name was not wise. 

Therefore, the Plan-Revision Committee proposed to the SECC that the name of our new Plan be WA-PAWS, or Washington Public Alert and Warning Systems. This title has been approved by the SECC. 

The new WA-PAWS plan will be like the existing EAS Plan and be printable as well as be available online. We will continue to use “tabs” to house specific items that will make updating much easier. 

Unlike the present plan, the new one will be broken into segments: Overview, Structure, Distribution, LECCs, Amber and Additional Resources. And finally, rather than duplicate what the FCC will have online for the State EAS Plan, we will simply provide a link to the FCC site hosting that tab information. In other words, the State EAS Plan will be a segment within the WA-PAWS Plan.

The process of getting from here to there is a gradual and deliberate one. We meet via a conference bridge about every two weeks, with periodic in-person meetings. Ongoing are a lot of emails with electronic document support. The committee reports to the SECC as to its progress every two months during their regular meetings. The Plan-Revision Committee has been working on this process now for over a year.

Once we agreed to the overall concept and structure, we have been dealing with each segment of the new plan’s tabs, slowly and deliberatively. At this writing we are dealing with what we call our Monitoring Matrixes, which are tables that guide participants as to what they should monitor in each operational area. We are dedicated to getting each segment right before proceeding further. The impact on participants (radio and TV stations and cable systems) of these updates will be minimal, and FCC compliance will be easier for participants.

In the future, participants will be able to view the WA-PAWS Plan online, hosted on the Washington State Emergency Management website. The refreshed state plan will be a wealth of information about how the overall process functions, including such details as “what needs to be monitored,” etc. Specifics regarding the State EAS Plan will be available online via FCC ARS. Validation of all the monitoring sources will be determined by the FCC (and FEMA) via the existing ETRS. 

BEYOND BROADCAST

It is important to understand that today, broadcasting is no longer the primary means of alerting the public. Today, there are more, and perhaps better, “tools” in the Public Alert and Warning Tool Box. It can be argued that the most effective tool for that task is WEA. 

Shown, a FEMA info sheet for young people about Wireless Emergency Alerts. Clay Freinwald writes, “It is important to understand that today, broadcasting is no longer the primary means of alerting the public. … It can be argued that the most effective tool for that task is WEA.”

Interestingly, if you look at the software that’s used by emergency managers, many of these programs provide a means for launching both EAS and WEA Messages. These systems have been joined by other tools, for instance participation by the National Weather Service, Reverse 911 telephone systems, highway signs, opt-in local alert programs and more. 

The challenge for broadcasters is to enhance their willingness to broadcast these public alert and warning messages. Tragically, many broadcasters decline to air anything other than what the FCC requires. Emergency managers know this and, as a result, have had no choice but turn their attention to other additional resources to alert the public. 

Our role in this effort is to further educate emergency managers on how to more effectively use all these tools. The need to have broadcasters participate in both the state committees (SECCs) and local groups (LECCs). This participation needs to come from management. Unfortunately, too many broadcast managers have concluded that EAS is a technical function. The truth: It is not. It is a public service function with the goal of saving lives and, as such, deserves attention from higher levels in the broadcast industry.

One more thing our SECC is working on: how to provide post-disaster information to the public after a major event such as the major earthquake that is promised for this part of the country. This effort requires more tools and more training for all stakeholders, and perhaps is another story for another time.

Clay Freinwald has been chairman of the Washington SECC since 1996 and is a past recipient of Radio World’s Excellence in Engineering Award. He can be reached at k7cr@blarg.net.

The post Washington State EAS Is Evolving appeared first on Radio World.

The RFEngineers Watch Dog receiver is used by many radio stations for local and remote off-air monitoring of audio, signal level, RDS and pilot. In this installment of our ongoing Raspberry Pi project series, Dan D’Andrea, RFEngineers’ “software guy,” details a project that employs a Pi to channel alerts from the receiver.

The Watch Dog receiver does not have an Ethernet port for sending out alerts over the internet. Instead, the receiver is configured, monitored and powered via its USB port. Thankfully, the USB port on the Watch Dog makes the receiver available as a serial device, which is easy to connect to in a variety of ways. We refer to this as its “Serial API” or “serial interface,” and it’s quite extensive. (Plenty of documentation can be found at http://www.RFEngineers.com/WD1.)

As one demonstration of what can be achieved with the Watch Dog’s serial interface, have a look at the RFEngineers Watch Dog Dashboard for Windows. The Watch Dog Dashboard is a free program that lets one easily configure and monitor the receiver and which is based entirely on the Watch Dog’s serial interface. See Fig. 1.

Fig. 1: RFEngineers Watch Dog Dashboard for Windows software.

We began to wonder: How easy would it be to hook a Watch Dog receiver to a Raspberry Pi and have the Raspberry Pi continually monitor the Watch Dog’s status via the serial interface and send out an email any time an alarm condition is found? Perhaps a small Python program?

It turns out that the Watch Dog’s serial interface makes it ideally suited for automating with Python. We were able to write a simple Python program to monitor the Watch Dog and detect alarm conditions in less than 10 lines of code! We then extended the program to include email alerts.

This program is available for free and for you to adapt however you see fit in a public GitHub repository that we created: https://www.github.com/rfengineers/Watch-Dog-Python.

This article will go through the steps of setting up a Watch Dog receiver and a Raspberry Pi to work in conjunction as an Internet-enabled confidence monitor. It will use the AlarmEmail.py program referenced above and found on GitHub.

We used the following equipment:

• RFEngineers Watch Dog FM/AM/NOAA + RDS receiver, firmware v2.2.7
• Raspberry Pi 3 Model B
• 2.5A USB power supply

INITIAL SETUP

We used a Raspberry Pi 3 Model B with a fresh install of Raspbian OS, but just about any Raspberry Pi should do. We connected the Raspberry Pi to wall power using a 2.5A USB power supply. We then connected the Watch Dog to the Raspberry Pi via one of the Pi’s 4 main USB 2.0 connectors.

We chose to use a Raspberry Pi for this example but any PC, Mac or other computer that can run Python would be fine as well.

Note that you might ultimately gain better mileage using a powered USB hub to connect the Watch Dog to the Raspberry Pi, as we observed an Under-voltage detected! message in the system log file when first connecting the Watch Dog. The Raspberry Pi otherwise showed no problems powering the Watch Dog receiver.

FINDING THE WATCH DOG’S SERIAL PORT IN RASPBIAN

Run the following Linux command to determine on which port your Watch Dog is available:

dmesg | grep tty

Look for a line containing a message like USB ACM device. Copy down the full tty value for a later step, e.g. ttyACM0 in our case. See Fig. 2.

Fig. 2: Our Watch Dog was found on ttyACM0.

Next, clone the GitHub repository or simply download the AlarmEmail.py program directly from here: https://github.com/rfengineers/Watch-Dog-Python.

Open up the AlarmEmail.py program in your favorite text editor and change the following parameters:

ALARM_LIMIT_SECS

This limits how often, in seconds, an alarm email will be sent. For instance, if set to 900 then the program will wait 15 minutes before sending another alarm email. Leave at the default value of 900 seconds if this works for you.

ALARM_POLL_SECS

This is how often the program will query the Watch Dog via its serial interface to get the latest alarms reading. Leaving this at the default value of 15 seconds should be fine for most uses.

WATCH_DOG_PORT

Put in the value that you found above in the “Finding the Watch Dog’s serial port in Raspbian” section. For example, if the value you found was “/dev/ttyACM1” then you would change this value to that. You can leave it at the default value if your Watch Dog showed up on the same port as ours.

CONFIGURING ALARMEMAIL.PY EMAIL SETTINGS

You will need to change several email-related settings, and possibly a few other email-related settings as well.

EMAIL_SUBJECT

You can leave this as it is if you are fine with the default message we chose. Otherwise change to suit your needs.

EMAIL_FROM

You will need to put your email address here, or the email address where you want the emails to come from.

EMAIL_PASSWORD

The password used to send email on your email server with your email address. I used my Gmail account, which required that I set up an App Password. More info on that here: https://support.google.com/accounts/answer/185833?hl=en.

EMAIL_TO

Where the email alerts should be sent.

EMAIL_SERVER_HOSTNAME

This is the hostname of the email server for the email address you are sending from. In my case, I was sending from my Gmail account, so I used smtp.gmail.com.

EMAIL_SERVER_PORT

The default port should be fine for most email servers. Otherwise you can change it here as needed.

RUNNING ALARMEMAIL.PY

Fig. 3: AlarmEmail.py showing normal output with no alarms.Simply execute the following command to run the program: python AlarmEmail.py. See Fig. 3.

Fig. 3: AlarmEmail.py showing normal output with no alarms.

Pulling the antenna from our Watch Dog receiver was enough for us to generate several alarms. See Figs. 4 and 5.

Fig. 4: Simulating an alarm condition and receiving an alert email. Fig. 5: An alert email showed up on my phone within seconds. ADVANCED: CONFIGURE ALARMEMAIL.PY FOR 24X7X365 FAIL-SAFE OPERATION

Fig. 6: Installing and starting the AlarmEmail.py systemd service.We want AlarmEmail.py to stay running, even if the Raspberry Pi temporarily loses power, is rebooted, or if the program ever crashes. We will accomplish this by running AlarmEmail.py as a Linux systemd service. Copy the AlarmEmail.service file from our GitHub repository to the /lib/systemd/system/ directory on the Raspberry Pi (see Fig. 6) and then issue two more commands to start the service:

sudo cp AlarmEmail.service /lib/systemd/system/
sudo systemctl enable AlarmEmail.service
sudo systemctl start AlarmEmail.service

Fig. 6: Installing and starting the AlarmEmail.py systemd service.

You may also want to go ahead and reboot your Raspberry Pi now to verify that the service starts on boot.

CONCLUSION

Getting real-time email alerts from devices that don’t provide an Ethernet interface can be easily accomplished when you combine a Raspberry Pi or other computer and a bit of Python code. In this sense, the Raspberry Pi can be a great piece of “glue” for broadcast engineers.

This article will hopefully get you thinking about other automation opportunities for your broadcasting infrastructure. For example, using similar methods to those outlined above, a device like the Watch Dog receiver could easily be turned into a multi-station confidence monitor. Stay tuned, as we will likely be publishing just such an article in the near future.

Dan D’Andrea is an amateur radio operator, embedded systems enthusiast, Software-Defined Radio (SDR) hobbyist and professional software developer with 20 years of industry experience.

Send your RWEE story ideas to rweetech@gmail.com.

***

Read the previous Raspberry Pi article by Todd Dixon.

The post Get Email Alerts From an RFEngineers Watch Dog Receiver appeared first on Radio World.

The author is editor-in-chief of the UNESCO Courier.

Is radio out of date? Is it time to bury this medium that entered our homes nearly a century ago? Far from it.

Certainly, the transistor of yesteryear has lived its life. Linear listening, ear glued to the radio receiver, has had its day. Radio has begun its digital transformation. Today, listeners are just as likely, if not more so, to tune in on their mobile phones or computers.

A major factor in reinventing the medium has been the production of podcasts — programs available on demand. Radio can sometimes even be watched, when programs are filmed and posted online. The listener has evolved too. Once passive behind their devices, they can now take part in broadcasts, and even help shape programs, by voicing their opinions on social media.

CRUCIAL ROLE

So it is a very different but thriving medium that we now celebrate on Feb. 13 each year, on World Radio Day. Proclaimed in 2011, the day reminds us of the crucial role of this medium, which reaches a wide audience, even in the most isolated areas or in emergency situations. Since UNESCO’s creation, the Organization has relied on this key medium to help fulfill its mandate to foster freedom of expression and the free flow of ideas throughout the world.

The Organization provided programs to radio stations around the world, supporting radio information campaigns — such as the 2016 information campaign on the Zika virus in Latin America and the Caribbean — something it continues to do today. UNESCO offers training in radio broadcasting and reporting, as it has done for young Syrian refugees in Lebanon since 2014. It also supports the creation of community radio stations, or those broadcasting in the aftermath of natural disasters.

The theme of World Radio Day 2020 is diversity. This remains a burning issue because the representation of women, minorities and people with disabilities on the airwaves is still unsatisfactory. We have come a long way since female reporters had to make way for men to read their reports on air, because male voices were considered more credible. But the challenge is real.

The lack of statistics in many countries makes it impossible to draw a global map of diversity in radio. But the data that does exist, speaks for itself. In France in 2018, women accounted  for 37% (Conseil supérieur de l’audiovisuel, 2019) of radio broadcasters. They constituted 23% of political guests, and 37% of experts on radio.

In the United Kingdom, while 51% of radio staff were women, only 36% held positions of responsibility (Ofcom, 2019). Another example: in the United States, in 2017, only 11% of radio newsroom staff were from minority backgrounds (The Radio and Television Digital News Association (RTDNA) and Hofstra University Newsroom Survey, 2018).

It’s important that radio reflects the audiences it serves more accurately, because diversity in radio is the key to fair and independent information. It is also a means of giving a voice to the variety of cultures and opinions that form the basis for critical thinking.

In spite of the evolution of radio in recent years, it remains that irreplaceable voice, which populates our solitude and seems to speak to us alone — even though it addresses the multitude. In a world invaded by screens, “paradoxically, one advantage of radio is that it is not accompanied by the image”, noted the UNESCO Courier in the editorial of its February 1997 issue devoted to radio.

This message is just as relevant today. “The chief quality of the TV image — that it seems so realistic — is actually its main flaw because it inhibits our imagination and our capacity to stand back and think,” the editorial continues. “We shall always need sound without image as part of our right to interpret for ourselves, as we tune in to the morning news, the meaning of world events.”

This article first appeared in the UNESCO Courier.

The post World Radio Day: Radio Is “Stronger and More Vibrant Than Ever” appeared first on Radio World.

The National Association of Broadcasters is closely monitoring the outbreak of the coronavirus (COVID-19) in China, with an eye toward its potential impact on attendance and exhibitors at the 2020 NAB Show, April 18-22, in Las Vegas.

As of this writing, no exhibitors have pulled out due to the virus; however, NAB is currently reaching out to companies from China to assess their status, said Ann Marie Cummings, senior vice president of Communications for the broadcaster trade association.

According to NAB’s demographic breakdown of its 2019 show, 30% of non-U.S. attendees came from Asia.

This week, several large companies, including Amazon, Ericsson, Intel, LG, Nvidia and Sony, announced they were pulling out of the 2020 Mobile World Congress, April 24-27, in Barcelona due to the risk of coronavirus.

In Las Vegas, the city’s convention bureau has seen no cancellation of trade shows since the outbreak of coronavirus in Wuhan, China, said Erica Johnson, director of communications of the Las Vegas Convention and Visitors Authority. There are 16 trade shows with more than 5,000 expected attendees scheduled for Las Vegas between now and the beginning of April.

As of Feb. 12, the number of confirmed coronavirus cases stands at 45,171 with 1,115 deaths, according to the World Health Organization. NAB is following the advice of the World Health Organization and the Center for Disease Control as it plans its 2020 gathering, said Cummings.

[Coronavirus: ABU Takes “Necessary Precautions” for DBS 202]

“The health and safety of our attendees and exhibitors is our first priority,” and to that end, the association is developing policies and procedures “to combat potential threats and ensure a safe and productive environment for all,” said Cummings.

Possible steps include “enforcing best practices to prevent the spread of flu viruses,” ramped up sanitation efforts and making sure medical personnel are present at the event, said Cummings.

While it is still too early to determine what, if any, effect the virus will have on the show, the trade association is “confident the NAB Show will convene as the world’s largest and most comprehensive media and technology convention,” she said.

“More importantly, our hearts go out to the citizens of China and all who have been directly affected,” said Cummings.

The post NAB Monitoring Coronavirus, Assessing Impact on 2020 Show appeared first on Radio World.

This year, World Radio Day is dedicated to diversity — diversity behind the mic and in the newsroom, diversity in the airwaves’ music and ideas. This focus comes at just the right time. Radio and radio-like audio are poised for growth, so long as they can woo younger listeners by reaching them where they are, via digital products like streams and podcasts.

Radio knows how to create value for listeners and sponsors. Radio is great for discovery, as trusted voices introduce us to new sounds, new artists and new thoughts on cultural or political developments.

New digital platforms and media are inspired by radio’s time-tested formats. Efforts on the part of streaming services to grow their user base, for example, draw on radio’s ideas, linking music, engaging talk, friendly conversation and other elements into personalized radio-like channels. 

PODCASTING

The podcast boom shows that the human element outweighs the algorithm in creating this value for listeners. The majority of broadcasters see podcasting as a good opportunity, one way or another.

We at BMAT see this as one of the largest global monitors of broadcasting for reporting purposes, carrying out 24/7 tracking of around 8,000 channels across 134 countries.

Podcasts offer potential listeners a chance to catch a beloved on-air personality whenever convenient for the listener. Podcasting lets broadcasters expand their offerings, curate experiences for specific audience segments and, importantly, experiment with new sounds, approaches and perspectives. Podcasts are a great springboard for diversity, allowing new voices to find and build an audience. 

We need to nurture these new voices in order to keep radio’s audiences youthful. For music radio in Spain, where BMAT is based, the average age of listeners is 40, which means there aren’t a lot of teens tuning in. Especially in first-world countries where there are so many other options, Gen Z and millennials are elsewhere. They’re still tuning in, still listening, but not as much. Broadcasters need to think about how to engage with these audiences. This doesn’t mean we should abandon terrestrial broadcasts, but instead, we could let new formats cross-pollinate with tried-and-true approaches. 

We need to nurture these new voices in order to keep radio’s audiences youthful.

These approaches endure and can flourish in the future, I believe, because they involve real human connection. Radio is the most widespread medium on the planet, and worldwide, its penetration is still higher than the internet. For many listeners, radio is still the best, if not the only, way depending on their location, to hear new sounds or catch up on news or important issues. 

For me and for billions of other people out there, there’s this feeling when you turn on the radio. You find your favorite station, and you come to trust the person’s taste you’re listening to. It’s a relationship between you and the presenter, a relationship that means something in this era of on-demand audio content. It’s a relationship that’s still going strong.

Jose Torrabadella is VP of broadcast at Barcelona-based BMAT. He works with the monitoring and reporting of song information, duration, audience and context for broadcasts on TV and radio channels across 134 countries.

The post Relationships Are Why Radio’s Future Promises to Be Strong appeared first on Radio World.

Getty Images/askmenow

It is the age-old question: What came first, the chicken or the egg? Arguments can be made for both, so the question remains unanswered, at least in the philosophical sense. But what does that have to do with broadcast radio? In that regard, I suppose we could ask whether the transmitter or receiver came first, and the answer would be that they both came at the same time.

In the early months of this year, we are faced with a similar question: What has to come first for all-digital AM to succeed: a critical mass of HD-Radio capable receivers, or a significant number of stations transmitting in the all-digital mode?

As the FCC considers allowing AM stations to convert to the MA-3 all-digital mode on a voluntary basis, broadcasters are faced with a choice as to which stations it makes sense to convert.

In some situations, the choice would seem to be fairly clear. If an AM station’s programming is 100% duplicated in the coverage area by an FM signal, whether from a sister full-power station or a translator with good market coverage, chances are that the majority (if not all) of the listeners are tuning into the FM signal anyway, and there is no downside to converting the AM to the all-digital mode, at least in terms of audience impact. The all-digital signal will give listeners another high-fidelity means of getting the station’s programming.

But in other situations, there may be some FM duplication of coverage and programming, but is it enough that no listeners are disenfranchised if the analog AM signal goes away? That is a decision that each licensee will have to make; only those who are intimately familiar with the market, their radio stations and audiences have sufficient information to make that determination.

I suspect that this is where the vast majority of AM stations are — in a situation that is anything but clear-cut one way or the other.

WHERE TO START?

Standalone AM stations would seem to be poor candidates for all-digital conversion. If you believe the HD Radio penetration data, that means as soon as the all-digital switch is flipped, at least 50% of the station’s listeners will get nothing but white noise. And while the statistics on receiver proliferation are undoubtedly correct on the whole, I imagine that the real numbers vary widely depending on region, demographics, the local or regional economy and other factors. All this is part of what amounts to a very local decision as to whether all-digital conversion is right for a particular AM station.

And then there is the elephant in the room: cost of conversion. Since the MA-3 mode primary digital carriers fit within the spectrum occupied by the analog signal, it is likely that most stations have sufficient antenna bandwidth to handle the all-digital spectrum.

This is in contrast to the demands of the digital hybrid mode that is authorized at present. A lot of stations that got on that bandwagon had to do a significant amount of work to get their antenna systems in shape to pass the digital sidebands. I did a bunch of those myself some 15 years ago, and it wasn’t easy.

So assuming few or limited antenna issues, all-digital conversion costs are primarily the Xperi licensing, and the signal generation equipment, which can run into the tens of thousands of dollars. Figure in some needed infrastructure changes for many stations and the costs will be even higher. That may not be a huge thing for a fully-duplicated AM in a profitable local cluster, but for the ma-and-pa AM with a translator in a small market, it may be a deal killer.

And that brings us back to the “what comes first” question.

SO MUCH NOISE

As Ben Downs so eloquently argued in his petition for rulemaking that eventually resulted in the all-digital AM NPRM, the AM broadcast medium is in trouble. In decades past, the issue was interference. In the here and now, it is man-made noise. The interference issue remains, but in many cases it is eclipsed by the noise problem.

The interference issue is, if you will pardon the pun, static (the adjective, not the noun). By and large, other than as a result of normal ionospheric variations, interference for a particular station’s signal is what it is … and what it was. The FCC’s rules and international treaties tend to keep interference from increasing significantly beyond current levels.

Many modern transmitters are all-digital ready.

But the noise problem, now that’s anything but static. It is ever increasing. I encountered an excellent example of this at my home a few months ago.

I began experiencing a lot of new noise on the AM band as well as on the lower HF bands. The noise produced such a roar that I could not listen to any AM signals at home without at least some underlying noise. The big 50 kW signals were at least listenable, but they weren’t clean. Lower-powered signals were completely unlistenable.

I tried everything I could think of to track down the noise source without success, walking around the house with a battery-operated portable radio, listening for an increase or decrease in the roar as I moved from room to room. The noise seemed to be ubiquitous. I eventually concluded that it must be coming from my neighbor’s solar charge controller or inverter.

Then one day, I happened to have a radio on when I turned off the switch for the front exterior lights. We normally leave those lights on all the time, but for some reason I turned them off that day … and instantly the noise disappeared! AM reception was clear and clean, and the S-9 noise floor on the 80, 60 and 40 meter bands dropped to S-2! I turned the exterior lights back on, but the noise remained gone.

I left the lights on, thinking that the noise would eventually come back and I could investigate further, but it never did. And then later that day, as I was backing the car out of the garage, I noted that one of the front exterior lights was out. I opened the fixture and looked at the LED bulb, and I found it discolored. Clearly it had been hot. Most likely it had been arcing internally, and when I turned off the switch, the arc extinguished, and the spacing was sufficient that it did not return when I turned the circuit back on. I replaced that bulb with a new GE LED bulb, and all was well. Still no noise.

The point here is that what happened at my house with one noisy LED bulb (in a house that has 100% LED bulbs) happens all the time in other homes and businesses. It may not be an LED bulb. It may be the motor controller in a high-efficiency HVAC unit. It may be the microprocessor in a washing machine or refrigerator. Or it may be solar charge controllers and inverters. Each noise source adds to the RSS interference level at every receive location, and as more and more devices are added, the noise floor goes up and up and up. Each device is okay by itself, but each one adds to the total.

LET’S GET MOVING

At this late date, I daresay that there is nothing that can be done about the noise issue. That train left the station a long time ago, and there is a lot of momentum. In my opinion, this noise issue spells doom for most of the AM broadcast medium. Only the strongest stations that produce a field of 10 mV/m or more throughout the coverage area have a chance at survival.

This is where all-digital comes in. It has a demonstrated immunity to noise. It’s not a panacea, but it does perform well in our 21st century noisy environment.

So I’m going to go out on a limb here and agree with proponents that if AM is to survive for the long term, it has to make the jump to all-digital.

But what comes first? Do we wait for a critical mass of receivers before making that jump, or do we go now? Do we drive the demand for digital receivers by going all-digital now, or is that a pipe dream? Or … is it way too late for any of this, making this a pointless discussion?

I don’t have a Magic 8-Ball that I can shake and get answers, but I do believe that the AM broadcast medium has both value and a future — if we get moving now, in at least a limited way, with conversion to the noise-immune all-digital MA-3 mode. Receiver proliferation will independently continue, driven by the auto industry and FM. AM can ride that wave. But if the AM medium dies while we wait … well … it won’t much matter if there are plenty of digital AM capable receivers out there.

It’s certainly something to think about.

Watch a Radio World webcast about all-digital on the U.S. AM band on Feb. 19. Info is at https://tinyurl.com/rw-sunrise.

Cris Alexander, CPBE, AMD, DRB, is director of engineering of Crawford Broadcasting Co. and technical editor of RW Engineering Extra. Email him at rweetech@gmail.com.

The post Is the Time Right for All-Digital AM? appeared first on Radio World.

Asia-Pacific Broadcasting Union (ABU) Director of Technology & Innovation, Ahmed Nadeem, said in a statement that, despite the Coronavirus outbreak, the organization plans to go ahead with DBS 2020.

Nadeem reassured industry professionals the union is “monitoring the situation and following guidelines from local authorities and agencies.” He added that it is “taking all necessary safety precautions to create a safe environment for all concerned.”

SPECIFIC MEASURES

A few of the actions the organization is applying include working closely with Hotel Istana Kuala Lumpur to ensure specific safety measures; increased disinfection across all high-volume touch points (e.g. catering areas, surfaces, handrails, WCs, entrances/exits, public touch-screens); availability of hand sanitizer around the event and main entry-exit points; and signage onsite reminding attendees of hygiene recommendations.

In addition, he emphasized that organizers would implement a “microphone disinfecting and change protocol” for all speakers. They are also encouraging a “no-handshake policy” for attendees and will provide advice to exhibitors on effective cleaning and disinfection of surfaces within their stands as a means of prevention.

Nadeem also pointed out that the hotel has devised a special protocol for anyone feeling unwell and that the hotel’s chief safety officer will be on hand to provide assistance to anyone who needs medical attention.

“We will continue to monitor the situation following the guidelines from local authorities and take the necessary precautions for the safety of everyone involved,” he said. “While we note that a few exhibitors and participants have informed us that they will not be able to join due to travel restrictions and advisories, we highly appreciate their support and continued partnership.”

According to the ABU, the following sponsors/exhibitors have withdrawn from the event for health and safety reasons: DVB, Elevate Broadcast, Eutelsat, Sony, LS telcom and Rohde & Schwarz.

The post Coronavirus: ABU Takes “Necessary Precautions” for DBS 2020 appeared first on Radio World.

A new Raspberry Pi project, six basic audio measurements and Ben Dawson on collocating your AM with a cell tower. All those stories and more are among the technical topics ready for your perusal in the latest edition of Engineering Extra.

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

DIGITAL RADIO
Is the Time Right for All-Digital AM?

Cris Alexander, our technical editor and one of the industry’s most respected engineers, weighs in on this timely question.

BAKING WITH PI
Get Email Alerts From an RFEngineers Watch Dog Receiver

Ain’t projects like this fun?

ALSO IN THIS ISSUE:

• Collocating AM Transmitter Facilities With Cellular Monopole Towers
• Introduction to the Six Basic Audio Measurements
• Be Smart When Thinking About UPS

The post Inside the Feb. 12 Issue of RW Engineering Extra appeared first on Radio World.

The Federal Communications Commission said it needs $481.59 million to conduct its operations next year, up just 0.3% from the current fiscal year and reflecting an expected boost in revenue from spectrum auction fees. Among the notable lines items in the Fiscal Year 2021 budget plan that the FCC unveiled on Monday (Feb. 10) was a $134.5 million request for spectrum auction authority, an increase of nearly $2 million (about 1.5%) from the current year.

The FCC’s 2021 budget request coinciding with the release of the White House’ $4.8 trillion proposal to Congress for next year’s spending plan. The administration’s plan includes increased funding at Commerce Department agencies to accelerate 5G and artificial intelligence.

As part of its budget proposal, the FCC listed four “strategic goals for 2021,” starting with objectives for “Closing the Digital Divide” and “Promoting Innovation.” Its goals also include “Protecting Consumers and Public Safety” and “Reforming the FCC’s Processes,” which it defines as efforts to “modernize and streamline the [agency’s] operations and programs.”

[Read: FCC Proposes Record-breaking Forfeitures to Pirate Radio Operators]

Overall, the FCC said it will conduct its business with the same staffing level (1,448 people) that it currently employs. It broke out its proposed budget levels for major bureaus and operations as follows:

As for its primary strategic goal (closing the digital divide), the FCC said it will “develop a regulatory environment to encourage the private sector to build, maintain, and upgrade next-generation networks so that the benefits of advanced communications services are available to all Americans.” It vowed to “employ effective and efficient means to facilitate deployment and access to affordable broadband” where the business case for infrastructure investment doesn’t exist.”

Counting On Auction Revenue

The commission pointed out that its to-date auction program “has generated over $117 billion for government use” at a cost of “less than $2.1 billion or 1.7% of the total auctions’ revenue.”

The budget plan cited the Trump administration’s legislative agenda items “that pertain to the FCC” and “are designed to improve spectrum management and represent sound economic policy.” In particular, it points to plans for “new authority to use other economic mechanisms, such as fees, as a spectrum management tool.”

“The FCC would be authorized to set user fees on unauctioned commercial spectrum licenses based on spectrum-management principles,” according to the 163-page FCC budget document. “Fees would be phased in over time as part of an ongoing rulemaking process to determine the appropriate application and level for fees. Fee collections are estimated to begin in 2021 and total $4 billion through 2030.”

The commission explained that it needs funding at the requested levels “to continue post-broadcast incentive auction (BIA) work related to repacking and reimbursing broadcasters and MVPDs [multichannel video programming distributors] for their relocation costs to implement the results of the BIA, as well as expand that program to include new requirements included in the Reimbursement Expansion Act.”

It also said that the funding level will “improve its auctions program infrastructure in preparation for future auctions” and thus help it to conduct additional auctions to make more spectrum available for next-generation wireless services.” It also cited the need to implement RAY BAUM’S Act (Repack Airwaves Yielding Better Access for Users of Modern Services) of 2018, which will make more spectrum available for mobile and fixed wireless broadband.

Preparing for HQ Move

The FCC confirmed that it intends to move to new headquarters at 45 L Street NE (north of Capitol Hill) in June of this year, as authorized in previous budgets. The cost of the move (about $68 million) will come from “both regulatory fees and auctions program funds.”

Separately, the Department of Commerce section of the White House budget plan singles out the National Telecommunications and Information Administration, allotting it $25 million “to modernize spectrum management systems,” and thus enable the U.S. “to more efficiently satisfy industry’s need for additional spectrum and preparing the nation to transition to 5G.”

NTIA’s sister agency within DoC, the National Institute of Standards and Technology (NIST) will be allotted $718 million “to advance U.S. innovation and technological development” as part of an “all-of government approach” to establish U.S. leadership in next generation communications (especially fifth generation 5G) wireless, artificial intelligence and advanced manufacturing. This sum doubles NIST’s prior AI funding “in order to accelerate the development and adoption of AI technologies.”

 

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Satcaster SiriusXM continues to explore other areas of media. This time it has announced a $75 million investment in audio portal/platform SoundCloud.

According to a release, “SoundCloud will use this additional investment to accelerate its product development and enhance the services that fuel its global community of creators and listeners.”

SoundCloud in the past has worked with internet audio streamer Pandora, a subsidiary of SiriusXM.

SoundCloud Chief Executive Officer Kerry Trainor said, “We’ve built a great relationship with SiriusXM through our highly successful Pandora ad sales agreement, and their investment gives us added capital flexibility to accelerate our vision and take advantage of strategic opportunities as they arise.”

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(L–R) Frank Montero, Joel Oxley and Paul McLane.

The American Academy of Radio is celebrating this week’s World Radio Day (Feb. 13) by naming WTOP in Washington, as the first U.S. station to receive its World Radio Day Award.

The award was presented Tuesday to Senior Vice President and General Manager Joel Oxley at WTOP’s new studio facility by two members of the jury, Frank Montero, an attorney with Fletcher, Heald & Hildreth, and Paul McLane, the editor in chief of trade publication Radio World.

Other jury members included Heather Cohen of the Weiss Agency, Michael Harrison of Talkers Magazine, longtime broadcaster Bob Kieve, consultant Mike McVay, Deborah Parenti of Radio Ink and Paul Rotella of the New Jersey Broadcasters Association.

The announcement was made by Jorge Álvarez, president of the Spanish Academy of Radio, whose advocacy for World Radio Day helped prompt U.N. recognition of the day. The date of Feb. 13 was settled on because it also marks the anniversary of the founding of United Nations Radio in 1946.

WTOP is Hubbard Radio’s all-news flagship station in Washington, which is Nielsen Radio Market #7. Five million people age 12+ live in the metropolitan area. The city is a globally important national capital and a vibrant local media market, with crowded suburbs and a city government and two state governments to cover; a severe traffic situation; variable weather; and a vibrant pro and college sports environment. WTOP is one of the most recognizable media brands in the city and is also the top-earning commercial station not only in Washington but in the country, according to BIA Kelsey.

[Related: “World Radio Day Organizers Raise U.S. Profile”]

World Radio Day was adopted in 2012 by the United Nations General Assembly, highlighting radio as “a powerful medium for celebrating humanity in all its diversity [that] constitutes a platform for democratic discourse,” according to a UNESCO website.

In making the presentation, McLane said WTOP was chosen in part for its notable success at building and sustaining a media business around core concepts of localism and service to a specific and unique marketplace of listeners.

Last year’s recipient of the award was Gordon Smith, president/CEO of the National Association of Broadcasters, recognizing Smith’s help in establishing World Radio Day.

All radio stations can find assets to celebrate World Radio Day at its UNESCO website.

Watch a short video message about radio from the U.N. Secretary General António Guterres.

 

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The author is field service engineer for Wheatstone, Audioarts, and PR&E products.

I’m often amazed at what engineers will do to keep older consoles on air.

If you’re currently supporting analog and/or digital consoles designed in the 1990s and the aughts (2000-2009), I don’t need to tell you of the challenges! Here are five proven steps for transitioning your facility to AoIP, whether that takes place this year or next.

Richard Maddox

STEP 1

Convert Existing Wiring One Device at a Time

Almost all new between-equipment wiring uses unshielded CAT5e or CAT6 cables. It’s possible to use these two CAT cables, which have identical specs for our usage, to connect analog audio, AES-3 audio, AoIP audio streams, ethernet for KVMs and VoIP/SIP phones as well as your facility’s LAN connections.

CAT6 has a thicker sheathing and tighter twists in its four wire pairs than CAT5e. This makes it more resistant to crosstalk but also slightly harder to handle. Many broadcasters have standardized on using UTP (unshielded twisted pair) CAT5e as their interconnection cable of choice.

A typical AoIP configuration showing all sources available to console surfaces and devices.

When moving to category cables to connect up just about everything, there are two main approaches. Either buy pre-made “patch cables” in various common lengths like 6-foot, 15-foot, 25-foot, etc. Or buy reels of raw CAT5e cable and bags or boxes of RJ45 plugs so you can create your own custom-length cables. It really boils down to how much time you have and how much you like crimping RJ45 plugs onto cables.

Since the IT industry uses CAT5e and CAT6 cables by the truckload, the price for category cabling and plugs means your cabling cost (whether making custom length cables yourself or using off-the-shelf “bagged” cables) is a fraction of what it would be to run shielded balanced audio cables around your facility.

STEP 2

Adapt, Adapt, Adapt

Most audio and broadcast equipment has not transitioned to adding an RJ45 jack for their analog or AES signals, therefore you’ll still need XLR or TRS plugs on your cables. This means you’ll need to terminate your CAT5e cabling at one end to something other than RJ45. You could solder the plugs directly to the category cable wire pairs, but that’s messy and time-consuming.

An easier solution that will cost about US$20 (approximately €18) is to use RJ45-to-XLR and RJ45-to-TRS adapters to connect new equipment using CAT5e without having to solder anything.

RJ45 adapters are available for just about every connector type, but not for the AMP MOD IV plugs used since the mid-90s on all PR&E consoles (except Oasis). No one makes an RJ45-to-MOD IV adapter, but there are RJ45-to-pigtail adapters, so with a bit of hand crimping of the MOD IV terminals onto the pigtails, you can roll your own MOD IV-to-RJ45 adapters.

By the way, it’s possible to repurpose any custom MOD IV adapter you make later as an RJ45 adapter for a satellite receiver or other equipment using D-sub and other non-standard jacks.

STEP 3

Add I/O Devices

You’re likely already familiar with the concept of distributed I/O, where one “I/O interface box” is mounted in each rack to connect all the equipment within that rack. Each I/O box then connects to a main router using a single CAT5e cable.

An AoIP system is configured in much the same way. For example, a WheatNet BLADE is an AoIP I/O box with eight stereo inputs and eight stereo outputs on RJ45 jacks to connect local signals.

The BLADE then connects, again using a CAT5e cable, to a gigabit Ethernet switch to network it with the other BLADEs in the system. So any discrete local input can be streamed to any other BLADE or console in the plant, and any other system signal can be streamed to any local output on that BLADE.

If you have a VistaMax system, or any brand of TDM router, with some spare I/O (like eight unused AES ins and eight AES outs), then you’re prepared to begin the transition to AoIP. Connecting that spare AES I/O to an AES Blade (using 16 CAT5e cables) means you now can convert one or two studios to AoIP consoles while continuing to use your existing router.

These eight “tie lines” allow signals from the new consoles (PGM, bus-minus, etc.) to feed the existing router, and the router system to send common signals like off-air-tuners, EAS, satellite feeds, hybrids, etc. to the AoIP consoles. A couple non-dedicated tie lines allows users to change signals from one system to the other as necessary.

AoIP Advocates Snag Technical Emmy

STEP 4

Add An AoIP Console or Two

It doesn’t have to be all or nothing. Adding an AoIP console in the main studio, for example, offers a world of features, like source selection, bus-minus, and audio processing on every fader, which were not available on any twenty-year-old console. AoIP consoles typically cost about the same, or even less, than a 20-year-old console did when new. For example, you can obtain an eight-channel AoIP console like the Audioarts DMX for under $8,000 (about €7,250), pretty much the price for a NetWave-8 console from the early 00s.

STEP 5

Plan for Obsolescence

An analog exit strategy is crucial, whether you can do it all at once in a complete studio rebuild, or by updating one studio at a time.

Start by looking at all the activities that take place in your facility. Consider how you feed your air chain and your internet streams. Just about everything can be simplified by moving to AoIP. For instance, what type of playback system are you using? If it supports AoIP streaming, then you can kiss your audio cards and Bob boxes good-bye forever.

Same for your VoxPro and other PC-based audio editors. When you move to AoIP, it’s possible to network each server and PC that handles audio directly into the AoIP system. To do this, use a dedicated NIC and one CAT5e cable. There is no other hardware necessary beyond an available port on a network switch. Once you make the switch to AoIP, you open up so many other doors.

Adding appliances like the PhoneBLADE allow you to integrate your VoIP phone system into your AoIP system. Other AoIP appliances, like StreamBLADE, give you the codec and processing tools for managing multiple streams. Still other appliances can extend AoIP beyond the studio so you can connect with other studios or remote locations.

Even if you can’t jump into AoIP with both feet, taking these steps will give you some, and eventually, all the benefits of an AoIP facility.

Richard Maddox joined PR&E in 1993 as their Digital Product Specialist, with later stints in the Engineering, Systems Design, and Customer Service departments. When Wheatstone purchased PR&E assets, he joined Wheatstone to continue supporting legacy PR&E products. He now supports the full line of current Wheatstone-designed products from his location in Southern California.

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