Radio World

StreamS has introduced its new IOdigi2X/IOdigi8X audio interfaces. Currently available, the AES digital I/O USB interfaces can provide a XMOS-based AES digital audio interface to Apple, Linux, MSFT and all mobile operating systems.

They are USB Audio Class 2-compliant devices that use native system drivers, eliminating proprietary driver installs. A free, custom Windows Driver with advanced features is available as well.

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

This is the easiest way to get pristine digital audio in and out of Windows, MacOS, iOS, iPad OS, Linux and Android computers, the company says.

StreamS IOdigi2X is a stereo synchronous device and can use either an internal or external clock. Sample rates from 44.1 kHz to 192 kHz are supported. It can be used for any audio record/play application, and for test applications. This includes AES FM MPX radio applications, digital audio workstations, streaming audio encoders, SIP applications and audio analyzers.

Meanwhile, the StreamS IOdigi8X is a multichannel asynchronous device allowing more flexibility with sample rate converters on all four inputs. It can be used as a four-stereo input and output device for stereo 2.0, or as a single multichannel input and output device for surround 5.1/7.1. Input sample rate converters allow it to interface to any digital audio source from 44.1 kHz to 192 kHz.

StreamS IOdigi2X/8X uses a XMOS xCORE audio engine, and is thought to be suitable for pro audio, broadcast, netcast and consumer applications.

Info: www.streamindex.com

 

The post StreamS Unveils IOdigi2X, IOdigi8X Audio Interfaces appeared first on Radio World.

Jodeane Brownlee

While we live in uncertain times, one thing is certain; the students at college radio station MavRadio.FM KVNO 90.7 HD2, based at the University of Nebraska, Omaha, have shown they can learn, be innovative and adapt to the challenges presented by COVID-19. Radio World spoke with Jodeane Brownlee about the college radio station and its operations during COVID-19. Brownlee is the faculty advisor for MavRadio.FM KVNO 90.7 HD2, a lecturer, a faculty advisor of Women in Media and executive producer of “The Omaha News.”

Radio World: Please describe your media operations, including the physical plant. How many studios, and how are they equipped? Where is the transmission facility; how is it equipped?
Jodeane Brownlee: The radio station is on campus and is adjacent with two teaching labs and an area that houses the “whisper room.” This is a production area where students and faculty [produce] their voiceovers for radio, television and creative productions. The studio has four microphones to accommodate guest and live artists.

RW: Who makes the executive decisions for the station? What role do the students have in station operations?
Brownlee: At MavRadio.FM, we have a volunteer staff. Depending on the semester, and how many students are involved, we have a general manager, operations manager, production director, music director and sports director.

RW: Are students on campus now or learning and operating remotely?
Brownlee: Students are still on campus for their shows and specialty programs. We celebrated World College Radio Day with one live host at a time, but all the interviews were voiced tracked. This turned out to benefit the program as we simultaneously aired the interviews on our podcast, YouTube, Facebook and Twitter.

We also have two more live, specialty shows in October. Because we are limited to the number of students in a single room, our staff meetings have all been via Zoom. Sports have been another Achilles Heel. We’ve had none so far this semester, and our athletic department is in the early stages of planning basketball and hockey tournaments. It’s been challenging to plan, that’s for sure. In the meantime, we’ve worked with our state association to call high school playoffs and championship games.

The other issue I see is trying to cover all the sports this spring. From the sounds of it, we will make-up all fall sports as well as continue with spring sports. Honestly, I don’t know how we can do it all! But, we will. I have the best staff I know!

RW: Is the station currently on the air? What means and products (software or hardware) are being used?
Brownlee: MavRAdio.FM KVNO 90.7 HD2 has stayed on the air via RCS NexGen automation software.

RW: What impact has COVID-19 had on the station? Challenges due to social distancing?
Brownlee: The biggest challenge for our staff is the fact that we can’t have meetings on or off campus with more than 10 students. Typically, we spend several hours a week together working on production, music, sports and overall planning. The simple fact is it’s far more challenging to work as a team in this environment. However, the safety and well-being of our staff, faculty and students is our number one goal.

RW: If the students are operating remotely, how are you making that happen? Can you give examples?
Brownlee: Last spring, our students lead a two-hour Earth Day special on Earth Day. We did this via Zoom and it was fairly impressive. We had two hosts, and 10 reporters. Those reporters put together voice packages with interviews, research and natural sound. Because we were in lockdown, all of us were relegated to our homes, which was the essence of what was happening to everyone. It was impactful and innovative. There was some post editing involved as the stories and some graphics had to be incorporated later, but it looked great on YouTube and the audio worked well for our podcast audience.

I mentioned World College Radio Day earlier, and we plan to use the same format for our Haunted Heartland broadcast Oct. 29. We’ll have two hosts, in studio, and a producer. The reporters will be on the scene, normally in small groups, for their live remote. This year, however, we will send reporters out alone and shorten the broadcast from three hours to two.

We also have a 24-hour marathon Oct. 28–29 for a fundraising event. The plan is three-hour shifts with a single jock. We’ll also utilize social media for this. In fact, social media has given us the power to stay relevant and in front of our audience.

We’ve also had a sports team cover our professional league soccer games (Union Omaha). They recently traveled to Wisconsin, from Nebraska, for the championships. Again, the important aspect is giving the students experiences in the face of the pandemic.

RW: Is there anything else you’d like our readers to know?
Brownlee: College radio is more viable and relevant than ever. With social media platforms, the voices can compete with other influencers. It’s not “should” college radio be on social, it’s a “must.” Reporting must be local, vigorous and objective in a world of conglomerates, retweets and bias.

 

The post College Media Spotlight: University of Nebraska, Omaha appeared first on Radio World.

In this issue we learn how Jim Dalke and Stephen Lockwood are co-locating an AM station’s facilities with a cell tower. Hal Kneller describes the creation of a unique quasi-SFN using GatesAir Intraplex gear. And Buc Fitch helps you build an unbalanced-to-balanced converter.

Read it online here.

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

Project Journal

Co-locating an AM With a Cellular Tower

Jim Dalke, the owner of KARR, and Stephen Lockwood of Hatfield & Dawson obtained a construction permit to install a slant wire-fed cellular monopole.

From the Editor

Does Your Site Have Good Bones?

Cris Alexander has seen a few ugly things when conducting due diligence visits, such as transmitters with their side and back panels removed and interlocks jumpered out so that lethal voltages are exposed. How would your site shape up?

Also in this issue:

• Hybrid Synchronization in the Sunshine State
• Repack Impact: How Has It Affected Wireless Mics?
• Build an Unbalanced-to-Balanced Adaptor

 

The post Inside the October 21st Issue of Radio World Engineering Extra appeared first on Radio World.

An example of a site that is designed, built and maintained well. Often, broadcast transmitter sites are anything but.

From time to time, my travels take me to transmitter sites of radio stations that are not part of our company, because I have been asked to come in and do some antenna work or perform a due diligence inspection.

Some of these sites are designed, built and maintained well, a credit to those responsible.

Other times, sadly, what I find is anything but.

Many of these facilities are run down, overgrown and infested with insects and rodents. Some are downright hazardous to be in or even around.

The list of issues can be quite long, including weeds, brush or even trees grown up in the tower base areas; base fencing that, if it exists at all, is damaged or deteriorated; transmission lines falling off the ice bridge or supports; tower paint that has faded far out of tolerance and/or is flaking off; infestations of mice and other rodents in transmitter building and equipment; evidence of snakes, spiders and flying, stinging insects in residence … and on and on.

Sometimes, the equipment and facility wiring is in bad shape.

I see electric panels with the covers removed and wiring exposed, audio and remote control wiring is hanging loose with connections twisted together. I’ve seen transmitters with side and back panels removed and interlocks jumpered out so that lethal voltages are exposed. I’ve seen phasor cabinets with their doors removed and RF components exposed for anyone to touch.

How does this happen?

STATE OF DECLINE

Sometimes the answer is obvious. The station is in a state of decline, barely hanging on in a small community with little business and competition coming from several other directions. In those cases, there’s often no money to spend on maintenance, and the situation becomes one of self-perpetuating decline.

Other times it’s not so much a matter of money as of resources. A solo engineer, employee or contract, is stretched between many facilities, oftentimes scattered over a large geographical area, competing for attention and each receiving very little.

And sadly, at times it is what I would characterize as indifference. A person charged with the care and feeding of the site or station just doesn’t care and does the bare minimum to get by. The station is on the air, and nobody sees the transmitter site but the engineer; so no one is the wiser that there are big problems there resulting from neglect or worse.

Fortunately, these situations are by far the rare exception, but they do exist.

In a lot of cases like those I’ve described, the bones of what used to be are still visible.

At one time, it was a very nice, well-engineered facility that was undoubtedly well maintained, the pride and joy of the engineer given charge of it.

And unless there are structural or other issues that go beyond cosmetics, there often is hope for such a run-down and neglected facility. It may never shine as in its glory days, but it can be a safe, functional, well-maintained, reliable transmitter site.

STATE OF HEALTH

There’s a psychological element to such a situation that goes well beyond the physical condition of the site.

[Read more articles from award-winning engineer Cris Alexander.]

The worse shape a facility is in, the harder it is for even the most dedicated engineer to gin up any level of concern. It looks hopeless, so in his or her eyes, it really is. At some point, the roof will fall in and nature will reclaim the place, leaving little or no trace that it was ever there… or so it seems.

But clean the place up, plug the holes, remove the critters and their leavings, and that same engineer starts to feel better about the place, becoming hopeful. Maybe he or she even begins to take pride in it.

In years past, an FCC agent in charge of a western field office was the self-described “master of the ten-minute inspection.” He was a great guy, super to work with and always helpful and courteous.

If he walked into a transmitter site and found it clean and well-maintained, he wouldn’t look very hard for minutia or hidden violations. It was his view that if the company and engineer in charge cared enough to keep the place clean and maintained, it would very likely be in compliance with the rules.

He was right. While I can’t speak for current district Enforcement Bureau people, who might not admit to it anyway, I suspect they would agree.

So there may be another benefit to sprucing up a run-down site.

I mentioned the self-perpetuating nature of neglect. It also works in the other direction, although it requires some input of energy. If a facility is in good shape, most engineers will want to keep it in good shape or even improve it. We like to feel good about the facilities we maintain; and like it or not, those facilities do reflect on us.

The point is that if you have in your area of responsibility a site that is in some state of neglect or deterioration, you can very likely reverse it, without spending a lot of money. That reversal will pay big dividends, both in your own attitude, in the longevity and reliability of the facility and even in the sound and performance of the transmitter signal.

Start with a “to do” list developed by taking an objective walk-through of the site. What are the problems and issues?

Take the list and prioritize it logically. For example, if there is a rodent or insect infestation, first figure out where/how they are getting in and deal with that before you start to work cleaning up the rodent or insect mess or you’ll have to do it twice.

A good trick is to go to the site at night, and turn on the lights inside the building, tuning house or ATU. Then go outside and shut the door, with all outside lights off.

Wherever you see light escaping, even a pinhole, is a potential entry point for critters and bugs. Of course there may be entry points beneath, perhaps at a conduit or telco cable entry penetration where the light trick won’t help you, but those should be readily identifiable.

Plug the holes, then suit up (Tyvek suit, gloves, mask and eye protection) and start cleaning. Remove the bigger stuff by hand, then use the shop vac, then go to (safe) solvent cleaners/disinfectants and paper towels.

The work may take some elbow grease, but when you’re done, you’ll be amazed how much better the site looks and feels!

After that, focus on prevention. I’ve found mothballs help keep the critters away (they help keep me away, too, but it’s a small price to pay). Clear vegetation from the building or ATU cabinet, and put out an insecticide barrier, replenishing it regularly. An herbicide can also be applied to keep vegetation from growing back up close to the structure and providing critters a close-by habitat.

A lot of sites, both AM and FM, have good bones. Even if they have fallen into neglect, they can often be restored to a condition that an engineer can be proud of, despite the equipment being decades old. In most cases, the result is well worth the effort.

Cris Alexander, CPBE, AMD, DRB, is tech editor of RW Engineering Extra. He is the director of engineering for Crawford Broadcasting.

The post Does Your Site Have Good Bones? appeared first on Radio World.

A new audio play called “Phantom Power: A Brief History Of The Ghost In Our Machines” will be performed live online during the AES Fall 2020 Show to celebrate the 100 anniversary of commercial radio broadcasting in the U.S.

All those cryptic buzzes and beeps your engineer has been hearing over the years may be coming from a mysterious source.

Maybe it’s the “Phantom Power.”

That’s the amusing scenario being proposed by an audio play called “Phantom Power: A Brief History of the Ghost in Our Machines,” which will be performed live online on Oct. 29 during the AES Fall 2020 Show. Group-produced by the HEAR Now Festival, Soundbooth Theater and SueMedia Productions, this original audio play was created to celebrate Radio@100, the 100th anniversary of commercial radio broadcasting in the U.S.

[Read: AES Show to Look at Podcast Studios]

The backstory: Exactly 100 years ago — on Nov. 2, 1920 — an audio engineer was trying to get the very first commercial broadcast on air. Somehow, his work ended up pulling him into the machine itself and he found himself trapped forever in the radio waves. This engineer, nicknamed Phantom Power, spends the next 100 years fighting off the ghosts that live in the machines — and all those cryptic buzzes and beeps — and trying to get free.

When the play’s story begins, it’s the year 2020. It’s Halloween. And strange things are beginning to happen at the fictional radio station WDMB.

The ghostly hero, Phantom Power, begins to make his presence known at WDMB. A few days shy of the 100th anniversary of commercial radio broadcasting, the ghosts that live in the machines — that only Phantom Power can defeat — begin to appear. The morning show team at WDMB, who have since March 2020 been quarantining together at the studios while continuing to broadcast, begin to reminisce. They ruminate about broadcast history and previous technology, and in doing so acknowledge all the accomplishments that have come before them — of the engineers, DJs and producers that have curated and cared for radio over the last 100 years.

The idea for this production came about when producer Sue Zizza of SueMedia Productions was asked by AES Broadcast Chair David Bialik to create a special event to celebrate the 100th anniversary of commercial radio. Zizza has been producing special educational and performance events for the AES Broadcast Track, which has been a staple at the AES annual convention, since 1997.

After an email exchange with Ralph Scott, the public relations chair for the HEAR Now Festival, the team brought in audio playwright Butch D’Ambrosio to create a play that looks back on commercial radio’s rich history. This is familiar territory for D’Ambrosio” At last year’s AES show, D’Ambrosio wrote “An Intimate Evening with Tesla and Twain,” an audio performance about Nicola Tesla and Mark Twain.

This year’s production differs from other live audio productions in part because it creates the impression that the audience is together in the same room, Zizza said. “Working with Soundbooth Theater has made this production feel as if we are together in the theater or studio,” she said. “This past June, when HEAR Now went virtual and took the festival completely online, we found that Soundbooth had been experimenting with live performance and had found ways to minimize latency issues that can defeat many ‘zoom performance’ events.”

Jeff Hays

The production features cast members Jeff Hays, founder of Soundbooth Theater, as well as actors Gary Francis Furlong, Annie Ellicott and Laurie Catherine Winkel. Soundbooth’s Ahmed Mahmoud will be engineering the live performance using a variety of software including StreamYard and Steam Deck. David Shinn of SueMedia Productions is the event’s technical director, who will ensure the performance’s web stream will be accessible to AES attendees. HEAR Now intern Rory Stevenson has created the prerecorded sound effects.

By honoring radio’s past, Zizza said, today’s radio professionals can be a better shepherd in the future.

“We should appreciate those who came before, their inventions, and the time they invested to give us the ability to reach each other over the airwaves,” she said. “If we continue to honor the past, we will get to create the future and the next 100 years of broadcasting, wherever that leads.”

Those interested in listening in to “Phantom Power” can register for the AES event here.

 

The post Watch Out! The “Phantom Power” Is Coming this Halloween Season appeared first on Radio World.

A rescue mission unfolded on the afternoon of Oct. 20 as three maintenance workers ended up trapped high up on a television tower in the Elsanor/Rosinton, Ala.,  area. It unfortunately ended tragically, with the death of one of the workers, according to the Baldwin County Sheriff department.

According to WPMI(TV), the local NBC affiliate, the workers had climbed the tower, which houses the antenna for WJTC television and a local radio station, to repair a guy cable as part of an ongoing maintenance project. Witnesses on the ground reported that at about 1,300 feet debris may have struck one of the individuals, with the other two locking in place.

Two of the workers were able to be rescued and sustained nonlife-threatening injuries. The other worker unfortunately died before being brought down.

The maintenance workers were from a company in Texas. No names have been released.

The Occupational Safety and Health Administration is investigating the incident.

For more information, read coverage on myNBC15.com.

The post Alabama TV Tower Accident Results in One Death, Two Rescues appeared first on Radio World.

For the first time in the last six years — since Edison Research study began tracking audio consumption as part of its Share of Ear measurement efforts — podcasting’s share of all audio listening has hit a new all-time high.

The findings were revealed at the Podcast Movement virtual conference in a keynote address by Edison Research Senior Vice President Tom Webster. The latest findings show that the share of time that Americans age 13 and older spend with podcasts as a percentage of all their audio listening has tripled to 6%, up from 2%, in 2014.

[Read: Listening Is Shifting Back to the Car]

“Podcasting has become the greatest companion medium,” Webster said. “Not only can you take it with you while you do other things, but we also see people turning to podcasts for a sense of community and connection during a very stressful time.”

The growth in podcast listening has been steady according to Edison’s research over the last six years. In the Share of Ear report released in Q3 of 2018, podcasts had risen one percentage point over the previous four years to 3%. That report revealed that large chunks of listening time were allocated to other channels like YouTube (11%), streaming audio (14%) and AM/FM radio (46%). In the two years since the 2018 report, listening levels for podcasts has risen another three points.

The Share of Ear Report looks at how the average American divides their listening time among the listening platforms — including AM/FM radio, streaming music, owned music, satellite radio and podcasts — and looks at where and through which devices consumers listen to audio.

 

The post Share of Listening to Podcasting Hits All-Time High appeared first on Radio World.

Ken Webb

Editor: I have been a subscriber to your magazine for awhile now and I particularly like the articles and your relevancy. For example your Aug. 19 issue “WWV/WWVH Stand Ready to Fight Global Chaos.” The article mentioned the “mass solar ejections” from the sun.

I was particularly interested in this article because in the late 1960s and early 1970s a “sun-storm” began its peak interference with shortwave communications in the worse way. I remember I could hardly hear WWV with my shortwave receiver.

This activity by the sun discouraged me because I couldn’t hear with my home-built equipment. I no longer found it fun to “work” the 80-, 75-, 40-, 20-, 15- and 10-meter amateur radio frequencies with code or voice.

That was disappointing because at 12 years old I became a ham radio operator (WA2BQM), related here in Newsday a few years ago.

I left off my amateur radio world still with a love for radio and electronics but managed to have a great career as a New York radio personality on major stations in the New York Tri-State area. In 1982 I produced, from my home studio, a weekly international radio syndicated show, “Jazz From the City.” Since 2005 I have held down the morning show on SiriusXM, Channel 49, “Soultown,” 6 a.m.–12 noon Monday–Friday.

I was able to pursue this path because of the technical training I received in my young days as a little 13-year-old ham radio operator. Please read the article and see who took the time with a neighbor’s son to teach this little guy to pursue his life-long love — radio.

I also appreciated the Sept. 2 issue of RW featuring black engineers Tobias Poole, David Antoine and Ben Hill. I too have “pulled many a cable,” “wired and soldered many a wire,” “built many a radio and TV studio and antennas” (including my home studio) so I well-relate to the many challenges that they overcame and still maintained a built-in love for their work.

The post Letter: Sun Storm Influences appeared first on Radio World.

The author of this commentary is media solutions account manager of ENCO Systems Inc.

Artificial intelligence and radio have a long and fruitful road ahead.

We all know AI is used to detect faces in photos and videos — and it’s really excellent at understanding natural language too. Not just the words being said — but who’s saying them, and so much more.

An area we’ve seen dramatic improvements in from AI is Automatic Speech Recognition (ASR), with real-time accuracies now higher than ever attainable before. With products like ENCO’s enCaption (tailored for the radio industry), true speaker independence is achieved, with an on-premises solution that’s fast and reliable.

ENCO’s been crafting ASR products since 2006, and radio automation software for even longer — the marriage of the two is a powerful tool radio stations can use to mine their voice content (live and recorded), to better monetize, repurpose and create.

We even offer solutions whereby you can navigate audio recordings by viewing their captioned words on a screen, enabling you to click on them to navigate through the recording. Say goodbye to laborious and inefficient audio scrubbing!

Indeed, ASR is the key entry point to so many additional methods of analyzing, reporting and even understanding the spoken word.

This is excerpted from “AI Comes to Radio.” Read the free ebook by clicking the image.

ENCO’s enCaption-based ASR and radio tools allow you to deliver the spoken word to your listeners as live text to websites, searchable logs and transcripts, video captions (open and closed), and even captions delivered to car radio head units and streaming endpoints.

The same ASR text can help your producers and writers gain a treasure trove of additional data to work with, to help find nuggets of information hidden deep within their interviews.

Smart AI can help indicate who’s talking and for how long, or even the meaning of what’s being discussed, and where the topic is going.

Interesting things start to happen when you have such voluminous amounts of data. For your ad sales or underwriting teams, an AI can automatically determine where the Live Reads took place, and dump that to an audio clip (and text copy) for later review and sharing.

How about a computer-generated summary of an entire interview, in a single paragraph? AI can help with that, too.

The intimacy of radio suggests AI can never replace humans on the air, since the power of radio and voice needs far more than simple intelligence to be compelling.

But AI’s not just for autonomous vehicles and facial recognition — because when combined with well-designed software focused on the specific workflows of news and talk radio, it becomes an essential tool to aid your creative teams in making sense of your growing content, and gain greater value from it.

This is just the beginning.

The post ASR Is a Key Entry Point for AI appeared first on Radio World.

Congratulations to our colleague Mark Persons for receiving the John H. Battison Award for Lifetime Achievement from the Society of Broadcast Engineers! His latest article is about lightning damage and is featured on page 8.

Also: Best of Show at IBC winners … Laurence Harrison of the World DAB UX Group on the growing role of metadata … Benjamin Lardinoit of On-Hertz on advantages of software-defined infrastructure … and a look at technical gear behind KDKA’s famous first broadcast.

Read it online here.

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

Connected Car

Audi AG Launches Hybrid Radio in U.S. and Canada

Christian Winter wrote his master thesis in 2012 about hybrid radio, so he knows a little about the topic. He explains and updates what we need to know about it as its uptake is spreading.

Audio Gear

TZ Audio Stellar X2 Microphone Shines

This petite cardioid condenser retails for $199.99. Frank Verderosa found its performance remarkable.

Also in this issue:

• Zoom as a Research and Promo Tool
• Metadata: Keeping Radio Strong in the Car
• The Advantages of Software-Defined Infrastructure

 

The post Inside the October 14 Issue of Radio World appeared first on Radio World.

There are about 4,200 FM educational stations in the United States, including Radio Milwaukee. The number may be about to increase substantially.

The FCC is expecting a rush next year when it opens a window for applications for new FM stations on the lower end of the U.S. radio band. So it is planning to cap the number of applications per entity and is asking for comment.

The commission confirmed it will open a filing window for new FM reserved band applications in 2021. Dates will be announced later. The reserved band is 88.1 to 91.9 MHz. Individuals cannot apply for NCEs.

[Read RW’s story this week about this planned window, “NCE Filing Window Likely in Early 2021”]

In a 2007 window, the commission capped the number of NCE FM new station applications per entity at 10. That cap was prompted in part by the massive response to a 2003 FM translator window, in which the commission got approximately 13,000 applications, many from “speculative filers.” The commission ended up getting about 3,600 in the capped 2007 window. It said the cap allowed it “to expeditiously process and grant thousands of applications to a wide range of local and diverse applicants, therefore promoting the rapid expansion of new NCE FM service throughout the country.”

Even though almost half of those 3,600 were mutually exclusive with at least one other application, it said that the cap helped restrict the number of MX applications, including “daisy chains,” situations in which proposals contain service areas that don’t directly overlap but are linked into a chain by the overlapping proposals of others.

Daisy chains are where things get really messy. “Applications for full-service stations present a prospect of ‘daisy chains’ of conflicting applications due to the size of the proposed service areas and the interference protection provided to full-service stations,” the commission wrote. “A limit on applications will reduce the number and complexity of such situations.” It wants to avoid a large number of speculative filings and the potential for “extraordinary procedural delays.”

A window in 2010 didn’t involve a cap but that was for a limited number of vacant allotments on the non-reserved band that had been reserved for NCE FM use, and generated only about 300 applications.

[Read: FCC Nixes Call to Tweak NCE Licensing Rules]

The FCC said it is expecting a lot of interest in 2021 for several reasons: There’s no application filing fee; there are no ownership limits in the reserved band; there has not been a filing window for new NCE FM applications for over a decade; and the commission recently simplified and clarified the rules and procedures including how it treats competing applications.

It invited comment on this cap, and added that its goal is to “give interested parties the opportunity to apply for local and regional NCE FM outlets.” Read the details here.

The number of FM educational stations has almost doubled in two decades, from 2,140 in the year 2000 to just under 4,200 at the most recent count. But if there is a rush of applications, they probably will be focused on smaller markets. John Garziglia, communications law attorney for Womble Bond Dickinson, told RW recently that he expects most new full-service NCE licenses will be awarded outside major urban areas.

 

The post FCC Plans to Cap New NCE FM Applications appeared first on Radio World.

A construction permit for an FM translator in Oregon has been rescinded due to issues of interference.

In December 2017, Bustos Media Holdings filed a construction permit for FM translator station K260DK in Portland, Ore. The Media Bureau established a deadline of Jan.10, 2018 for anyone wishing to file a petition to deny. On Feb. 1 of that year, the bureau granted the application.

[Read: FCC Addresses Reconsideration Petitions on FM Translator Interference Rules]

A month later, the Media Institute for Social Change (MISC) filed a petition for reconsideration saying it had only recently become aware of the application and said the bureau should rescind the application grant because the translator would cause interference to listeners of its station KXRW(LP) in Vancouver, Wash.

To support its claim, MISC submitted maps, studies and lists showing the issues of interference. It included maps of the 60 dBu contours of KXRW and the translator, a map showing 10 listeners of KXRW whose addresses fell within the translator’s contour, a map showing listeners outside of the 60 dBu contour who were predicted to receive interference from the translator, a map showing areas where the translator’s signal would cause interference to the signal of KXRW, a list of KXRW listeners, an engineering statement and declarations from 25 listeners of KXRW.

MISC also asserted that Section 5 of the Local Community Radio Act of 2010 requires the commission to favor LPFM service in this case.

Bustos opposed the petition, saying the petition was not properly verified.

The bureau responded to Bustos and denied its petition. The bureau found no merit to Bustos’ claim that a subsequent Application for Review filed by MISC did not concisely and plainly state important questions of law. It also dismissed Bustos’ assertion that the AFR should be outright dismissed because the AFR was signed by a nonattorney. But that in itself does not violate the rules, the bureau said.

But the full about-face came from the Media Bureau soon after. It agreed with MISC and said it erred by concluding that MISC did not give enough evidence that the translator would interfere with the reception of KXRW by listeners.

The bureau found that the petition did indeed contain “convincing evidence” that the translator would cause such interference. That included a list of KXRW listeners, a map demonstrating that 10 of those listeners resided within the translator’s 60 dBu contour and proof that a future FM translator would result in interference to reception KRXW by those 10 listeners.

Thus, the bureau found that the company presented convincing evidence of predicted interference. As a result, the bureau granted the Application for Review and rescinded the grant for the construction permit for K260DK in Portland.

 

The post Media Bureau Changes Course, Revokes CP Grant for Oregon FM Translator appeared first on Radio World.

Mary Schnelle has joined the U.S. sales team of Broadcast Depot.

She’s well known to equipment buyers in the radio broadcast industry from her years with Harris, SCMS and Broadcasters General Store.

Broadcast Depot offers products and services for radio, television, IP, OTT and satellite transmission. It was founded in 1999 and is headquartered in Miami. Tim Jobe is national sales manager for the United States.

Schnelle began her career in accounting at Harris in 1992. She is a graduate of Culver Stockton College in Missouri and holds an MBA from Quincy University in Illinois.

Send People News announcements to radioworld@futurenet.com.

The post Schnelle Joins Broadcast Depot appeared first on Radio World.

Presenter Pauline Payton-Smith with a Sonifex S2 in Studio 1 at WCR Community Radio.

From our Who’s Buying What page: WCR Community Radio station in Warminster in the United Kingdom is using two new Sonifex S2 broadcast mixers for its refurbished radio studios.

The manufacturer quoted Managing Director Barry Mole saying the mixer’s modularity was an important consideration. The S2 has hot-swappable input and output modules in both analog and digital, and a selection of optional modules for its main surface and meter bridge.

[See Our Who’s Buying What Page]

WCR Community Radio relies heavily on volunteers. It was founded in 1996 as a hospital radio station broadcasting from a backroom at a local theatre. It secured an FM license in 2012, broadcasting on 105.5 MHz.

The station is using an S2-M6SS 6 Way Source Select Panel to handle remote OB inputs, feeds from other studios, a recording computer and other sources.

Send news about new product installations, studio or RF builds and other projects to our Who’s Buying What feature at radioworld@futurenet.com.

 

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Glynn Walden

The author is a consultant to Entercom and former senior VP of engineering at CBS Radio. He was a founder of HD Radio developer USA Digital Radio and was the VP of engineering for its successor iBiquity Digital.

A rule allowing AM stations to transmit in all-digital will be the most significant “AM improvement” since the allowance of FM translators.

Together they showcase the FCC’s interest in bringing AM radio into the 2000s; and it is happening as we approach the KDKA 100th anniversary of that famous Cox-Harding election coverage broadcast. I feel fortunate to have met the announcer, Leo Rosenberg, from that historic broadcast.

[Related: “The FCC Will Vote This Month on All-Digital for AM”]

From my earliest days of working in AM, I have been concerned about the quality of the AM reception process.

Following Greg Ogonowski’s research identifying AM receiver bandwidth as the choke point of quality in AM transmission systems and the subsequent introduction of pre-emphasis to overcome the limitations of the AM broadcast system, I began looking for technical solutions.

Then came household noise and egregious noise in the environment as the biggest enemy of AM radio. As I began reviewing my texts from my college textbooks, I began to see how advances in solid state that would ultimately lead to inexpensive digital chips for radios can solve both the problems of AM and FM.

The National Association of Broadcasters must also be given credit for bringing the possibilities of DAB to the United States through its interest in Eureka-147, even though U.S. broadcasters would have never been able to gain access to the required spectrum.

In the early 1990s I became a believer in digital radio as the solution for AM and FM ills. The draft report and order brings to the AM broadcaster the ability to offer what FM offers today. However, the total digitization of radio will bring to FM opportunities beyond the capabilities of all-digital AM, and once again leave AM behind — but not left out of the digital world.

 

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Audio consumption in the United States is shifting from home back to the car as quarantine restrictions have lifted in some areas.

Edison Research released a summary of its latest Share of Ear report.

[Read: Removing Car Radios “Puts Consumers at Risk,” Former FEMA Head Says]

“Prior to COVID-19 restrictions in Q2 2020, 32% of all audio in the U.S. was consumed in-car,” the company stated.

“When quarantine restrictions went into place in Q2, erasing many Americans’ commutes and greatly reducing travel in general, in-car listening plummeted by 38% so that it accounted for only 20% of all listening. This caused at-home listening in Q2 to soar from 49% of all listening to 70% of all listening, an increase of 43%.”

Now its latest research, conducted in early September, shows a shift back to the car as quarantine restrictions have eased in some locations and in varying degrees.

“In-car listening grew from 20% in Q2 to 28% today, not quite equal to the pre-COVID number of 32% of all listening,” it stated.

At-home listening levels fell from 70% early in the quarantine period to 59% of all listening today. The company said at-home is still 10 points higher than pre-COVID. “With a U.S. workforce that has seen many employees transition to home office environments, future surveys will bear out whether or not this is a permanent shift.”

Meanwhile, listening at work has “slightly rebounded” over the same period.

 

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A century after its famous election night broadcast, KDKA will now be heard on the FM dial as well as its familiar 1020 kHz AM frequency.

Entercom, owner of the station in Pittsburgh, said, “News Radio 1020 KDKA will simulcast on FM for the first time ever and be heard on 100.1 FM as ‘100.1 FM and 1020 AM KDKA,’ effective Nov. 2.”

The new frequency is an FM translator, W261AX. The hip-hop format that had occupied that slot, WAMO, moves to 107.3 MHz.

[Read: What, Exactly, Was First About KDKA?]

There is already a station licensed with a KDKA(FM) call sign and owned by Entercom, but it carries sports programming.

The announcement that the news format would expand to FM was made by Michael Spacciapolli, senior vice president and market manager of Entercom Pittsburgh. “After serving Pittsburghers on our AM dial for the last 100 years, we are thrilled to expand the reach of historic KDKA on FM,” he was quoted in the announcement.

The station famously aired presidential election results on Nov. 2, 1920, and KDKA has been celebrating the anniversary throughout this year.

 

The post KDKA Adds FM Signal appeared first on Radio World.

FCC Commissioner Geoffrey Starks addressed the Hispanic Radio Conference on Oct. 15. In a section of his talk he singled out GeoBroadcast Solutions for favorable comments.

He drew attention to the company’s localized broadcasting technology. “The use of this geo-targeted content holds promise as a way for stations to provide hyperlocalized content including alternative language news, weather, emergency alerts, and advertising periodically during the broadcast day. It could provide a way for minority-owned stations to better serve their communities, and open up opportunities for small businesses looking to more cost-effectively advertise to a targeted audience and for FM stations owned by people of color to increase advertising revenue.”

[Read: Should Translators Originate Content? FCC Is Taking Comments]

Starks noted that the FCC can do to promote this. “One proposal before the FCC holds promise to do just that.  GeoBroadcast Solutions LLC has petitioned the FCC to revise the FM booster rule to allow, on a limited basis, geo-targeted content to originate from FM booster stations.”

He added that GeoBroadcast Solutions “has developed an ad revenue sharing model that would help smaller stations install boosters and new technology necessary to use the system without having to come up with up front capital and operational expenses.”

GeoBroadcast Solutions CTO Bill Hieatt said, “We appreciate the commissioner’s remarks and note that our development of a geo-targeting solution for the broadcast radio industry was due in part to help reach underserved minority sub-markets within a station’s signal range.”

He explained, “We believe our technology will level the playing field across consumer media in ways that cannot be done today but can begin quickly to support moves the radio industry in line with today’s technology while also improving the consumer experience in the most widely-used source of news, entertainment, and information.”

 

The post FCC’s Starks Points to GeoBroadcast Solutions at Conference appeared first on Radio World.

Radio World congratulates our friend and contributor Mark Persons, who this fall received the Society of Broadcast Engineering’s John H. Battison Award for Lifetime Achievement!

Studio of KRJM with STL mast adjacent.

It started at 4:30 a.m. Tuesday, Aug. 19, 2019, with a thunderstorm. KA-BOOM!

People in the small northern Minnesota town of Mahnomen reported hearing the loudest thunder they could remember. Sean Bjerk, KRJM Radio’s manager/morning man, lives three miles away. He was jolted out of bed and left wondering, “What happened?”

A quick check showed the station was silent. Upon entering the studio building, Sean found thick smoke. He grabbed a fire extinguisher and investigated but found no fire.

The power was out. All circuit breakers had tripped. Resetting them brought on only some lights, but no audio.

The thunder concussion had been so great that two studio clocks were knocked off the wall and onto the floor.

The evidence was clear. Lightning had hit a station-owned utility pole with an STL dish.

Fig. 1 shows that lightning chewed through the top of the pole to get to the STL dish and transmission line.

Fig. 1: Lightning struck the pole, cutting a deep gouge.

Fig. 2 shows the 1/2 inch Andrew Heliax STL coaxial cable. It was burned as lightning jumped from the cable to the metal siding of the studio building at the point where the line entered.

Fig. 2: Lightning ate into the STL cable

What to do now? Contract engineer Jim Offerdahl was 110 miles away. He set out immediately and on arrival found that virtually every piece of electronic equipment in the studio facility was damaged beyond repair.

The KRJM 101.5 FM 25 kW transmitter site, some 12 miles away, was fine. It just needed audio.

Jim used internet streaming audio from KRJB(FM), Ada, Minn., to restore temporary programming by early afternoon. Audio was from one of the dozen stations of R & J Broadcasting, Inc. in northern Minnesota. The format was country, instead of the oldies that Mahnomen area listeners were accustomed to hearing. KRJB added KRJM commercials and IDs to keep the station legal while continuing to make money.

Damage
Fig. 3 shows the wall outlet where the main equipment rack was plugged in. Totally blackened, it was useless.

Fig. 3: A blackened wall outlet.

Fig. 4 shows the wall where an electrician cut into a wall to check wiring to the outlet. After seeing the damage, Jim installed a new outlet elsewhere with new wiring.

Fig. 4: Opening the wall to examine power wiring.

You’ll see a green light on the telephone system. It was lit but the system and its phones were fried as seen in Fig. 5.

Fig. 5 Even the telephone wiring was damaged.

The main computer network switch was history. With that kind of damage, Jim strung new network cables to ensure reliability.

Fig. 6: The network switch was damaged beyond repair.

The automation system at KRJM also was toast except for one of the three hard drives, the only component that survived the disaster. This allowed the automation to be rebuilt and the station to be back to normal programming in two days. Part of the delay was to install a new STL dish and feed line, along with an STL transmitter and audio processing.

All of the studios were down so a temporary one needed to be rigged.

The network connector on a studio computer and a black spot on the wall (Fig. 7) are evidence of fire and smoke created by the event.

Fig. 7: This studio computer was one of the victims

Fig. 8 is where an unterminated computer network cable blackened a wall where lightning was seeking ground.

Fig. 8: A loose network cable blackened a wall.

An insurance claims adjuster shook his head saying, “This is the worst damage I have ever seen.” The insurance claim was paid.

Fig. 9: Station manager Sean-Bjeck showed off some of the damaged equipment

Follow the Lightning
The KRJM studio facility had been constructed in a typical manner and enjoyed 20 years of normal service. There was a ground rod at the base of the STL pole for protection.

You’ll remember I wrote a Radio World article about grounding in the fall of 2017. It discussed how lightning will usually take the easiest path to ground. What we often forget is that ground rods, a standard approach to grounding, are imperfect.

Forensic Analysis

Lightning traveled down the STL pole and ignored the ground rod. Instead, it followed the STL transmission line to an equipment rack in the building.

From there, the lightning found ground through the rack’s 120 VAC power circuit, supplied by the building’s electrical load distribution center (circuit breaker panel). A lot of sensitive equipment was damaged along this path. Think of your broadcast equipment as a “fuse” in a series circuit between the lightning and ground. Poof!

In the final analysis, what was missing was a heavy wire link between the STL pole ground rod and the studio ground. To say it another way, the pole and the studio had two different grounds. They were likely thousands of volts apart during the lightning strike. Almost everything in the middle was damaged.

Lightning protection

The ideal setup is one in which the STL and all other cables enter the building near the electrical power panel. All cable grounds tie to the electrical panel ground and ground rods. It is a “common point” for all facility grounds. This “star ground” has a heavy wire from that point to each studio and equipment rack.

The idea is that studios and racks are “stubs” from the common ground point. Lightning has no reason to travel to a studio if there is no ground at that end to go to. That same thinking applies to transmitter sites, which are even more vulnerable to lightning damage.

Also, I recommend a flexible #12 wire from each piece of equipment to the rack it is mounted in. Don’t be fooled into believing there is a good electrical connection from rack to equipment because they are screwed together. Paint gets in the way of a good electrical connection.

Static Dissipaters
It is a well-known fact that sharp points, directed at the sky, are a good way to dissipate/bleed off static charges, i.e. reduce voltage between the ground and the sky. It happens continuously as storms pass by.

The result is either no lightning strike or less energy in a strike because the voltage is less than it would have been without dissipators.

Static dissipators are typically made of stainless steel to avoid corrosion. The one shown in Fig. 10 is suitable for the wooden pole or any tower under 100 feet. Two dissipaters are even better.

Fig. 10: Nott GS-2-Static Dissipater

Dissipaters go as high as possible on a tower, building or a wooden pole like the one in this article, and need a ground wire directly connected to a common point ground. No wire is required on a steel tower because steel is an electrical conductor. Learn more at www.nottltd.com/lightning.html.

Summary
It is experiences like this that get the adrenaline flowing in an engineer’s blood. Jim Offedahl will be telling his grandchildren this story someday from the comfort of his rocking chair.

Comment on this or any article. Write to radioworld@futurenet.com.

Visit the author’s website at www.mwpersons.com.

The post What Happens When Lightning Hits? A Case Study appeared first on Radio World.

Logos of a few of the stations on the NCE reserved band.

There may soon be more signals on the lower part of the FM band in the United States.

While 5G seems to be the recent focus of Federal Communications Commission spectrum allocation, a new filing window for the noncommercial educational service is expected as soon as early next year.

Over a decade has passed since the FCC accepted applications for new full-power NCE construction permits.

A window would allow non-profit organizations, schools and native tribes to apply for original CPs in the NCE reserved band, 88.1–91.9 MHz. Individuals cannot apply for NCEs.

A filing window would probably also allow existing NCE stations to seek major changes. And observers expect that a window for additional low-power FM stations could follow (see sidebar at bottom of this story).

Chairman Ajit Pai, responding to a congressional inquiry about LPFM this summer, signaled the commission’s intent to open a full-power NCE window in early 2021.

“Staff anticipates that the new NCE FM window will be opened after our new processing rules for this service are effective later this year,” Pai wrote in a letter to Rep. Xochitl Torres Small (D-N.M.)

Asked for comment about possible expansion in the number of stations at the left end of the band, National Public Radio said it is always “supportive of opportunities to expand station services when they are presented.”

Observers say most opportunities for new NCE stations would be in less populous parts of the country, considering the number of signals already squeezed into the band where there are more potential listeners.

By the numbers

The number of FM educational stations has almost doubled in two decades, from 2,140 in the year 2000 to just under 4,200 at the most recent FCC count.

The number of commercial FMs increased at a much slower rate, from roughly 5,900 to about 6,700. The category of FM translators and boosters grew prodigiously, from about 3,250 to 8,300; and LPFMs, which didn’t exist before the beginning of this century, now total 2,146 licenses.

The NCE service has not had a window for new applications since 2010, according to the FCC, and that one involved a limited number of existing vacant allotments.

A 2007 NCE window yielded approximately 3,600 applications, of which about 2,700 were mutually exclusive, meaning applications involved geographic or spectral overlap. The FCC in that round granted approximately 1,330 CPs for new NCE service, according to commission data.

There’s no way to know yet how many new NCE licenses the commission might eventually award since it does not identify potential slots. Typically, an applicant identifies a spectrum opening on a certain frequency and names a transmitter site, power and antenna height to fit that spectrum availability.

New processing rules

The commission in late 2019 revised certain rules for processing NCE applications; the measures are intended to simplify and improve selection and licensing and clarify procedures for choosing among mutually exclusive applications.

The changes dealt with specifics such as divestiture pledges and amendments to the governing documents of applicants who claim certain MX point classifications. The FCC also will revise the application form to require each applicant to certify that it has reasonable assurance of availability of its proposed transmitter site.

“We are hopeful that Office of Management and Budget can finalize its approval of those rule changes in mid-October,” a spokesperson told Radio World in September. “After that approval, the commission will be able to announce more details about a new NCE window in 2021.”

The FCC included all of the changes to the NCE and LPFM processing rules, including rules governing major tie-breakers for mutually exclusive applications, in a Report and Order in MB Docket No. 19-3 issued last December.

The resolution of competing claims is an important part of the process whenever a new station window opens.

The commission places conflicting applications into MX groups before applying internal processing; it then selects one application for grant from each separate MX group. A point system is applied to each application based on public interest criteria (such as diversity of ownership, localism or technical superiority) and the application with the most points in an MX group is the tentative selectee.

The commission recently dismissed a challenge to the NCE MX process. Law firm Discount Legal had argued that the FCC should set up a secondary grant policy for MX groups, essentially naming “runner-up” applications, but it was unsuccessful.

“No new additional changes to the NCE processing rules are expected before opening a window next year,” the FCC spokesperson said.

Nitty gritty

Applicants in the filing window must propose a facility that meets at least the minimum for a Class A FM station, which is 100 watts (0.1 kW) at 30 meters height above average terrain. Facilities proposed may be up to 50 kW for a Class B or 100 kW for a Class C depending on the proposed station location.

Noncommercial educational FM stations protect all other reserved band full-service stations using contour overlap on co-, first-, second- and third-adjacent channels. However, reserved band stations are not required to protect existing LPFM and FM translator stations.

The FCC expects any new NCE window would be open for one week.

As for when that might be, the commission typically gives several months’ notice of any filing window for new station applications.

One observer, communications law attorney Dan Alpert, said the timing of the filing window is discretionary on the part of the FCC but guided by the winds of political pressure. But he said the window is likely to come while there are still economic unknowns caused by the pandemic.

“There may be fewer parties out there who can afford the time and expense to develop engineering proposals that would be necessary for an NCE filing,” Alpert said.

These filings would not involve a filing fee, he said, since these are for non-commercial facilities in the non-commercial reserved band. “However, there will be substantial costs involved pertaining to engineering and legal analysis.”

The 2007 NCE window limited applicants to a total of 10 applications nationwide; the FCC could again place a cap to avoid huge numbers of applications that would be difficult to process and could lead to daisy chains of competing applicants.

“To the extent the commission intends to explore imposing similar limitations this time around, it will first seek public comment and input on such an approach,” the FCC spokesperson said.

The spokesperson added that many applicants are disqualified because they didn’t pay sufficient attention to the filing requirements.

“Our rules spell out in detail our procedures for processing applications for new NCE stations. Those rules provide potential applicants with guidance about what factors will be taken into account to resolve any mutual exclusivity among applicants, and how to resolve mutual exclusivity.”

“Incredibly Crowded”

While the FM band has become quite busy in the 21st century, congestion and interference are generally viewed as greater issues higher up the dial. But that doesn’t mean there are a lot of tasty NCE market opportunities waiting to be discovered, either.

John Garziglia, communications law attorney for Womble Bond Dickinson, expects most new full service NCE licenses will be awarded outside major urban areas.

“The FM band in most areas of the country is already incredibly crowded. It is unlikely that applicants will find either full-power NCE or LPFM opportunities in most non-rural areas. In rural areas, there will be significant availabilities for both new NCE and LPFM stations,” Garziglia said.

Garziglia expects the application processing would take at least a year, which could delay the opening of the LPFM filing window.

“If the FCC opens an LPFM window prior to the almost-complete processing of NCE applications, there is the risk that spectrum space specified by NCE applications that will later be dismissed or denied will foreclose availabilities of LPFM spectrum,” Garziglia said.

“So, there may be a significant detriment to LPFM applicants if the FCC does not await a full processing of NCE applications prior to opening an LPFM window.”

Matt McCormick, co-managing member of Fletcher, Heald & Hildreth, said groups hoping to apply for an NCE license should use the next few months to select knowledgeable consulting engineers and a communications attorney familiar with the NCE selection process.

“There are too many traps for the unwary for an applicant to try to weave its way through the process without a lawyer,” he said.

“The third step is to make sure the applicant’s corporate paperwork in up to date with the appropriate state office, which is the secretary of state’s office in most states.”

McCormick said applicants need to submit the strongest application possible and assume that mutually exclusive applications will be filed; and they should propose technical facilities serving populations that currently have no or only one NCE radio service.

Should interested parties wait for the expected LPFM opportunity?

“Frankly, I think that any non-profit group that wants to get into radio should file in this window,” he said. “If it wants to reach a relatively large geographic area, it can do so with a full-service NCE FM, whereas the coverage of an LPFM is limited to the area it can reach with 100 watts at 30 meters above average terrain.”

In addition, even if a non-profit plans to operate with a low power level at first, a full-service NCE license may allow it to increase power later.

“Moreover, if the group is not successful in getting a full-service NCE FM through this window, it can always file for an LPFM during the window that will follow.”

For those selected to receive new full-service NCE construction permits, the costs involved in building and operating a radio station can be substantial.

REC Networks, a consultancy that is active in the non-profit and LPFM sector, estimates $3,000 to $30,000 for a transmitter to get started, depending on the situation. Antenna size and cost also will vary based on power level, with a simple non-directional antenna at lower power (250 watts or less) around $700 to start, but higher-power and directional antennas, especially those with a custom design, can be far more costly.

New NCE stations are also required to install an Emergency Alert System encoder/decoder, REC notes.

 

Sidebar: What About LPFM?

Scott Flick

An entity eager to apply for a low-power FM license may get an opportunity to apply for one once the FCC completes work on its NCE filing window. LPFMs operate under noncommercial educational broadcasting rules as well.

An FCC spokesperson says the commission doesn’t have a specific date “but we anticipate that will be a priority” once the next window for full-power NCEs is done.

“We want to avoid the situation where we issue new LPFM permits that are subsequently knocked out by new primary NCE stations.”

Some observers think an LPFM filing window could come in late 2021 or early 2022.

The LPFM service was launched in January 2000. LPFM stations are limited to 100 watts effective radiated power. There are 2,146 licenses as of the most recent FCC count. New LPFM applicants would be allowed to apply for one license, according to the FCC.

Scott Flick, a partner at Pillsbury Winthrop Shaw Pittman, answered questions from Radio World.

Radio World:  How should non-profit groups prepare for the next LPFM filing window?

Scott Flick: In terms of preparation, there is no substitute for reviewing the application form used for this purpose by the FCC (Form 318) to see if the applicant can supply the requested information and make the required certifications, or needs to take further steps to be able to do so.

And of course, the applicant needs to make sure that it is the type of entity that can even qualify to apply for an LPFM authorization in the first place. The requirements are narrower than most people realize, and can be found in Section 73.853 of the FCC’s rules. The applicant must also be local to the station service area and, with some exceptions, can’t have an interest in other broadcast stations.

RW: What kinds of things often trip up LPFM hopefuls?

Flick: Common problems LPFM applicants have in the planning process include failing to secure the rights to their proposed antenna site — lease negotiations fall through — or discovering that they need to deal with local zoning authorities to be able to use their proposed site.

There is also a pretty long list of FCC rules applicable to LPFM, which can be found in Section 73.801, and applicants should ensure they are familiar with all of them. They also need to be thinking about how they will supply a continuous stream of content to feed the station, as, for example, LPFM stations are prohibited from retransmitting the signal of a full-power station, along with other types of content.

RW: How about the finances?

Flick: Of course the biggest issue is having a viable business plan in place. Since LPFM stations have to be operated non-commercially, it’s particularly important to have worked through how the station will cover the costs of its operation and what those costs will be. Many people underestimate the costs involved and then struggle to stay on air. Operating an LPFM successfully means being able to deal with occasional unexpected expenses.

For example, since LPFM stations are subject to interference objections from full-power stations, an LPFM operator may suddenly find itself having to modify its engineering operations to eliminate interference, or even having to locate a new channel to operate on in extreme cases. Having a budget in place that can withstand the costs of equipment modifications or replacement is a wise move.

RW: Any final tips for potential LPFM licensees?

Flick: It’s worth noting that applying for an LPFM station and getting an authorization to operate one are not the same thing. If the application is incomplete or incorrect, the FCC may reject it out of hand. If the application is perfect in every way, the applicant may still not get a license because other applicants applied during the same filing window for facilities that are mutually exclusive with that application.

In that case, the FCC has processes in place to decide who gets the license, and in some cases, may encourage parties to share the license. As a result, parties should be careful about spending money or making commitments for leases or the like until they know they have a construction permit in hand.

Of course, they need to make sure all equipment meets FCC requirements, as there are plenty of FCC enforcement actions out there against stations that tried to use whatever equipment they could lay their hands on rather than what is required by their FCC authorization, particularly after an equipment failure.

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

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