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Aggregator

A Fine Sunday For FOX? ‘Emergency Alert’ Raises EAS Alarms

Radio+Television Business Report
3 years 5 months ago

In August, the Entertainment Sports Programming Network known as ESPN received a proposed fine from the FCC in the amount of $20,000 for its use of an emergency alert system (EAS) code during a documentary it aired in October 2020 as part of its popular 30 for 30 series.

It now appears FOX Television Stations, and perhaps all of its affiliates, may be liable for a similar violation — one tied to a somewhat mysterious “NFL EMERGENCY ALERT” supporting the Philadelphia Eagles pro football club.

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Adam Jacobson

Dua Lipa, Ariane Grande Score Big on iHeart Popularity Chart

Radio World
3 years 5 months ago

iHeartMedia just put out some interesting data about which songs are most popular in the United States.

According to the company, it measured total audience spins (TAS) and streams across iHeartRadio stations to look at the top played songs and artists of 2021.

The #1 played song on the list is ”Levitating” by Dua Lipa, which the company said reached an audience of nearly 1.2 billion in the U.S. alone. The #1 played artist this year was Ariana Grande, reaching more than 2.6 billion listeners.

“What’s perhaps most interesting about this data is that it shows a complete picture of what folks across the country listened to — not just what those using digital streaming services had queued up.”

The Total Audience Spins is based on Mediabase airplay and is multiplied by the number of persons listening to the radio at the time of those plays, delivering total audience impressions which iHeart says is the broadcast equivalent of the number of streams from a streaming music service.

Its lists of top overall played songs and artists are below, followed by a breakdown by format.

Top Overall Songs 2021

  1. “Levitating” Dua Lipa (1.19+ Billion)
  2. “Save Your Tears” The Weeknd (969+ Million)
  3. “34+35” Ariana Grande (898+ Million)
  4. “Kiss Me More” Doja Cat ft. Sza (888+ Million)
  5. “MONTERO (Call Me By Your Name)” Lil Nas X (822+ Million)
  6. “What You Know Bout Love” Pop Smoke (810+ Million)
  7. “good 4 u” Olivia Rodrigo (733+ Million)
  8. “Peaches” Justin Bieber ft. Daniel Caesar/Giveon (696+ Million)
  9. “Leave The Door Open” Bruno Mars/Anderson .Paak/Silk Sonic (692+ Million)
  10. “drivers license” Olivia Rodrigo (660+ Million)

Top Overall Artists 2021

  1. Ariana Grande (2.6+ Billion)
  2. Dua Lipa (2.5+ Billion)
  3. The Weeknd (2.39+ Billion)
  4. Olivia Rodrigo (2.2+ Billion)
  5. Pop Smoke (1.99+ Billion)
  6. Doja Cat (1.66+ Billion)
  7. Justin Bieber (1.57+ Billion)
  8. Luke Combs (1.27+ Billion)
  9. Ed Sheeran (1.27+ Billion)
  10. Luke Bryan (1.18+ Billion)

Top Country Songs 2021

  1. “Just The Way” Parmalee ft. Blanco Brown
  2. “Lady” Brett Young
  3. “What’s Your Country Song” Thomas Rhett
  4. “Single Saturday Night” Cole Swindell
  5. “Famous Friends” Chris Young & Kane Brown
  6. “Forever After All” Luke Combs
  7. “Better Together” Luke Combs
  8. “Gone” Dierks Bentley
  9. “Made For You” Jake Owen
  10. “One Of Them Girls” Lee Brice

Top Country Artists 2021

  1. Luke Combs
  2. Luke Bryan
  3. Jason Aldean
  4. Thomas Rhett
  5. Blake Shelton
  6. Sam Hunt
  7. Kenny Chesney
  8. Dierks Bently
  9. Lee Brice
  10. Dustin Lynch

Top Hip-Hop Songs 2021

  1. “For The Night” Pop Smoke ft. Lil Baby/DaBaby
  2. “What You Know Bout Love” Pop Smoke
  3. “You’re Mines Still” Yung Bleu ft. Drake
  4. “On Me” Lil Baby
  5. “Time Today” Moneybagg Yo
  6. “Back in Blood” Pooh Shiesty ft. Lil Durk
  7. “Calling My Phone” Lil Tjay Ft. 6LACK
  8. “Beat Box” SpotemGottem
  9. “Late At Night” Roddy Ricch
  10. “Heartbreak Anniversary” Giveon

Top Hip-Hop Artists 2021

  1. Pop Smoke
  2. Drake
  3. Lil Baby
  4. Moneybagg Yo
  5. Roddy Ricch
  6. Yung Bleu
  7. Rod Wave
  8. Megan Thee Stallion
  9. Pooh Shiesty
  10. Lil Tjay

Top Alternative Songs 2021

  1. “Monsters” All Time Low ft. blackbear
  2. “Follow You” Imagine Dragons
  3. “Sofia” Clairo
  4. “my ex’s best friend” Machine Gun Kelly & blackbear
  5. “All My Favorite Songs” Weezer ft. AJR
  6. “Shy Away” Twenty One Pilots
  7. “Therefore I Am” Billie Eilish
  8. “Waiting on a War” Foo Fighters
  9. “Heat Waves” Glass Animals
  10. “Nowhere Generation” Rise Against

Top Alternative Artists 2021

  1. Green Day
  2. Twenty One Pilots
  3. Imagine Dragons
  4. Red Hot Chili Peppers
  5. Linkin Park
  6. Foo Fighters
  7. Weezer
  8. All Time Low
  9. Machine Gun Kelly
  10. Blink-182

 Top R&B Songs 2021

  1. “Leave The Door Open” Bruno Mars/Anderson .Paak/Silk Sonic
  2. “Pick Up Your Feelings” Jazmine Sullivan
  3. “Damage” H.E.R.
  4. “Can’t Let It Show” Tank
  5. “He Don’t Know Nothin’ Bout It” Jimmy Jam & Terry Lewis Ft. Babyface
  6. “You Made A Fool Of Me” Anthony Hamilton
  7. “Not Another Love Song” Ella Mai
  8. “Look Easy” Robin Thicke
  9. “Complicated” Leela James
  10. “Essence” Wizkid ft. Tems

 Top R&B Artists 2021

  1. H.E.R.
  2. Bruno Mars/Anderson .Paak/Silk Sonic
  3. Ella Mai
  4. Chris Brown
  5. Jazmine Sullivan
  6. Mary J. Blige
  7. Wale
  8. Khalid
  9. Tank
  10. Usher

The post Dua Lipa, Ariane Grande Score Big on iHeart Popularity Chart appeared first on Radio World.

Paul McLane

Holiday Shopping Sends Retail Spots Skyward

Radio+Television Business Report
3 years 5 months ago

It’s officially the holiday shopping season, as the first night of Chanukah was Sunday, November 28. Now, the focus is on Christmas and Kwanzaa, and brick-and-mortar retailers are fueling their desires to lure shoppers by investing heavily in spot television.

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Adam Jacobson

On ‘Giving Tuesday’, Consider The Broadcasters Foundation

Radio+Television Business Report
3 years 5 months ago

Giving Tuesday, the international day of giving, is November 30. The Broadcasters Foundation of America is asking for donations to help radio and television colleagues who are in acute need due to illness, accident, or disaster.

“There’s never been a better opportunity to make an impact by giving back and helping those in our business who have been hit by tragic and unthinkable circumstances,” said Tim McCarthy, Co-President of the Broadcasters Foundation. Scott Herman, Chairman of the Broadcasters Foundation, added, “As you’re thinking of the organizations you love and support, please consider including the Broadcasters Foundation in your donations.”

For over seventy years, the Broadcasters Foundation has provided medical aid and disaster relief to broadcasters and their families across the United States. This year, the Broadcasters Foundation will award more than $1.8 million in monthly and emergency grants.

Individual donations can be made to the Guardian Fund, corporate contributions are accepted through the Angel Initiative, and bequests can be arranged through the Legacy Society.

To learn more or to donate, please contact the Broadcasters Foundation at 212-373-8250 or info@thebfoa.org or visit www.broadcastersfoundation.org.

RBR-TVBR

NAB To Congress: Sohn’s Locast Role Of Deep Concern

Radio+Television Business Report
3 years 5 months ago

Until now, the fiercest vocal opposition to President Biden’s choice for a Democratic seat on the FCC has come from Republican Senate leaders such as Lindsey Graham.

That may still be the case. Yet, broadcast media’s biggest voice Inside the Beltway has “serious concerns” about Gigi Sohn. While her nomination is not being opposed by the NAB, it is very disturbed by her involvement in a now-shuttered service that purported to be a non-profit local TV-by-IP service that skirted around retransmission consent accords.

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Adam Jacobson

Raycom Sports-Powered Origin Adds Distribution Partners

Radio+Television Business Report
3 years 5 months ago

Origin Sports Network, an offering from Gray Television-owned Raycom Sports, has expanded its lineup of distribution partners.

As such, Gray brags, the “FAST channel” has more than quadrupled its addressable audience size.

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Adam Jacobson

Imlay to Retire as SBE General Counsel

Radio World
3 years 5 months ago

Chris Imlay credits an abiding love of ham radio as one of the reasons he has devoted his career to communications law.

Imlay, 68, retires as general counsel for the Society of Broadcast Engineers at the end of 2021. His tenure in that role began in 1991, but his actual work for the group goes back to 1980 when he took up SBE’s appeal of the FCC decision to eliminate the First Class Radiophone License.

Announcing of Imlay’s retirement, SBE President Wayne M. Pecena said, “Chris Imlay has been a valuable resource for and asset to the SBE over the past 41 years. He has also been a staunch advocate for the SBE’s goals and objectives. He is a tough act to follow.”

Imlay specializes in federal communications law but has represented licensees and associations of communications users, especially technical and electronic communications associations, electronic equipment manufacturers, colleges and universities, in addition to his work on FCC regulatory issues for SBE.

“I still plan to work with a handful of my mom-and-pop broadcasters as clients past the end of the year. I want to make sure they are settled and taken care of as I begin to wind down my practice,” he said. “But I have to give this up at some point and there are other things I want to do.”

Imlay began his legal career in 1975 after graduating from American University’s Washington College of Law. He began practicing communications law in 1979 when he joined the firm Booth and Freret.

It was there that his long relationship with the SBE began. Soon Imlay found himself attending society board meetings and NAB Shows, and providing reports about pending FCC regulatory issues.

Imlay was retained as SBE communications counsel in 1984. In 1991, SBE President Rick Farquhar arranged for the board to confer Imlay with the general counsel title.

Advocacy role

Reflecting on his career, Imlay said, “I have valued my work with the SBE, as it has allowed me to do what I do best: defending spectrum allocations of clients and participating in technical regulatory proceedings. I have always been most comfortable working with broadcast engineers.”

The SBE chief counsel was elected a Fellow of the SBE in 1997, which he still considers the most important honor received throughout his professional career.

Imlay, who has worked with 22 SBE presidents, describes himself as a “down in the trenches” communication lawyer, focused on advocacy and education.

“I grew along with the advocacy program at SBE. It’s been interesting how that happened. I fell in with a very technically inclined communications law firm, and that was a stroke of luck. The very first thing I worked on for SBE and then-President Bob Jones was the appeal of the FCC decision to eliminate the First Class Radiophone License, which interestingly was was very much against SBE’s best interest.

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“SBE thought the license signified something and should be preserved. SBE lost, but the appeal did serve as the first step into the waters of advocacy, something at the time the SBE board hadn’t really considered.”

This would signal a major turn in philosophy for SBE and a growing role for Imlay within the organization.

“Spectrum management issues were beginning to become a thing, and SBE thankfully believed this was an important topic for its membership. I never tried to push them in that direction, but gradually we undertook more and more advocacy projects,” Imlay said.

Imlay credits another past president, Richard Rudman, with a leadership role in developing SBE’s more proactive approach.

“He had some important observations about how broadcast engineers needed access to decision-makers and how the broadcast auxiliary spectrum needed protection from encroachment from incompatible sharing partners or being reallocated. This was great foresight, considering what we see currently from the FCC in regards to spectrum management.”

Informing regulators

An early goal for Imlay was making sure people who worked at the FCC understood what broadcast engineers did in the way of program production and ENG.

Under Rudman’s guidance SBE turned the corner in how it approached advocating in FCC dockets dealing with spectrum. But Imlay said Rudman also realized the need to educate FCC staff.

“SBE had never taken an active role in broadcast auxiliary spectrum protection but more a reactive role; we became more active in that. We decided we needed to do more than just make comments in rules proceedings.

“So we organized half-day long presentations to the FCC staff. It was very well received by FCC engineering staff and even non-technical staff. We quickly learned this was a good thing, creating comprehensive awareness of what broadcast engineers do and why spectrum is important to them.”

So began Imlay’s longtime focus on “educational advocacy” and his efforts to ensure that the FCC and those in Congress were aware of nuances of the work of broadcast engineers and how they utilize Broadcast Auxiliary Services.

Chris Imlay is shown speaking at the NAB Show in 2014. (Courtesy SBE)

“Today everything I do is generally focused on spectrum issues, everything from advocating for more UHF wireless mic spectrum, following the 600 MHz auction, to making sure that 2 GHz especially, but also 6.5 GHz and 7 GHz are continually available and not usurped by incompatible services,” he said.

“SBE is focused on making sure the scientific integrity of those spectrum compatibility determinations are made as a prerequisite for a spectrum sharing proposal. And that it shouldn’t only be an economic analysis judgment of the FCC.”

In fact, Imlay said a section of the Communications Act focuses on the economic success of spectrum auctions, which forces the FCC to accept proposals based on their potential economic success.

“It’s the policy of the United States to encourage the provision of new technologies and services to the public; so anybody who opposes a new technology, that is proposed to be permitted under the act, has the burden to demonstrate that the proposed service is inconsistent with the public interest,” he said.

“So without assessing anything about the technical integrity of a new proposed service, the U.S. policy is for the FCC to support that service. By definition that puts incumbent services, like broadcast radio and TV, which are considered older technology, at the back of the bus,” Imlay said.

Imlay is known for his work helping amateur and broadcast engineering associations prepare materials in FCC rule making and adjudicatory proceedings.

H said he believes the FCC does a “poor job” of ascertaining spectrum compatibility before making rulemaking decisions. He nevertheless characterizes the technical competency of the FCC as “exceptional and consistently high,” especially in the Office of Engineering and Technology and in the Media Bureau.

“Audio Division engineers are top-notch, to a person, and they are accessible and helpful. That said, they are not always consulted by the bureau front offices when technical decision-making occurs. But they should be,” Imlay said.

Defining an “engineer”

The attorney recalls some “wins and losses” through the years. One important victory was preventing states from implementing statutes that required broadcast engineers to register with the state and obtain a PE certificate.

“The effect of these statutes, which were intended to protect the public, meant broadcast engineers couldn’t call themselves engineers. Our position was and still is that broadcast engineering is a different animal than civil or mechanical engineering. Broadcast engineers work in facilities solely under the jurisdiction of the FCC and states have no jurisdiction to regulate the practice of broadcast engineering,” Imlay said.

“These statutes were clearly not in the interest of broadcast engineers. We had some good decisions in Texas and Oregon; and we don’t seem to have those issues today.”

SBE did end up losing a battle to prevent numerous FCC field offices from closing a few years ago.

“We took the issue to Energy and Commerce Committee members in the House and to Commerce Committee members in the Senate. The aggregate loss of engineering talent when the field offices closed, and the loss of rapport and positive working relationships with broadcast engineers caused by the forced retirement of experienced FCC field engineers, was a nightmare. We have visited with House members in an effort to restore some of that talent, and continue to do so,” Imlay said.

There are issues on which SBE continues to seek action, including background noise on the spectrum. The society believes the commission lacks a good basis for determining levels of ambient, manmade RF noise in various allocations.

“The FCC relies heavily now on spectrum overlays and the interference temperature of receivers, and it uses those concepts in determining what radio services can be combined in the same bands. That presupposes that the FCC knows how much noise there is in various RF environments,” he said.
“SBE’s frequency coordinators know their markets very well and they know what works and what doesn’t, but FCC doesn’t have any idea what those levels are,” he said.

Imlay, points to SBE’s certification program as the “flagship” of SBE educational services.

“Without exception, I have found SBE presidents, folks like Chriss Scherer and Richard Rudman and really all of them, to be team-spirited folks not interested in self-promotion at all.”

The SBE has 5,000 members and 114 chapters across the United States. It will split Imlay’s responsibilities, planning to retain an Indianapolis attorney for association business matters.

“I believe they have already found an Indianapolis law firm to help with corporate and tax type issues, which isn’t something I really did anyway. The important part of finding a successor to me is finding somebody who is skilled in spectrum allocations and spectrum management issues,” Imlay said.

Imlay is a devoted bagpiper. “I just love the sound of the instrument and the emotive sound of it.”

Imlay, described as a spectrum expert by many in the industry, says he spent countless hours of his career writing comments on behalf of SBE for FCC spectrum dockets, which would have been for naught without the expertise of practicing broadcast engineers.

“As technically oriented as my law firm is, I’m not a broadcast engineer. I have to rely on fact-gathering of SBE board members, the SBE Government Relations Committee and leaders of our frequency coordination program. All FCC responses are very collaborative efforts,” Imlay said.

Imlay resides with Rita, his wife of 41 years, in Cloverly, Md. The couple has two children, Bonnie and Ashton, and two grandchildren, Simone and Langston. (“So far, only one of the family is an engineer,” Imlay said.)

Since 2014, Imlay has been managing member at what is now called Booth, Freret & Imlay LLC. He said he hopes to find a balance in order to work two or three days a week and have more time to fish and play his favorite musical instrument.

“I have 24 acres in western Maryland that I manage and do forestry on the weekends. I just haven’t had the time to enjoy that,” he said.

“I’m also a dedicated bagpiper. I go to all the Highland games in the area. I compete in solo and band competitions. In fact, I have studied with some of the old masters in Scotland. I just love the sound of the instrument and the emotive sound of it,” he said.

Imlay has all kinds of interests to pursue in semi-retirement. “I haven’t been up any of my three ham radio towers in way too long. I have rotators that don’t work. I have coax and antennas to replace. And I need several new transceivers, so I want to stop and smell the RF for a change,” he said with a chuckle.

Comment on this or any story. Email radioworld@futurenet.com.

The post Imlay to Retire as SBE General Counsel appeared first on Radio World.

Randy J. Stine

Lawo diamond Broadcast Console Launches

Radio World
3 years 5 months ago
Lawo diamond Broadcast Console

Lawo has unveiled its diamond broadcast console for radio and TV applications. This completely modular production system allows broadcasters to build a console tailored to specific requirements of their users and workflows. Several module types are available for customer-specific arrangements of hardware controls and sections.

The IP-native mixing system is based on the open AES67/RAVENNA audio-over-IP networking standards and also complies with ST2110-30/-31 and ST2022-7. The diamond is designed with expandable I/O in mind, accommodating AES67, MADI, analog, AES3 and Dante audio sources and destinations.

Modular by design, the diamond is available in configurations from two to 60 physical faders, either in a desktop or flush-mounted build. Fader-adjacent color displays give extended source information, and two fader layers allow operators to instantly switch among multiple tasks. Silent, motorized faders and precise encoders inherited from Lawo’s mc² audio production consoles aid integration with program automation and playout systems. Programmable, color-coded LED button and encoder lighting highlights common control functions.

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Optional Virtual Extension modules feature HD color TFT displays for extended information and touch control. Ember+ and HTML5 integration enable control of third-party hardware and software.

diamond sports numerous assistive mixing technologies; for example, the AutoMix function automatically maintains the balance of multi-mic productions, and AutoMix Grouping allows that automatic mixing to be applied to multiple independent source groups. AutoGain, an automatic gain setting function, optimizes guest and host mic levels.

The diamond display apps take advantage of IP studio networking, giving users the ability to operate their console remotely with complete access to every function from a PC with a LAN/WAN connection.

Thanks to an unlimited number of snapshots and DSP profiles that can be stored and recalled from any networked console, individual talent profiles or customized show setups are available anywhere, including to operators working remotely from home studios and other sites. A rights-management system gives engineers the power to tailor access to console features based on multiple user groups, or on a user-by-user basis.

Send your new equipment news to radioworld@futurenet.com.

The post Lawo diamond Broadcast Console Launches appeared first on Radio World.

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DRM Radios Going Strong in Indian Cars

Radio World
3 years 5 months ago

The author is chairman of the Digital Radio Mondiale consortium. Her commentaries appear regularly at radioworld.com.

Ruxandra-Obreja

The public broadcaster All India Radio (AIR) embraced radio digitization after 2010 delivering the largest radio digitization roll-out in the world. With just 39 powerful DRM transmitters (mainly mediumwave and shortwave) installed and operational, AIR can already cover a large part of the subcontinent and an estimated 900 million people with digital DRM signals.

Despite its staider programs, AIR is truly the one and only platform reaching all the corners of India and almost 100 percent of its population with news, Bollywood music, and more.

Speedy digitization decisions

The organization realized that the DRM all-band standard is the only option for bringing the large AIR AM infrastructure into the 21st century. DRM means additional digital radio services with reduced energy costs (40 to 80 percent for AM and up to 90 percent for FM). Pretty early on, it was recognized that the additional services can generate new revenue streams without compromising the existing content offer.

The creation by AIR of a more varied program content offer could maintain the interest of the listeners wooed by the nimbler news-free but music- and gossip-rich private FM stations prevalent in the big- and medium-size metros and cities (no more than about 60 percent of the total Indian listenership).

The better DRM content and active promotion of the technology can spur Indian listeners to buy digital receivers. Their increasing demand for receivers can then drive the industry to produce many such devices at decreasing prices as the volume goes up.

The primordial place held by radio in India, coupled with the rise of a stronger middle-class avid for new things like cars, delivered an interesting reality, despite the disruption of Covid-19.

Quick adoption in cars

With about five years of sustained sales, today there are more than 4.2 million cars on Indian roads equipped with DRM receivers as a standard feature. The Indian automotive market has achieved the fastest digital radio adoption, with 28 percent of new cars on the road currently equipped with a DRM digital radio receiver.


The automobile market enjoys the second highest share in the radio receiver market (after mobile phones and five-times greater than for standalone receivers). This achievement was recorded with most of AIR’s transmissions operating in digital-analog simulcast mode, but with the pure DRM transmissions slowly gaining ground. The figure of 28 percent within this short time frame after launching digital radio services is unparalleled in the world. The market share is similar with what has been achieved by DAB+ and, in the U.S., HD Radio over the past 20 years and with proportionally much greater investment from commercial companies.

A whole domestic automotive eco-system and digital radio lab incubation lab was developed around DRM by chipset manufacturers such as NXP, top receiver manufacturers and automakers, including Maruti Suzuki (the most popular brand in India), Hyundai, Toyota, MG Motor, Mercedes-Benz and others. These efforts have been supported by other major global companies, including NXP, RF2digital, Harman/Samsung, Visteon, LG Electronics, Hyundai Mobis, Fraunhofer IIS, StarWaves, Gospell, Inntot, CML Microcircuits, Ittiam Systems and Dolby, as well as organizations like the not-for-profit international DRM Consortium.

These companies have invested millions of dollars in developing and building DRM-related technology and know-how in and for India that can also be applied by the global automotive industry.

Digital FM decision

This development has run in parallel with the continuous examination of the next phase of Indian radio digitization — the FM band. While the AM sector is dominated by AIR, the FM band is shared between the public broadcaster and the many active FM stations that have brought listeners back to radio over the past 20 years. This has also created much more interest in the future digital FM radio decision.

The Telecom Regulatory Authority of India (TRAI), the Indian broadcasting regulator, has recommended the in-band FM digitization with only two possible candidates — DRM and HD Radio. Private broadcasters are largely supportive of the process, but are looking for additional guarantees from the government before they must digitize.

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The public broadcaster has been asked to check, advise and decide. A “beauty contest” between DRM and HD Radio was organized last year and this year and the technical results are being examined and, according to some sources, being aligned with various criteria.

DRM on AM already works and is easy to extend to the FM band, as the VHF bands are part of the same DRM standard. DRM in FM was demonstrated successfully in cars in New Delhi and Jaipur in March. DRM seems the natural choice, as deviating from the all-band, open standard or even mixing two diverse digital standards to please everyone, brings with it heavy costs, significant time delays, a waste of money and energy, and confusion for both manufacturers and listeners.

DRM in the FM band – the next step?

The DRM standard allows for the FM digitization with minimal investment. It is compatible with the existing Indian Common Transmitter Infrastructure (CTI) of India and does not affect the ongoing analog FM services during the transition period. Adopting DRM for local FM services gives India stability and certainty, resulting in a continued strong growth of DRM receiver availability as a default feature in Indian cars. Today every automotive company and manufacturer of DRM receivers has a solution to support DRM in all frequency bands, including digital FM. Most of the serious investment in R&D and testing is complete, and there is a single IP royalty for DRM receivers irrespective of the supported bands.

The Indian automotive industry has clearly expressed an interest in having the single DRM standard extended to all broadcast bands, as this can be done with minimum development, testing and cost, without any hardware modifications (software upgrades can be used).

The DRM India Automotive Group encourage the Indian government to mandate future cars to be equipped with DRM digital radio functionality including support for Emergency Warning Functionality (EWF) as a default feature, in line with what has been legislated in other parts of the world.

But getting the all-band receiver in the car, at no extra cost, is often just the beginning. Getting some very attractive content, whether it comes from public or commercial stations, or both, is the next requirement.

In-car digital radio — More gas, please

According to recent studies, radio is the primary entertainment source in cars for motorists, and they want it to remain free. The radio tuner, not the browser, is what people want to have easy access to, for now.

The availability of a car radio seems to be an important consideration for car buyers, although car manufacturers and distributors devote it little space to it in their brochures and training program.

Recently, DRM supporters launched a DRM awareness program, supported by AIR, targeting automobile showrooms, managers and dealers across India. All participants, whether in the showroom or on the road, were delighted with the DRM sound quality, lack of interference, variety of services, ease of switching from analog to digital and other services delivered through Journaline.

This grassroots initiative is commendable, but it is not enough. The various stakeholders need to work together to bring the desired content with metadata and extra information in the car without interference (a challenge to be solved for the electric vehicles), and, maybe, with voice control for station or program selection.

Educating the car manufacturers, distributors, advertisers and even broadcasters, on how best to use digital radio is a complex task. And to quote Deborah Wahl, General Motors Global chief marketing officer, who said in a recent interview: “There is also the need to tie outcomes — visits to a showroom, vehicle or service purchases to the radio media that is consumed.”

The mandatory introduction of digital radio in cars, a clear roll-out and communication plan and the meaningful outreach effort to the automotive industry is where the focus needs to be now.

Radio World invites industry-oriented commentaries and responses. Send to Radio World.

The post DRM Radios Going Strong in Indian Cars appeared first on Radio World.

Ruxandra Obreja

FCC Plans Vote on Improving Accessibility of Emergency Alerts

Radio World
3 years 5 months ago

The Federal Communications Commission is planning to vote on a proposal to improve the accessibility of the Emergency Alert System at its Open Meeting on Dec. 14.

In announcing the agenda for the meeting, Jessica Rosenworcel, chair of the FCC noted that “the Emergency Alert System (EAS) allows the President, FEMA, the National Weather Service, or state and local authorities to deliver warnings to TV viewers about dangerous weather and other imminent threats. Unfortunately, alerts sent using legacy broadcast technology have limited ability [to] relay text, which can create disparities between the information conveyed in the audio and visual alert messages, including during nationwide tests of the system. The Commission will vote on a proposal to improve the clarity and accessibility of EAS visual messages and tests, especially for persons who are deaf or hard of hearing or are otherwise unable to access the audio message.”

The Notice of Proposed Rulemaking for the changes to the EAS system would “propose to require use of a predetermined script as the visual message for legacy EAS nationwide tests, and propose to revise the terminology associated with the codes for nationwide tests, in order to improve the clarity of these visual messages displayed to the public for Common Alerting Protocol-based nationwide EAS tests,” the FCC said.

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It would also “propose to require that stations check for and use the available CAP versions of all State and Local Area alerts (which includes alerts issued by the National Weather Service) instead of the legacy EAS versions, to increase the use of CAP in light of CAP’s superior visual messaging capabilities.”

The Notice of Inquiry would “seek comment on how the legacy EAS architecture can be modified, augmented, or redesigned to enable alert originators to relay visual text that matches their audio message in legacy EAS alerts, as well as to enable more functionality within the EAS as a whole.”

The full agenda is available here.

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

The post FCC Plans Vote on Improving Accessibility of Emergency Alerts appeared first on Radio World.

George Winslow

Tascam Portacapture X8 Recorder Debuts

Radio World
3 years 5 months ago
Tascam Portacapture X8 Recorder Top View

Tascam has launched the Portacapture X8, a new portable eight-track audio recorder. The unit can record with up to 32-bit floating point resolution, offers sampling rates up to 192 kHz and sports a 3.5-inch touchscreen.

Aiming to help users who might be unsure of what settings to use in a given situation, the unit offers a Launcher feature, which allows users to pick from a series of presets (“recoding apps”), with a half-dozen settings offered at press time — multitrack recording, interview, podcast, music recording and field recording.

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The Portacapture X8 has two detachable microphones with 14.6 mm diaphragms that can be mounted in either AB or XY orientation. Also onboard are Tascam’s proprietary HDDA preamplifiers, along with four XLR/TRS combo jacks, and Aux In and Line Out, which can optionally serve as audio input and output for a camera. The level of the camera output can be adjusted to the requirements of the respective model, while functions for marks and slate tones are also available.

DSP options on the Portacapture X8 include compressor, limiter, low-cut filter, noise gate, reverb, automatic level adjustment and more. Settings can be made via simplified or advanced pages within the user interface. Users can also control the unit remotely via Bluetooth and the Portacapture Control app for Android and iOS.

Tascam Portacapture X8 Recorder Side View

In total, the eight-channel recorder (six tracks + stereo mix) includes a USB interface, eight inputs and two outputs; additionally, for monitoring, a built-in loudspeaker is available. The Portacapture X8 can be used with microSD, microSDHC and microSDXC cards with up to 512 GB capacity.

Send your new equipment news to radioworld@futurenet.com.

The post Tascam Portacapture X8 Recorder Debuts appeared first on Radio World.

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