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Equipment maker Tascam has a new mini mixer with a number of unusual features.

The Mixcast 4 Podcast station is aimed at the podcaster market but it will suffice for any content creator in need of a small mixer; especially one with some unusual features.

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

One of those unusual features is a bank of eight programmable sound trigger pads.

There are four XLR-1/4-inch combo jacks along with a 1/8-inch input for a phone or tablet. An SD card drive provides storage while a USB port provides many other options, notably PC interface. Bluetooth is also available.

A five-inch color touchscreen provides control and information. Tascam Podcast Editor software is included.

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

Info: https://tascam.com

 

The post Tascam Unleashes Podcast Mixer appeared first on Radio World.

Getty Images/Christoph Burgstedt, Science Photo Library

A technology called Wireless Multi-Channel Audio Systems, promoted by companies like Sennheiser and Shure, promises to help meet demand for more wireless mics, especially during large events.

Its supporters say increased demand combined with FCC actions have significantly reduced the spectrum available for wireless, principally in UHF frequencies within the TV bands.

The National Association of Broadcasters and the Society of Broadcast Engineers do not oppose the concept but they want restrictions put on the service if it is approved.

Such systems allow mics to operate using wider bandwidth channels than currently allowed, by digitally combining multiple signals. The technology also uses a more efficient operating protocol, so more mics can operate in the available spectrum. Similar technology has been adopted in Europe under European Telecommunications Standards Institute standards.

The Federal Communications Commission, in a notice of proposed rulemaking, is taking a good look.

The initial proposal

In 2018 Sennheiser asked the commission to formally define WMAS as a new class of wireless mics. It asked that WMAS be allowed to occupy up to a 6 MHz channel bandwidth — the size of an entire TV channel — rather than the 200 kHz channels allocated for low-power auxiliary stations (LPAS) in the TV bands, and it asked that WMAS be permitted to operate in several bands already available for licensed LPAS operations.

By digitally combining signals from multiple devices into a 6 MHz channel, it said, intermodulation issues would be eliminated while permitting denser use of the spectrum and reducing power density across the channel.

In this image from Shure, the blue line is the four analog signals, and the yellow is a WMAS “multiplex.”

Sennheiser differentiates between two groups of devices. Microphones and in-ear monitors require the highest possible audio quality and lowest latency; these devices, according to Sennheiser, currently require a 200 kHz channel. Intercom and IFB systems, on the other hand, can tolerate limited frequency response and dynamic range as well as some distortion and latency. Sennheiser says these devices can operate in a 25 kHz bandwidth. Most events require a mix of both types.

The company noted that the proposed 6 MHz channel could be configured for many combinations, such as 18 high-quality devices; four high-quality devices and 20 intercom channels; or two high-quality devices, 12 mid-quality links and 16 intercom channels.

To assure efficient use of spectrum, Sennheiser originally suggested that WMAS devices be required to operate with a minimum of 12 wireless mics in the 6 MHz channel, but now supports adoption of the standard found in ETSI 300-422.

First reactions

Early responses came from wireless manufacturers Alteros and Shure, as well as Microsoft, and the Aerospace and Flight Test Radio Coordinating Council, which must approve LPAS operations in one of the proposed bands.

All were generally supportive. Shure in particular has been expressing support and calling WMAS “a robust opportunity for boosting spectral efficiency” that could meet demand from broadcasters, music, theater, sports and many other applications.

However, Alteros, Shure and Microsoft all said the minimum number of mics should be higher than the 12 suggested by Sennheiser. Also, Microsoft opposed operations in the unlicensed 6-megahertz portion of the 600 MHz duplex gap, which it views as critical for white space devices.

Alteros argued that the FCC should require a method that allows synchronization across multiple manufacturers’ systems within the single frequency band. Microsoft agreed. “In particular, the ability of microphones from different vendors to plug into a single WMAS at a venue will lead to more efficient use of the limited UHF spectrum. Otherwise, venue operators conceivably might need to request multiple 6 MHz channels,” it said.

Sennheiser opposes that, saying that designing to accommodate the lowest common denominator may underutilize the spectral efficiency benefits of WMAS.

(Note, Alteros was a subsidiary of Audio-Technica, which closed Alteros in 2019 and stopped manufacturing that line of products. Audio-Technica has not filed comments since then. Contacted by Radio World, it declined comment.)

Summary of FCC proposals

Then this spring, the FCC issued its notice of proposed rulemaking. Comments were due in early August.

It asked for comment on allowing WMAS on a licensed basis in most of the bands where Part 74 wireless mics are permitted, including the TV bands, 600 MHz duplex gap and portions of the 900 MHz, 1.4 GHz and 6/7 GHz bands.

Also it proposes to allow WMAS to use a 6-megahertz maximum bandwidth, though the bandwidth of a device could be smaller if necessary.

But as suggested by Shure, the FCC proposed that WMAS devices comply with a spectral efficiency requirement of at least three audio channels per megahertz, which translates to 18 audio channels per 6 megahertz.

Shure believes that “top tier” pro systems currently supporting 14 to 17 channels per 6 MHz could expand to double or more to support 30+ channels. In-ear monitoring using OFDMA technology could triple the channels available in a continuous 2 MHz spectrum band.

(The FCC thought that Sennheiser’s 12 channels per 6 megahertz would not represent an improvement over existing technology, and it said Alteros’ suggestion of 24 channels might not be achievable in some cases.)

Regarding output power, the FCC proposed to allow WMAS to operate at the same maximum levels as other Part 74 LPAS devices, though Shure laid out arguments for higher power levels.

The commission proposed to conform its rules to a recently updated European standard for WMAS.

And though not prompted to do so, it asked whether WMAS should be permitted under Part 15 for unlicensed wireless operations in the TV bands, 600 MHz guard band or 600 MHz duplex gap. It asked about the impact of that on white space devices that share spectrum with unlicensed wireless.

Seeking flexibility

Excited about the rulemaking, Sennheiser came back with suggested tweaks.

It said the proposed minimum of three audio channels per megahertz would be counterproductive; it now recommends that the commission adopt an ETSI standard which states that WMAS must have a mode that supports (i.e., have the ability for) three audio channels per MHz, rather than a mandate for operation with a minimum number of mics.

“Adopting the ETSI standard would allow the commission to ensure that its spectrum efficiency goals are achieved, while simultaneously futureproofing its rules by granting users the flexibility to operate the system in other modes as required by new applications or workflows during operation.”

Sennheiser now thinks that in most cases, WMAS will be operated using 24 or even more channels within a 6 MHz TV channel, where today eight conventional narrowband wireless mics generally fit into that channel. And it said WMAS could become even more efficient thanks to immersive audio and object-oriented audio mixing. So it thinks that codifying a minimum number of channels may be counterproductive.

Regarding Part 15, Sennheiser noted that WMAS is targeted for “challenging professional applications faced by licensed engineers,” but said unlicensed operation could benefit all spectrum users. Shure too now says the FCC should authorize both.

And Sennheiser and Shure both emphasized that WMAS is not a solution to the crunch created by the FCC’s reallocations in the 600 and 700 MHz bands. Both say the FCC should not have terminated another proposal that would have set aside a vacant low-band UHF channel in each market for wireless mics; they asked the FCC to “reverse course” on that.

Broadcasters are cautious

Other stakeholders weighed in.

The National Association of Broadcasters supports WMAS on a “secondary basis” with “prudent restrictions,” given that WMAS “has a greater potential for interference” and is not compatible with legacy narrowband wireless deployments.

It said WMAS occupies more spectrum than traditional systems. “If there is only a single 6 MHz TV channel available for use at a breaking news event, one news crew using a WMAS system could occupy the entire channel and prevent coverage by other news organizations.”

So NAB thinks the FCC should limit WMAS to situations where a large number of channels are needed and will be under control of one entity, such as big concerts and sporting events; and it suggested that a threshold of 10 channels in use by a single entity. It also said the FCC should only authorize base stations that prevent transmission when fewer than 10 paired audio devices are detected.

NAB thinks the FCC should require minimum efficiency of six audio channels per megahertz, equivalent to 36 in 6 MHz, because a minimum of three would be no meaningful improvement. It asked the commission to restrict WMAS to Part 74 licensees, and to limit the systems to 6 MHz bandwidth. And it agreed with an FCC proposal to limit power to 250 mW EIRP in the UHF TV bands, regardless of the bandwidth of the WMAS operation.

Meanwhile the Society of Broadcast Engineers said the use of WMAS should be subject to coordination with SBE local frequency coordinators, and said these systems should be operated only on a non-interference basis to incumbent wireless technologies.

The society, like the mic manufacturers, said the FCC should not view WMAS as a sufficient response to the “critical shortage” in spectrum for wireless.

Another question asked by the FCC is about the 6875–6900 MHz and the 7100–7125 MHz bands. The commission recently made the whole 6 GHz band available for unlicensed use to encourage next-gen Wi-Fi and the Internet of Things. So it asked whether WMAS should be authorized there and whether Part 74 wireless mics should even be permitted in those bands any longer.

Cisco Systems, Facebook, Microsoft and the Wi-Fi Alliance all told the FCC it should not permit WMAS in those bands, and some said the FCC should not allow Part 74 operations at all. But Shure disagreed strongly with any suggestion that efficiency gains from WMAS opens the door to eliminating wireless access to the “6/7 GHz” bands, saying WMAS should not be viewed as a “cure all.”

Reply comments in the NPRM are due Aug. 30.

Implications

If WMAS is approved, what next?

Joe Ciaudelli, director, spectrum & innovation at Sennheiser, told Radio World, “We plan to conduct extensive field demonstrations with industry veterans. This is not only a revolutionary technology. It also provides a highly flexible alternative workflow. Even though it is simple to use, we want ample opportunity to hear the feedback from the field. Systems will be is use well before the official public launch.”

Ahren Hartman, VP of quality at Shure, urged interested parties to be vocal. And he hopes the FCC will allow unlicensed operation. “If unlicensed microphone users are not authorized to operate WMAS devices, that severely limits the available market for these products, which could jeopardize the technology commercialization,” he said.

“If the FCC grants WMAS access to all wireless microphone users, licensed and unlicensed, and aligns the technical rules with the European ETSI version, the groundwork will be laid for manufacturers to produce WMAS products as soon as technically possible.”

Both are enthusiastic about how WMAS will help engineers and frequency coordinators at very large events.

“The impact will be radical,” Ciaudelli said. “First and foremost, the engineer can pack far more wireless links within a 6 MHz TV channel, using a single RF carrier — typically four or five times more, depending on how the operator sets parameters such as latency, link robustness and audio quality. It’s also much easier to configure, plan and operate large multi-channel systems.

“Plus, the operator can essentially reuse spectrum resources,” he continued. “You can set the mics that are being broadcast live at a given moment to have the majority of the resources, while the mics that will be used in the next segment of the event can be turned on and tested using minimal spectrum resources. When it’s time for the next segment to go live, the associated mics will take over the majority of the resources.

“It’s different than the conventional approach that would use different channels for each set of mics. WMAS really shines for any multi-act mega-event like the Super Bowl, as well as for major music festivals or award shows.”

Hartman said the impact will depend on the final rules. “If the FCC adopts the technical parameters proposed by Shure, WMAS will have the ability to dramatically simplify frequency coordination for any size events, including large ones like the Super Bowl. Since WMAS is more spectrally efficient than conventional narrowband transmission, it allows users to pack more microphone/IEM channels in the same spectrum, making even planning easier in congested cities,” Hartman said.

“WMAS also manages intermodulation distortion (IMD) differently than narrowband transmission, essentially removing IMD from the planning, and therefore, simplifying frequency coordination. And finally, since WMAS can be designed to be bidirectional, both microphones and IEM channels can be packed into the same WMAS system, which makes spectrum planning simpler.”

A question that surfaced early is whether WMAS may cause interference to services in adjacent channels.

“No, in fact, it’s the opposite,” Ciaudelli said. “WMAS transmits multiple wireless audio links on a single carrier at the same power output as one conventional narrowband wireless microphone. Because WMAS spreads its power over an entire 6 MHz TV channel instead of 200 kHz like a narrowband wireless microphone, the power spectral density is significantly lower, reducing risk to adjacent services.”

The post Wireless Mic Industry Debates WMAS Technology appeared first on Radio World.

Issued an Admonishment to WMDN TV, LLC for public file violations for Station WMDN, Meridian, Mississippi

U.S. financial markets were on the rise Friday, and so were most publicly traded radio and television companies.

Among the big gainers: Audacy, perhaps benefiting from a strong assessment from Wells Fargo Securities released Thursday.

At the closing bell, AUD was up 7.7% to $3.5850 — a sign that a much-needed rebound for the company formerly known as Entercom could finally be happening.

Also up: iHeartMedia, now at $24.76 with a 3.9% climb from Thursday.

Townsquare Media shares were also on the rise, increasing in value by 4.7% to finish at $13.06.

On the TV industry side, The E.W. Scripps Co. saw a 3.4% gain, to $18.69, and Nexstar Media Group was up 1.8% to $148.64.

Not every media company finished Friday’s trading in positive territory. Sinclair Broadcast Group was down 1.1% to $29.97 and Saga Communications declined by 2.2% to $23.45.

Organizations often launch diversity and inclusion initiatives as strategic imperatives to create more equitable and inclusive work environments. While it’s the right thing to do, it’s often assumed that there’s immediate buy-in across the board.

That’s not always the case, however, culturally integrated market research agency ThinkNow says.

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MIAMI — Since November 1978, his voice has been heard on radio stations in both San Antonio and Miami, making his name well-known among a generation of Latinos who were raised on the Bee Gees and today perhaps appreciate Gilberto Santa Rosa as much as the late Selena.

Now, the Hispanic radio industry is paying tribute to Leo Vela, who died Wednesday (8/25) at the age of 69.

Learn about the opportunities that exist by targeting Hispanics, whether in English or in Spanish, by registering today for the 2021 Hispanic Radio Conference. It’s September 22-23, and there’s a hybrid option now available!

 

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Nearly two months ago, it became known that a special group of low-power television station permits — with expiry dates in 2023 — were available. They were placed on the market by a licensee that didn’t wish to build them, and among the buyers who have stepped forward are The E.W. Scripps Co. and Windsong Communications.

Now, a third buyer has emerged, and its an individual who has become an active acquisition actor in the last year.

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Broadcasters have succeeded at avoiding or limiting increases in their FCC regulatory fees this year.

The final commission order setting fees for FY 2021 has been issued, and rates for radio stations are pretty much what they were last year, instead of being increased as the commission had planned. Many rates will actually tick down.

The National Association of Broadcasters and state broadcast associations had pushed back on the planned hikes, citing the pandemic but also arguing that the way the commission allocates such fees is unfair, putting too much onus on radio and TV stations and none on “Big Tech” companies that directly benefit from commission services.

[“NAB Continues Its Fight Against Higher Station Fees”]

The original proposal called for increases of 5% to 15%, while NAB noted that the FCC’s general salary and expenses budget increased by only 0.5%.

Here are three sample outcomes:

An FM Class B1 station in a very large market paid $18,375 in the past year, and the FCC planned to increase that to $19,650, but its final number was $18,285.

An AM Class A station in a medium-sized market paid $3,300 this year and was slated for $3,550, but ended up at $3,295.

And an FM Class B in a good-sized city paid $9,300 last year, and the FCC planned to increase that to $10,075. Instead its new rate is $9,270.

[Download a comparison of last year’s fees, the proposed fees and the final amounts.]

“NAB greatly appreciates the FCC’s efforts to revise its original regulatory fee proposal that would have required local radio and television broadcasters to subsidize unrelated work at the commission,” said NAB Senior Vice President of Communications Ann Marie Cumming in a written statement. “The change is not only the right outcome, but critical to the many broadcasters’ ongoing service to their local communities.”

The FCC also has a notice of proposed rulemaking regarding several fee issues, and invited comment on further fee reform.

Cumming said broadcasters want to work with the FCC in the coming year “to take a deeper look at the regulatory fee process to ensure all stakeholders that benefit from the commission’s work are paying their fair share and that those currently subsidizing the commission are no longer paying for work unrelated to their industries.”

NAB said the proposed increase had been based on an FCC decision “to make broadcasters pay for a significant portion of the $33 million in additional funding that was specifically appropriated by Congress to implement the Broadband DATA Act and other inequities in the FCC’s approach.”

The post Broadcasters Get a Win on Regulatory Fees appeared first on Radio World.

Ken Kuenzie and Dennis Klautzer have made headlines in recent years for their radio broadcasting investments. They include five audio brands serving the Lake of the Ozarks resort region of Missouri, and their December 2017 decision to join Larry Fuss as an investor in a Kaua’i FM serving the Hawaiian island.

Now, their company is set to bring the first over-the-air TV station to a community that’s perhaps best-known for the not-so-flattering drama Ozark on Netflix.

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Sample screen of the Radio FM website.

The author is marketing manager for Radio FM.

Internet radio today gives the listener access to thousands or even hundreds of thousands of radio stations within a few clicks.

They can travel to another country and hear their favorite radio station, staying updated with trends and news. If they’re in Brazil, they can access stations throughout Europe, and vice versa. If they live in a less-developed part of the world where visual media are lacking, the listener can still stay connected. Market leaders like NPR, Spotify and iHeartRadio know the power of online radio.

Data from Statista tells us the following about internet radio:

Local radio digital ad revenue in the United States at last count was $1.32 billion. Podcast revenue was $842 million and growing rapidly. Weekly time spent with online radio and other online audio sources had increased to 16 hours 14 minutes. The monthly reach of online radio among U.S. adults ages 35–54 was 72%.

When COVID-19 spread like wildfire and confined people to their homes around the world, internet radio further proved its worth. Listeners could find endless genres of music and types of information from traditional radio channels, online-only stations and the latest podcasts.

For existing broadcasters, internet radio has been a boon, spreading their impact and making their stations accessible around the world. New entrants benefit from internet radio’s low startup costs, low operating costs and valuable audience insights.

Directories like ours at Radio FM provide exposure and the necessary flexibility to manage your stream. Radio broadcasters should consider listing their stations on Radio FM because:

• Every directory has its own user base, so by listing in them you get a chance to reach your potential listeners or acquire new ones;
• Since there are already thousands of stations listed in every directory there are chances that your station might not show up in the top positions in a list. With Radio FM you get a chance to promote it for free for seven days and then purchase paid packs to list your station on the top five positions and gain visibility and therefore acquire some new listeners.
• Besides the broadcaster web portal, you can download the Partners app to manage your stations and track your performance on the go.

It is vital that online stations make sure they are available and can be found online.

Radio FM is an internet radio platform. Learn more at http://appradiofm.com/.

 

The post Make Sure Your Station Is Visible Online appeared first on Radio World.

With the Federal Communications Commission’s decision to set aside regulatory fee increases for Fiscal Year 2021, the NAB, which had fought against the FCC’s proposal, is pleased.

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With the release of the 150+-page “Assessment and Collection of Regulatory Fees for Fiscal Year 2021” by the FCC late Thursday, the Commission moved forward with its proposal to adopt the use of the population-based methodology for full-service television
broadcasters for fiscal 2021.

Here’s what that means for over-the-air broadcast TV station owners.

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CBS News and Stations President and Co-Head Wendy McMahon has solidified the company’s local television leadership in the Mile High City. In doing so, she’s appointed a VP/GM who has been News Director of the CBS O&O in the market since 2004.

He’s succeeding Walt DeHaven, who retired in July after nearly 20 years as the station’s GM and some 40 years in the local TV industry.

Rising to the top role for KCNC-4 is Tim Wieland.

He’s been at KCNC since 1994 and has held the News Director title for the last 17 years.

“I can’t think of a better example of someone receiving a well-deserved promotion than Tim Wieland,” McMahon said. “Tim understands the need to modernize and transform our brands and products for the future, and I am confident he will take our great team in Denver to new heights, focused on solid journalism, an unparalleled workplace culture and a community service commitment that is second to none.”

Wieland added, “I feel fortunate to have been able to spend almost my entire career at CBS 4, working alongside such an exceptional group of colleagues in our news department. Now, I am excited to take on this broader role and provide leadership and support to our entire CBS Denver family. As part of the newly united CBS News and Stations organization, we have a tremendous opportunity to deliver wins on a daily basis for the mutual benefit of our company, the diverse communities we serve, and our valued business partners.”

In 1999, Wieland briefly left Denver and spent two years in Atlanta, where he worked for CNN as a newscast producer and field producer.

Wieland gained his first professional experience as a reporter, anchor, producer, photographer and video editor at KREX-TV in Grand Junction, Colo.

The FCC late Thursday released its Report and Order and Notice of Proposed Rulemaking on the “Assessment and Collection of Regulatory Fees for Fiscal Year 2021,” and there’s cause for cheer among radio broadcasters.

Why? The initial proposal to make broadcasters pay for a significant portion of the $33 million in additional funding that was appropriated by Congress to implement the Broadband DATA Act has been scrapped by the Commission.

The NAB assailed the plan. And, it appears Rick Kaplan and the legal team at the association have scored an important victory for broadcasters.

Here’s what this means for Radio in fiscal 2021, which begins October 1:

 

When breaking out the radio station regulatory fees, there is a reduction from FY 2020.

The $975 minimum regulatory fee for Class A AMs remains the same as it did in fiscal 2020. The biggest FM stations would see a regulatory fee decrease from $20,925 in fiscal 2020. This is significant, as the FCC originally proposed this group of stations to see a regulatory fee increase to $22,650.

 

When the newest FCC Commissioner, Nathan Simington, who will appear September 23 at the Hispanic Radio Conference, first took a gander at the initial draft of the Commission’s “MD Docket No. 21-190,” he had concerns.

The first version of the “Assessment and Collection of Regulatory Fees for Fiscal Year 2021” also raised the ire of many broadcast media companies, which argued that any increase in fees paid was unacceptable given the fiscal challenges the COVID-19 pandemic has brought.

The Commission has listened, and responded accordingly.

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Getty Images/Thomas Barwick

It was the combination of pandemic isolation and the sound of cicadas that made me do it. I called a globe-trotting friend to whom I had not spoken since he and I dodged cicadas together in 2004.

I began with a question: “Quick! Where were you living 17 years ago?” He replied, “Can you give me a Zip code?”

It sure was fun catching up — and the success of that call led me to another, and another and another.

While it hasn’t been 17 years since I’d spoken to many friends, I must admit I wasn’t the best during the pandemic at calling people.

Fifteen months is a long time to be silent. Coming out of home isolation can be especially challenging for the introverts among us who gain energy from solitude and may have anxiety just thinking about returning to offices and in-person meetings.

Most of my calls have been returned by now, and it’s been highly rewarding. That’s why I’m telling you. Life is all about relationships; and while you may see what somebody is up to on social media or can find out some facts with an email, it’s not the same as a real conversation via phone or a face-to face get-together.

What has this got to do with radio?

People to lean on

We are all so busy at our stations that too many of us neglect personal and professional development and growth.

From a personal perspective, our friends ground us, they help us navigate the long winding road of life. If you’ve got pals who will tell you the truth — especially about yourself — admit your good fortune and take advantage of this resource that’s worth more than money. Living in your own echo chamber can lead to self-deception, loneliness and depression.

From a career perspective, it’s your network of former workmates, acquaintances, advisors and true radio friends who will be there — when you need professional guidance and assistance, when you are ready to grow your career in your next job.

Choosing the next career move in radio has always been challenging. Worse, terminations can be unexpected, swift and merciless. Gone are the days of long severance payouts. Even what we believe are solid contracts can be challenged, sometimes ending in reduced settlement payments.

Keep up your business relationships — not just with your peers at your station or office, but with consultants, vendors, concert/music promoters, and the people in other departments of your company. If you don’t, you can’t expect much when you’re in need. Relationships require active participation.

Career counselors will unanimously inform you that your network is the most important aspect of a successful job search.

As it happens, I’ve lost a number of friends in the last two years. There’s nothing like a few funerals to remind a person of their own mortality. It also dawned on me that I had not recently thanked people who have meant so much to me in my own career. Without being hired, mentored and remembered, I would not have gone far.

Over the years I’ve found that the folks who’ve had a positive impact on my life and career appreciate hearing from me. And there’s nothing like a personal phone call or an in-person visit to renew that connection.

Read more Promo Power columns.

The post Take Time to Renew Relationships appeared first on Radio World.

Issued a Notice of Apparent Liability for Forfeiture in the amount of $3,000 to Nexstar Media Inc. for failing to timely file the Station's quarterly TV issues/programs lists for WSPA-TV.

Report and Order adopting a schedule of regulatory fees for Fiscal Year 2021

Issued a Notice of Apparent Liability for Forfeiture in the amount of $7,000 to PEG Broadcasting LLC for failure to timely file covering license applications for FM Translators W221ED and W249D McMinnville, TN, and unauthorized operation of the stations

The Bureau enters into a Consent Decree with South Dakota State University