Skip to main content
Home

Main navigation

  • REC Home
  • Apply
    • REC Services Rate Card & Policies
    • LPFM Construction Completed
    • LPFM License Modification
    • New FM Booster Station
    • New Class D FM Station in Alaska
    • New Low Power FM (LPFM) Station
  • Initiatives
    • RM-11846: Rural NCE Stations
    • RM-11909: LP-250 / Simple 250
    • WIDE-FM
    • RM-11952: Translator Reform
    • RM-11843: 8 Meter Ham Band
    • PACE - LPFM Compliance
  • Services
  • Tools
    • Today's FCC Activity
    • Broadcast Data Query
    • Field strength curves
    • Runway slope
    • Tower finder
    • FM MODEL-RF Exposure Study
    • More tools
    • Developers - API
  • LPFM
    • Learn about LPFM
      • Basics of LPFM
      • Self Inspection Checklist
      • Underwriting Compliance Guide
      • Frequently Asked Questions
      • FCC Rules for LPFM
      • HD Radio for LPFM
      • Transmitters certified for LPFM
      • Interference from FM translators
      • RadioDNS for LPFM Stations
    • 2023 Window REC Client Portal
    • myLPFM - LPFM Station Management
    • LPFM Station Directory
    • Spare call signs
    • REC PACE Program
    • More about LPFM
  • Reference
    • Pending FCC Applications
    • FCC Filing Fees
    • Radio License Renewal Deadlines
    • FCC Record/FCC Reports
    • Pirate Radio Enforcement Data
    • Premises Info System (PREMIS)
    • ITU and other international documents
    • Recent FCC Callsign Activity
    • FCC Enforcement Actions
    • Federal Register
    • Recent CAP/Weather Alerts
    • Legal Unlicensed Broadcasting
    • More reference tools
  • LPFM Window
  • About
    • REC in the Media
    • Supporting REC's Efforts
    • Recommendations
    • FCC Filings and Presentations
    • Our Jingles
    • REC Radio History Project
    • Delmarva FM / Riverton Radio Project
    • J1 Radio / Japanese Broadcasting
    • Japan Earthquake Data
    • REC Systems Status
    • eLMS: Enhanced LMS Data Project
    • Open Data at REC
    • Our Objectives
  • Contact

Breadcrumb

  • Home
  • Aggregator
  • Sources
  • Radio World

Operational Status

Michi on YouTube

Most popular

fcc.today - real time updates on application activity from the FCC Media Bureau.  fccdata.org - the internet's most comprehensive FCC database lookup tool.  myLPFM.com - Low Power FM channel search and station management tool.  REC Broadcast Services - professional LPFM and FM translator filing services. 

Other tools & info

  • Filing Window Tracking
  • Enforcement Actions
  • REC Advisory Letters
  • FAQ-Knowledge Base
  • U/D Ratio Calculator
  • Propagation Curves
  • Runway Slope/REC TOWAIR
  • Coordinate Conversion
  • PREMIS: Address Profile
  • Spare Call Sign List
  • FCC (commercial) filing fees
  • Class D FM stations in Alaska
  • ARRR: Pirate radio notices
  • Unlicensed broadcasting (part 15)
  • FMmap - broadcast atlas
  • Federal Register
  • Rate Card & Policies
  • REC system status
  • Server Status
  • Complete site index
Cirrus Streaming - Radio Streaming Services - Podcasting & On-demand - Mobile Apps - Advertising

Radio World

Babin of Cox Joins NAB Radio Board

Radio World
4 years 2 months ago
Rob Banin

Rob Babin has been appointed to the Radio Board of the National Association of Broadcasters.

He is senior vice president, head of radio for Cox Media Group, overseeing 65 stations in 11 markets. On the NAB board, he replaces Bill Hendrich of Cox, who retired.

[Read: Cox Names Rob Babin Head of Radio]

He has been with CMG for 20 years and is also a board member of the Georgia Association of Broadcasters and the Radio Advertising Bureau. He previously was on the board of the Florida Association of Broadcasters.

NAB also announced that RaMona Alexander, vice president and general manager of WDBD(TV), and Dan York, president and chief executive officer of Cox Media Group, were appointed to its TV board.

See other recent People News announcements.

The post Babin of Cox Joins NAB Radio Board appeared first on Radio World.

RW Staff

IBC Show Looking at “Fall Back Dates” in December

Radio World
4 years 2 months ago

The CEO of IBC has revealed the show’s organizers are looking at “fall back dates” in December if they feel the show can’t go ahead as planned in September.

The backup dates are December 3–6, with the show still taking place in Amsterdam.

Michael Crimp said organizers are hoping the show can go ahead as planned in September, but they have “other scenarios” in place if that changes.

He added that they plan to announce any decision by the end of May/early June.

“We’ve had many challenges and many hurdles to overcome,” said Crimp. “Our aim is to reenergize and engage with the industry after challenging year. We feel a sense of purpose of being the catalyst to get everyone back on track.”

Crimp did warn that the show will not be as big as it has been in prepandemic years. “We expect to see a drop off in some international travel,” he said. “We do know that our European audience would make for a really strong show.”

He announced that for those unable to travel to Amsterdam this year, IBC will be launch a digital offering.

Key features of IBC 2021 include:

  • A new IBC Showcase Theatre in Hall 12, with content streamed live to IBC’s digital platforms.
  • Four new free-to-attend content hubs on the show floor, dedicated to Production & Post, Live & Remote Production, Direct to Consumer/ OTT and Content Supply Chain. The sessions from these hubs will also be available on the IBC digital event platform.
  • A new, purpose-built home for the Content Everywhere Hub in Hall 5.

Organizers added that current bookings for IBC 2021 are going well, with 60% of stands booked compared to 2019.

 

The post IBC Show Looking at “Fall Back Dates” in December appeared first on Radio World.

Jenny Priestley

User Report: Chiefs Network Streamlines With Merlin and ViA

Radio World
4 years 2 months ago
The author at work (note Super Bowl ring on his right hand).

KANSAS CITY, Mo. — As the executive producer and co-host of the Chiefs Radio Network, I travel extensively to cover games for Entercom’s WDAF(FM) 106.5 The Wolf in Kansas City, the flagship station of the Kansas City Chiefs.

Throughout my three decades of broadcasting Chiefs games, we’ve been tasked with backhauling games from all over the world. The NFL schedule can send us to any of 31 other markets in the United States, plus the United Kingdom and Mexico.

To accomplish this, we need solutions that are compact and portable but have a tremendous amount of connection flexibility.

We own three rack-mounted Tieline Merlin Plus codecs: one at WDAF, one at Arrowhead Stadium (our home stadium) and one installed in our road kit. We also have a Tieline ViA — which I have found to be a perfect combination of power and portability.

An entire game day broadcast is nearly eight hours including pregame and post-game. Some of this content can occur simultaneously and requires multiple discrete audio routes. And because the content is live, its coordination demands real-time two-way communication.

We solved these needs by utilizing all six channels of the Merlin Plus.

Two channels send stereo program to the studio, and on the return path we receive a mix-minus and a communication feed from the network TV truck that is used to coordinate commercial breaks. Channel 3 is for IFB to and from our studio master control.

Channel 4 is for incoming Report-IT app calls for game updates from around the league. Channel 5 connects the ViA from its remote stadium location — or, because of COVID, an offsite location. Channel 6 connects the ViA in IFB mode for comms with the remote talent. As a setup it’s nuts. But it all works beautifully and reliably!

SmartStream

For us, one of the most important aspects of the ViA is the ability to provision it to any type of network.

The setup allows us to configure a primary, secondary and tertiary network easily. And the SmartStream technology provides connection stability and redundancy by allowing us to utilize multiple networks at the same time seamlessly.

Using the dual SIM internal LTE module here in the U.S., we can choose between Verizon and AT&T LTE networks, or use both simultaneously. Internationally we use LAN and Wi-Fi networks in the same fashion. We have also streamed with USB air cards and USB tethering.

Having six bidirectional streams in a single rack space has made Merlin Plus an ideal choice as our primary codec for the studio, home and away stadiums. Over the years, the Report-IT app has become our primary method of feeding locker room interviews. Report-IT provides the convenience and mobility of a cellphone, with the quality and stability of a professional codec.

For the gameday backhaul we use a dedicated MPLS [Multiprotocol Label Switching] network installed and maintained at each NFL stadium by Brian Kassa at Sports Backhaul Network. It’s incredibly stable and has the bandwidth to support the full use of the Merlins.

For locker room and various feeds, we also use the ViA connected to the internet. We encode using Tieline’s Music Plus algorithm at 48 kHz/256 kbps or Opus voice at 64 kbps and always configure SmartStream Plus redundant streaming (even for our Report-IT users).

During the pandemic we’ve had limited access to stadiums due to the NFL’s COVID isolation and lockdown. For the 2020 regular season, we elected to broadcast from home and not travel. This required coordinating several fiber real-time video and audio feeds from each venue. The ViA became invaluable for allowing us to remote talent off-site while retaining the level of communication needed to coordinate segments in an extremely fast-moving live broadcast.

The need to socially distance or remote someone in quarantine was made possible by the variety of options that the Merlin, ViA and Report-IT apps provide. We had talent broadcasting from home and remote hotels. We even used the ViA to extend one individual across the room so we could meet the NFL’s social distance requirements while maintaining an IFB path for communication.

The codecs generally don’t require any user interaction — we simply load the setup and connect. And having remote access to the equipment has been a game-changer this year, whether using the built-in WebGUI or Cloud Codec Controller. My stadium engineer Nate Wetmore and studio engineer Ken Wolf are responsible for supporting everything from legacy Tieline G3 Commanders to Bridge-ITs to Merlin and ViAs. So the consistency of the user interface and configuration is a huge time-saver.

Post-pandemic, remote control will continue to be important as it can be especially difficult to access equipment physically in large stadiums. Remote engineering removes that obstacle.

The codecs perform incredibly. Setup is simple and the user interface is intuitive given the complexity of both the Merlin and ViA. The sonic quality and network stability make them well suited for critical broadcasts.

The ultimate compliment for a codec is when we hear people say they are surprised that a Report-IT or ViA user is not in the room with us. Combine that quality with the easy administration provided by having everything under one roof of the Tieline Cloud Codec Controller, including Report-IT users, is why the Chiefs Radio Network relies on this equipment to provide Chiefs games to more than 100 affiliates.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

For information, contact Dawn Shewmaker at Tieline US in Indiana at 1-888-211-6989 or for international queries contact Charlie Gawley at Tieline in Western Australia at +61-8-9413-2000 or visit www.tieline.com.

 

The post User Report: Chiefs Network Streamlines With Merlin and ViA appeared first on Radio World.

Dan Israel

iHeartMedia Will Acquire Triton Digital

Radio World
4 years 2 months ago

iHeartMedia plans to acquire audio ad technology company Triton Digital for $230 million.

It said the agreement to buy Triton from E.W. Scripps Company “establishes iHeartMedia as the only company to provide a complete set of advertising technologies and measurement solutions for all forms of audio media.”

It highlighted benefits of the acquisition in expanding its “data and measurement capabilities, programmatic platform, self-service platform for small businesses and podcast capabilities.”

Providing some insight into where iHeart sees the greatest business opportunity, the headline of the press release emphasizes iHeart’s description of itself as a podcast publisher as well as its role in“ all forms of audio media.”

The agreement is subject to certain closing conditions, including regulatory approval.

“With this acquisition, iHeartMedia will now be able to provide audio content to producers and advertisers with an industry-leading full ad service package for streaming and podcasting no matter their size, reach or distribution method,” it stated.

iHeart says it will be the first company in the audio market “to provide four distribution methods for audio, including on-demand, broadcast and digital streaming radio and podcasting, and to service all audio assets programmatically.”

This is the latest in a string of audio-related moves. IHM acquired podcast marketplace Voxnest late last year and, as it noted in the announcement, in the past two and a half years it also acquired buying platform Jelli Inc., social intelligence platform Unified and, through its subsidiary RCS, the cloud-based audio platform Radiojar.

The post iHeartMedia Will Acquire Triton Digital appeared first on Radio World.

Paul McLane

Live Remote Broadcasting in Your Browser

Radio World
4 years 2 months ago

This article appeared in Radio World’s “Trends in Codecs and STLs for 2020” ebook.

Working from home or remote studios is in “normal” times a challenge for broadcast and voiceover talent. When one factors in a pandemic lockdown and the ensuing scramble to move studio-quality audio back and forth, a service like ipDTL can make that task less of a challenge.

The ipDTL service has been enjoying more attention during the pandemic but has been around for several years. It comes from In:Quality, which “operates a worldwide network for the real-time transmission of professional audio.” The company says its users include the BBC, New York Public Radio, NPR and Global Radio.

[Check Out More of Radio World’s Ebooks Here]

The service is based on the open source Opus codec. Founding Director Kevin Leach, a former radio host and BBC sound engineer, says ipDTL runs smoothly on any modern computer: “If you can browse the internet smoothly on your computer, then you can run a stable ipDTL connection.”

To send a link.

A subscriber of the service can send a link to another location, where that link is opened in a browser and a bidirectional studio quality audio link would then be established.

ipDTL has additional capabilities: With the proper configuration, the subscribing user can also connect to legacy ISDN codecs (where still available) and even connect to a voice grade telephone. With SIP protocols and using a sip.audio account from In:Quality, a subscriber can also connect to hardware codecs (e.g. Comrex, Tieline, Telos, JK Audio) that are configured for Opus connections.

It is also compatible with G.722 and G.711 over IP. There is a video angle as well, VP8 and H.264. And it lives on Windows, Mac, Linux and ChromeOS computers.

Subscription Levels

There are three levels of ipDTL annual subscriptions: Bronze users can send one connection link, Silver users two and Gold users may send up to four simultaneous connections. A version allowing six connections is in the late stages of testing. The Gold subscription also includes basic video functionality. Prices start at $15 per month. Subscribers get a sip.audio address (XXXXX@sip.audio), which allows SIP-enabled devices to talk to the subscriber.

How does this work in the real world? I tested the service recently during a virtual NAB Show demonstration with Leach.

There are some caveats from my experience.

All codec developers (software and hardware) caution users that sending a true mix-minus is vital for proper operation of the codec. For example: On a mixer like the Allen+Heath ZED 10, there are three ways to send a mix-minus (aux send, FX send and record bus). The best one that seems to work with USB connections is the record bus, where inputs other than the USB connections are selected (mics, etc.). The USB out can be fed from the record bus. If the main mix were fed to the USB out, that would create a feedback loop. A standalone codec could be fed mix-minus from the aux or FX send.

Screenshot

During our demonstration, I fed the record bus with the USB output. When Leach talked about the importance of a mix-minus, I created a feedback loop (which happens when the codec or other receive channel is fed back to the other end of the connection).

Unless a laptop is within visual distance of a wireless router, and it is the only device on the network at that particular time, in:Quality strongly recommends a wired connection to the network router when using the ipDTL service. With a wired gigabit connection over Cat-6,  I experienced no connection problems.

Leach says multiple SIP connections with ipDTL at the studio end provide maximum flexibility. He said devices such as Wheatstone SwitchBlade and Comrex Access MultiRack can receive multiple duplex real-time SIP streams from remote sites and guests. The studio so equipped can send a connection link to talent and guests so they can connect easily to the SIP hardware. There’s also an option to connect from one of the company’s range of SIP Opus Codecs.

Subscribers may opt to be listed in a database of ipDTL users around the world for an extra charge. That’s a useful resource for audio reporters and producers, and it could also help those producers and reporters to connect with newsmakers and subject matter experts.

An online network map lets the user find a studio, search for voice talent or see which radios stations are “ipDTL ready.”

“For too long now, there has been uncertainty and trepidation about the migration from ISDN to IP codecs,” Leach said. “With SIP now, it feels like we’re finally past the point of no return, but there’s still some work to do. A newspaper journalist should be able to ask a radio producer what SIP address they should call for an interview, and get a confident reply. Looking at the messages in our support inbox, we’re not quite there yet.”

Paul Kaminski, CBT, is a longtime Radio World contributor, and host and producer of msrpk.com’s “Radio-Road-Test” program. Twitter: msrpk_com; Facebook: PKaminski2468

 

The post Live Remote Broadcasting in Your Browser appeared first on Radio World.

Paul Kaminski

DAB+ Takes Center Stage

Radio World
4 years 2 months ago

The author is president of WorldDAB.

Last year was a pivotal year for DAB+ radio — with a string of developments providing clear evidence of the standard’s progress:

  • In October, Germany launched its second national multiplex — offering 16 new services to a potential audience of 67 million people;
  • In December, Switzerland confirmed that it would be switching off FM radio — starting with the public broadcaster in 2022, followed by the private broadcasters in 2023;
  • Also, in December, the European Electronic Communications Code (EECC) came into force — requiring all new car radios in the EU to be capable of receiving digital terrestrial radio.

Device Sales

These market developments have been mirrored by strong consumer demand for DAB+ radios:

  • DAB/DAB+ consumer receiver sales increased by 12% in 2020 (analog sales dropped by 21% over the same period);
  • In Q4, the DAB/DAB+ performance was even stronger with sales up 22% year-on-year.

Consumers are moving away from FM-only devices to the more compelling offer available on DAB+ (increased choice, more consistent audio and, increasingly, color displays).

DAB’s Green Credentials

At the end of last year, a major advance was made when the BBC published its report into the energy footprint of its radio services. Presented at the WorldDAB General Assembly, this report broke new ground as, for the first time, it considered energy consumption across the whole of the radio full value chain: production, distribution, and consumer listening.

A BBC report indicated that DAB was the most energy-efficient platform for radio distribution.

The conclusions highlighted the greater efficiency associated with DAB radio:

  • 28% more efficient than FM (per listening hour);
  • 59% more efficient than IP (per listening hour).

These findings are clear evidence of the critical role which DAB/DAB+ plays in creating a sustainable future for radio — a priority of increasing importance for broadcasters and policy makers.

Prospects for 2021

The next major development for DAB+ in Europe will be the launch of national (i.e. metropolitan) services in France.

The media regulator, the CSA, has given the green light for services to be on air beginning July 15. Two national multiplexes offering 25 services will be available, with the key focus on the major road networks — starting with the highways between Paris and Marseille.

Conclusion

The EECC directive, coupled with strong developments in key European markets including France and Switzerland confirms that DAB+ is established as the core future platform for radio in Europe.

The strong growth in DAB+ receivers in cars and consumer radios underlines this progress, and the significance of these advances should not be understated.

  • Radio’s role as the most trusted source of news and information has rarely been more important;
  • In times of emergency, broadcast radio consistently provides levels of service reliability unmatched by mobile networks;
  • The environmental advantages of DAB radio are clearly evidenced in the BBC report into energy consumption.

The challenge for us now is to maintain this momentum. Digital broadcast platforms lie at the heart of radio’s future. Now is the time to ensure we have the policy frameworks and strategic focus to deliver on this promise.

The post DAB+ Takes Center Stage appeared first on Radio World.

Patrick Hannon

Sinclair Readies ATSC 3.0 Radio Simulcast  

Radio World
4 years 2 months ago
A OneMedia promotional image.

It may be a little early for radio groups or SiriusXM to get worried, but they might want to take a close look at what Sinclair Broadcast Group is doing in Seattle.

This month the company is launching ATSC 3.0 over-the-air delivery of four Sinclair radio stations in the market as part of its STIRR XT digital audio service.

OTA simulcasts of KVI(AM), KOMO(AM), KOMO(FM) and KPLZ(FM) will complement 15 digital audio channels already being delivered “over the top” as part of STIRR XT.

When it announced the plan a couple of months ago, Sinclair VP of Technology Strategy Michael Bouchard was quoted in the press release saying the technology “lays the groundwork for our future plans of enhancing the reception of terrestrial over-the-air radio services throughout the country, as NextGen TV is deployed by broadcasters everywhere.”

From a strategic point of view, the rollout — while initially modest — demonstrates Sinclair’s commitment to delivery of more than better-looking and sounding television via ATSC 3.0, says Mark Aitken, senior vice president, advanced technology, for Sinclair and the president of its ONE Media 3.0 business.

“One of the reasons we are doing this is because the automotive guys always ask: ‘Is there an alternative to digital radio [and] to SiriusXM that can be delivered via the ATSC 3.0 standard?’” he says.

While acknowledging it is “early in the game,” Sinclair is hoping these “Seattle 3.0” radio simulcasts — the first of many to launch in the broadcaster’s ATSC 3.0 markets — will pique the interest of automakers as they plan for the future, he says.

Automakers need a minimum of three years to add anything to what’s on the drawing board. The launch of STIRR XT OTA today just might be enough to nudge them into including 3.0 receivers in future models, he says.

“We think there is a real compelling reason to consider the inclusion of ATSC 3 receivers in cars,” says Aitken. “Once you’ve done that, all of the other opportunities for what can be carried in that digital spectrum open up.”

Frequently cited use cases for ATSC 3.0 in vehicles include delivery of in-car entertainment, map and navigation data and fleet-wide software updates for computer-controlled automotive tech.

NextGen TV hybrid service

Like ATSC 3.0 itself, the combined STIRR XT is a hybrid service — part OTA and part OTT, or “over the top.”

When the 3.0 radio simulcasts launch, only NextGen TV sets and gateway owners in Seattle will be able to receive them. However, in October 2020 Sinclair revealed early production samples of its Mark One smartphone with built-in 3.0 receiver. These phones and other expected 3.0 consumer devices will make mobile reception of OTA 3.0 digital audio a reality one day, says Aitken.

“We truly will be delivering radio broadcast content — just delivered over a different spectrum,” says Aitken. “It’s not FM; it’s television spectrum.”

Consumers access STIRR XT via the STIRR Radio broadcast app available universally on televisions labeled as NextGen TV sets. When consumers launch the app, they can navigate to STIRR Radio to begin enjoying OTT- and OTA-delivered digital audio channels, he says.

Sinclair has been in discussions with other broadcasters about simulcasting their radio stations over the air via ATSC 3.0 with STIRR XT in markets where the station group has no radio stations, says Aitken, who said the service at launch will be purely ad-supported.

XHE-AAC codec and ATSC 3.0

STIRR XT audio channels delivered over the top are being encoded using the Dolby AC-4 audio codec, which is specified to be used in North America as part of the ATSC 3.0 standard.

However, Sinclair has other plans for STIRR XT channels delivered over the air. Rather than AC-4, the station group will encode OTA audio channels using the xHE-AAC (Extended High-Efficiency Advanced Audio Coding) codec.

“We are working on integrating a broadcast app-delivered highly efficient radio audio codec, which is not technically supported in the ATSC 3.0 standard,” says Aitken. “But because this is all IP — and this is the magic of IP — that broadcast app will deliver a player for an audio codec that does not exist in the ATSC 3.0 standard.”

Motivating Sinclair’s choice of xHE-AAC for OTA-delivered STIRR XT is bandwidth efficiency, says Aitken. With xHE-AAC, Aitken predicts significant bandwidth savings.

For example, a stereo audio channel encoded with AC-4 requires 96 kilobits per second, while the same channel needs just 24 kbps when encoded using xHE-AAC, he says.

The extra efficient codec also puts Sinclair’s STIRR XT OTA delivery in line with what’s going on around the world in digital radio, he says.

“xHE-AAC is the audio codec that is part of the digital radio standard called Digital Radio Mondiale,” says Aitken. “It is deployed globally, and it is in fact the most efficient commercially available codec.”

Adopting the Digital Radio Mondiale framework in the STIRR Radio broadcast app ensures that all of the tools for radio functionality are already available, he adds.

The Seattle rollout of STIRR XT follows Sinclair’s initial deployment in Oklahoma City. Sinclair plans to make STIRR XT available in all of its ATSC 3.0 markets.

“The whole point here is that we are using STIRR as a backbone piece of our OTT-OTA convergence strategy,” says Aitken. “We are bringing to bear all of the tools and all of the assets that we can to step forward with a competitive foot with the services we can offer.”

 

 

The post Sinclair Readies ATSC 3.0 Radio Simulcast   appeared first on Radio World.

Phil Kurz

Ohio LPFM Has Its License Yanked

Radio World
4 years 2 months ago

A low-power FM station in Marion, Ohio, has lost its license after failing to reply to Federal Communications Commission correspondence.

The station was WWGH(LP), which now has the dreaded “D” prefix added to its call sign, meaning deleted. For trivia buffs, the station call letters are a reference to Pres. Warren G. Harding, who lived in Marion.

The LPFM was licensed to the Marion Education Exchange. It had applied for license renewal, but after the commission sent the station a letter of inquiry requiring more information and never heard back, the license was deleted.

[Read: Georgia LPFM Agrees to Consent Decree and to Pay $10,000 Penalty]

“Although the [letter] directed MEE to respond no later than Jan. 7, 2021, MEE has filed no response,” wrote Audio Division Chief Albert Shuldiner. Failure to respond to official correspondence is cause for dismissal of an application.

The Marion Star website has a news account of the dispute that led to this situation. It involves program manager Scott Spears and allegations about his role and the makeup of the station board.

The FCC’s revocation letter did not discuss the underlying allegations that had been made about the station, simply that the license was being pulled for lack of response.

The newspaper quotes Spears saying that Friday was the first the station had heard from the FCC, that it was working on a formal response and planned to work with the commission on its investigation. The newspaper reported that the station remained on the air this weekend.

 

The post Ohio LPFM Has Its License Yanked appeared first on Radio World.

Paul McLane

Sennheiser Plans a “Repositioning”

Radio World
4 years 2 months ago

Sennheiser is looking for a partner to invest in its consumer electronics business so it can better focus on its professional markets.

“In our Professional and Consumer Divisions, we have four business units in total: Pro Audio, Business Communications, Neumann and Consumer Electronics,” said co-CEO Andreas Sennheiser, who was quoted in a company announcement.

[Read: Sennheiser Announces Layoffs Amidst Slowing Market]

“In all of these areas we see great potential for growth. At the same time, they are characterized by different customer groups, customer requirements, product life cycles and market dynamics.”

Co-CEO Daniel Sennheiser said that the company wants to concentrate its own resources on the three business areas in the Professional division and “are looking for a strong partner to invest in our consumer business.”

The announcement essentially is a sales pitch to potential partners: “The headphone market and the soundbar business in consumer electronics offer great growth potential — despite a highly dynamic market and strong competitive pressure,” the company wrote. “This is especially the case for the true wireless headphone market.”

It seeks partners to work in segments like premium headphones, enhanced hearing, audiophile and soundbars segments.

 

The post Sennheiser Plans a “Repositioning” appeared first on Radio World.

RW Staff

Are You Prepared for Lightning?

Radio World
4 years 2 months ago
Make it part of your routine to check ground connections like this UFER ground.

The worst lightning damage I ever saw happened in the month of February; and it was, in more than one sense, a perfect storm.

We were in the process of upgrading our Detroit FM facility, replacing a 1985-vintage Continental 27.5 kW transmitter with a much newer version of the same transmitter. The aux had long been an RCA BTF20, and our chief engineer had pulled it out of service in preparation for installing the new rig.

The new transmitter was at the site and still on the skid and wrapped in plastic. In other words, we had no working auxiliary transmitter.

In February in Michigan, we’re usually much more concerned about snowstorms and antenna icing than lightning; but this particular year, a warm weather system moved through and fired off a line of severe thunderstorms.

Vaporized

At that time I had been with the company for about a decade, and I was well acquainted with the propensity of that particular tower, a 500-foot Pirod free-standing Detroit landmark, to take “grand mal” lightning hits.

I had done everything I knew at the time to mitigate that. I had an array of ground rods at the tower base, and all transmission lines were bonded to that array where they departed the tower. It had been a good while since we’d taken a hit that produced damage.

When the storm system came through, BOOM! The tower took one of those grand mal hits, and the station was knocked off the air.

The air staff called the engineer, who took one look at the situation and called me. I caught the next flight from Dallas to Detroit.

Looking at the Continental transmitter, I couldn’t believe my eyes.

Those familiar with that design know that it has two rows of seven panel-mount fuse holders in the middle of the front panel of the rightmost (power supply) cabinet. Every one of those fuse holders was … gone! Vaporized!

Looking behind the panel, the wires, some not in too good a shape, were still there, the ends turned into beads where the copper strands had melted.

It didn’t take me long to make an executive decision. There was no telling what other damage there was inside that transmitter, so for the moment I forgot about it and focused on getting the new-on-the-skid transmitter connected and running.

That took a few hours, and it wasn’t the prettiest installation, but it got the station back on the air.

Thankfully there was no other significant damage to studio equipment, although as I recall, a good bit of ancillary equipment in the transmitter room was blasted to smithereens and had to be replaced or bypassed.

Missing Connection

With that done, I started doing a post-mortem of sorts to try to figure out what had happened. After all, if it happened once, it could happen again.

I found that the strap connecting the main 3-1/8-inch rigid transmission line to the station reference ground (that array of rods I mentioned earlier) had been severed. Lightning evidently had hit the main antenna, which is on a pole on the top of the tower, and the current travelled down the rigid line right to the older Continental transmitter.

Some of the current no doubt flowed through the tower structure to ground, but evidently the path to ground through the transmitter cabinet had a much lower impedance.

The transmitter cabinet was connected to a safety ground that was eventually tied to the service entrance ground and whatever ground Edison provided. And evidently, enough potential was developed across the Bakelite (or whatever the material) panel-mount fuse holders that they vaporized. I found pieces of those fuse holders on the floor several feet from the front of the transmitter.

[Subscribe to Radio World Engineering Extra]

One side of most, if not all, of those fuses was connected directly to the incoming AC power phases, and (again, evidently) those phase conductors, which were shunted to ground with an LEA-Dynatech lightning suppressor, presented a lower impedance to ground than the safety ground on the transmitter cabinet. All the grounds were at one time tied together, but in the process of uninstalling the old RCA aux, somehow one critical ground conductor was disconnected.

We wasted no time repairing the broken strap that gave lightning current a place to jump off transmission lines before entering the building, and we brought in an electrician and had him bond all the grounds together so that the tower ground, station reference ground, service entrance ground and lightning suppressor ground were all at the same potential.

I can’t remember what all was blasted in that Continental transmitter, but we did fix it and it saw many years in auxiliary service.

Now Is the Time

The point of this sordid account … well, there are a couple of points.

First, a lightning hit can happen at any time, during just about any month of the year.

In Colorado where I live, we sometimes experience a phenomenon called “thundersnow,” where we get lightning and thunder during snowstorms. I’ve never experienced that anywhere else, but my guess is that it’s not uncommon anywhere it snows. Everywhere else, a passing weather system can fire off lightning just about anytime.

Next, the best way to prevent lightning damage is to give lightning a place to go other than into or through your equipment.

That means a jumping-off point where transmission lines, power conductors and control cables leave the tower. It also means a low-impedance ground, which is more easily achieved in some locations than others. Some soil types may require chemical rods (which you have to maintain). And it means keeping all grounds at the same potential, with heavy-gauge wire used to connect rods and bond everything together.

There are a lot of good resources out there dealing with lightning protection, including NFPA780, which is the National Fire Protection Association’s “Standard for the Installation of Lightning Protection Systems.”

Radio World has an excellent ebook available titled “Is Your Transmitter Ready for Lightning Season?”

Broadcast Engineering Conference papers have been presented on the topic. And of course there’s an excellent chapter on the topic in the 11th Edition of the NAB Engineering Handbook. A search of the internet will turn up numerous other resources.

Whether or not you get lightning in your area outside the usual thunderstorm season, now is the time to inspect your facilities and prepare. Forewarned is forearmed.

We still get the occasional lightning strike on that Detroit tower — we have experienced two in the past 12 months — but we seldom see any direct damage. Our excellent engineering staff in Detroit is well aware of the potential (no pun intended) for damage and makes a visual inspection of the entire ground system, including transmission line bonds, part of their routine.

That kind of thing should be part of every broadcast engineer’s routine, especially as we head into thunderstorm season.

In the new issue of Radio World Engineering Extra, Wayne Eckert, who spent many years protecting AT&T sites from lightning damage, will offer tips so that you can apply some of his techniques to broadcast studio and transmitter facilities. We would do well to pay attention to what he has to say.

Cris Alexander, CPBE, AMD, DRB, is director of engineering for Crawford Broadcasting. Email him at rweetech@gmail.com.

The post Are You Prepared for Lightning? appeared first on Radio World.

Cris Alexander

TVSS for Broadcast Facilities

Radio World
4 years 2 months ago

The author is owner of Rural Florida Communications Cooperative. He is a retired AT&T employee who has a great deal of experience protecting communications facilities from lightning and surges. He saw Mark Persons’ recent account in Radio World of a lightning strike to the pole supporting the KRJM STL antenna and was inspired, first, to provide some tips for John Bisset’s Workbench column in the Dec. 9 issue, then offer the following in-depth article for readers of RW Engineering Extra. We in turn are inspired to share it with you.

A wise man who invented the air terminal, Benjamin Franklin, once stated, “An ounce of prevention is worth a pound of cure,” and the lightning damage at KRJM bears witness to that.

Now, let me start with dispelling an old myth. I have heard from a number of engineers that “If you take a direct hit, it’s all over; there is nothing you can do to prevent that.”

Such a statement is patently false. The Tier 1 Carrier I retired from has tens of thousands of cell sites and switching offices all over the U.S., and they take thousands of direct hits annually without sustaining any damage at all.

Why? Because we engineer layered lightning protection into each site. Be it standalone, collocated on a broadcast tower or on a rooftop, proper protection equals greatly lowered losses and greatly increased uptime.

So how is this done? Well, let’s use the example of KRJM(FM), which Mark Persons wrote about in “What Happens When Lightning Hits? A Case Study,” which appeared in Radio World in October, and which you can find at radioworld.com by searching for keyword KRJM.

Beginning with the improperly protected and grounded pole and ending at the last burned-out device, this is a perfect example of where an ounce of prevention could have prevented a lot of heartburn.

Let’s start with the pole. When I see a pole shelled out from lightning, the first thing I look for is a down conductor. I could be incorrect, but I don’t see one on that pole.

Fig. 1: A properly installed pole with down lead. (Click here to enlarge.)

A down conductor is a simple lightning protection device. Before the pole is placed, an AWG #6 hard-drawn copper conductor is placed on it using fencing staples, attaching it from the top of the pole to the butt. The installer leaves six or so inches of the conductor standing above the top of the pole and coils up a few feet of it on the butt, starting in the center, and where the conductor crosses over itself, places a staple diagonally to connect the two conductors to each other.

The goal is to produce a low-resistance, low-impedance grounding electrode on the butt of the pole. When the pole is placed in the mounting hole, it will make good contact with the earth, producing a good solid grounding electrode.

The down conductor provides a bypass for the lightning energy to earth, sparing the pole and any attachments from damage. See Fig. 1.

If the pole is already placed, a down conductor can be added by placing a ground rod with a minimum length of eight feet into the earth.

One important note: Always call for a utility locate before driving a ground rod or doing any digging. In most states, the number is 811. Failure to do so can get you killed, or if you survive hitting a buried utility line, the least you’ll get is a substantial bill from the utility for the underground damage you caused.

The installer then installs the down conductor in the same manner as a new pole, minus the below-grade work, connecting the down conductor to the grounding electrode.

All that protects the pole, but what about attachments?

The first step is to bond all attachments to the down ground lead with an AWG #6 copper conductor. That’s your first layer of protection.

The next step is surge protection, commonly referred to as Transient Voltage Surge Suppression.

A TVSS can be installed in one of two locations. The best location is where the cables coming off the tower or pole enter the building. However, if the building is metal, it is better to deploy a primary TVSS near the base of the pole or tower.

If the TVSS is rated for outdoor installation, a cabinet is not required. However, most of the time you will want to keep the TVSS in a dry location and out of sight.

Fig. 2: TVSS devices installed on a ground bar. (Click here to enlarge.)

Either way, the TVSS should be installed on a common insulated buss bar. This bar should be bonded to the pole or tower ground and grounded to the main grounding bar (MGB) in the building. The minimum recommended grounding conductor is AWG #4 copper, unless the distance between the pole ground bar and the MGB exceeds eight feet. Then it should be stepped up to an AWG #2 copper conductor. See Fig. 2.

Bringing It Inside

The common method when bringing cables into a studio or transmitter building is to use a bulkhead. This can be as simple as a sheet of nonflammable water-resistant material such as Hardie Panel sheeting or acrylic plastic.

In a metal building, this is mandatory. You do not want to penetrate a metal building where a cable can be in direct contact with the metal wall. That is begging for arc-over problems.

[Subscribe to Radio World Engineering Extra.]

The point where the cables enter the building is where you will place your primary or secondary TVSSes. The MGB should be placed as close as practical to this penetration, but no more than a couple of feet away.

Each TVSS should be connected to the MGB with its own grounding conductor. Never double up grounding conductors. The grounding conductors should be placed either right or left of the center of the MGB. The conductors should be swept in from above and not reversed below and upward where they connect to the MGB. The primary grounding conductor for the MGB should be connected at the center of the MGB.

The reason for connecting the main grounding conductor to the center of the MGB is to isolate incoming conductors that introduce surges on a regular basis (dirty) from the sensitive equipment (clean), which must also be connected to the MGB to be protected.

Fig. 3: This installation follows the PANI order, with surge Producers, Absorbers, Non-isolated and Isolated from the center main grounding bar out. (Click here to enlarge.)

The center MGB ground serves to provide this grounding isolation or PANI, an acronym describing a way of bonding conductors to the MGB in a specific order, depending on their origin: surge energy Producers, Absorbers, Non-isolated equipment and Isolated equipment (Fig. 3).

Power and Utilities

More commonly than not, the power, telco and CATV are not going to enter the building at the same location as the cabling off of the tower or pole, but they must also be protected, so let’s start with power.

Fig. 4: The watt-hour meter is a good place for additional TVSS protection. (Click here to enlarge.)

Your building will have a watt-hour meter, and it’s usually installed outside (Fig. 4). Even if it is a “smart meter,” it’s a simple device that allows your electric utility to vacuum funds out of your bank account and transfer them into the utilities bank account. However, that watt-hour meter can be used to your advantage.

There are devices known as meter-based TVSSes, which are sleeves that are installed by either a licensed electrician or the utility between the meter base and the meter. Some utilities will allow your electrician to do the work; others insist that you rent the TVSS from them for a small monthly fee. Either way, they are good protection for the cost. They are crude first-line devices that can take the brunt of a hit.

But don’t stop there. Always have a hard-wired TVSS installed as close as possible to the service entrance. Some will require a circuit breaker to be installed ahead of the TVSS to prevent a catastrophic burn-down of the TVSS should it go into a total failure after doing its job.

Fig. 5: Don’t skimp when buying TVSS devices! Get the best you can find. (Click here to enlarge.)

That breaker should be installed as close as possible to the main breaker in the service panel. If that requires moving breakers around to clear a double space, so be it. If the service panel is choked up with no spare spaces, drop in a sub-panel and unload other circuits to the sub-panel to make space for the TVSS breaker.

Do yourself a favor and don’t go cheap. Real TVSSes for power run anywhere from $400 to $2,500+, depending on the rating of your service entrance and if it is single phase or multiphase power (Fig. 5).

On the Inside

If you have a load center within your building, this is a great place to add a secondary panel buss TVSS. While not breaking the bank, most manufacturers of load centers offer TVSSes that simply slot in like a multipole breaker. Like a primary TVSS, they should be installed next to the feed to the panel. If needed, have your electrician relocate one or two breakers to clear up slots and you are good to go. See Fig. 6.

Moving down in voltage, we have telco, cable and CATV. These incoming services need to be protected as well.

Fig. 6: Panel-mounted TVSS devices are a great additional line of protection. (Click here to enlarge.)

Normally your telco provider will provide a network interface device (NID). Within it will be protectors, commonly gas-based protectors with a 400 VDC breakdown. As long as the NID is properly grounded and bonded to the building’s ground system, that provides good primary protection. Internally, you want to back that up with TVSSes rated for no more than 200 VDC for POTS phone lines. Special circuits, however, are a horse of a different color. Digital or audio circuits behind the telco’s mounting need to be protected by very low-voltage TVSSes, 50 VDC or less.

Commonly, cable and CATV will utilize a spark-gap protector, and like telco, it must be grounded and bonded to the building’s grounding system. However, a spark-gap protector is unsuitable in this application. Back it up with a reputable coaxial TVSS mounted to the dirty side of the MGB ahead of the distribution of the cable or CATV signal within the building.

Grounding and Bonding

Now, for a somewhat more complicated subject, grounding and bonding. It is extremely important that all connections to earth be bonded to each other. Lacking that bonding, surges entering your facility over various services connected to disparate earth connections will wreak havoc within your facility.



Grounding & Bonding Tips

  • Always bond devices, racks, attachments, etc., swept toward the main grounding bar.
  • Wire-brush paint from both sides of equipment mounting tabs where grounding connectors will be placed and the rack faces they will be mounted to, exposing bare metal.
  • Most modern racks and rack-mounted equipment are aluminum-framed, therefore always use bimetallic connectors when bonding such equipment to copper grounding conductors.
  • Always apply a thin coat of antioxidant such as NO-OX to the bare metal before assembly to ensure a long-lasting corrosion free connection.
  • Always use compression connections and the proper crimping tools and dies or use exothermic welds. If a connection must be soldered, silver solder is required. No exceptions.
  • Always tag the grounding connections at the MGB and subsystem ground bars. You may be the next person who has to work on the system, long after it was built, and memory may not serve to remind you what all these are.

An example would be if your facility was not built from the ground up as a broadcast facility. While the structure is wired to code, you later add something simple such as a DTV or other satellite dish.

That dish must have a clear view of the southern sky, but your electrical service and other utilities may enter a different side of the building, say the north side. Not a problem.

The contractor for the DTV provider or the dish installer installs the dish on the south side of the building’s roof, then runs the coax from the dish down and through a spark-gap protector, which is earthed to a ground rod he placed. That ground rod, however, is commonly not bonded to the building’s grounding system by the contractor.

Later, during a storm, lightning tickles that dish. The resulting energy saturates the unbonded ground rod and the remaining energy seeks out all other forms of an earth ground it can find. In the process, it passes through the connected receiver and then enters the building’s electrical system. From there it passes through and into any source of a ground to earth. This would include neutral, any electronic device with a three-wire cord, or grounded rack-mounted equipment. Sometimes lightning energy will find a ground just by arcing within the building’s wiring system and devices, destroying them in the process.

The solution to preventing such damage is to bond all connections to earth to each other with a minimum of an AWG #4 direct-buried copper conductor. This provides a low-resistance path from all grounding connections to earth, eliminating any differences in voltage potential between those connections.

Yes, all those connections may become saturated for a moment, and yes, there may be substantial rise in potential on all of them, but the bonds prevent any flow of energy through the protected equipment within the structure.

Comment on this or any article, email rweetech@gmail.com.

 

The post TVSS for Broadcast Facilities appeared first on Radio World.

Wayne Eckert

Flexibility & Control Define Today’s Surfaces

Radio World
4 years 2 months ago

Roberto Tejero is senior product manager for AEQ. This interview is excerpted from the ebook “Console Tech 2021.”

Radio World: What is an aspect of your product that highlights how consoles and surfaces for radio broadcasting are changing?

AEQ: The great flexibility in the relation between the core or mixing engine and the control surfaces. 

For instance one Atrium XCore Mixing engine or frame can distribute the control of its inputs and outputs for up to six different mixer control surfaces — six mixers/studios in one. This rationalizes the installation and makes it incredibly cost-effective. Both installation and workflows become very flexible. 

Likewise, dual mode operation is interesting. In a studio we can control the console from several different modules with the same or different functionalities.

RW: What makes that notable?

AEQ: An example would be the configuration of Studio1 at station IB3 at Palma de Mallorca, Spain. 

In addition to the presenter/audio technician or operator of the console, there’s a producer in charge of call screening and coordination of complex programs. 

The producer needs to carry out certain operations independently but in parallel with the technician and others, such as technical intercom. 

Thus, this console has been set up with two control modules. The first is used by the technician or presenter in a traditional way. The second has been configured for the producer to handle certain functions in parallel with the technician, such as adjusting levels of the inputs and outputs for the phone-in or talk-show system at the same time as he or she coordinates the show with the system intercom functions.

RW: What features are available that may not have been a few years ago?

AEQ: There are several, and not only applicable to the Atrium console but to all AEQ Digital consoles. 

For example, at night, when most of the programming is automated or relay transmission of networked or syndicated programming, and when controls and studios typically are unmanned, AEQ consoles can be remote controlled. 

Such control can be accomplished from the station’s central control or even from a remote location or by a technician “from home.” The applications allows for the full control of the Atrium, i.e. all features and functions from simple channel on/off and level adjust to complex EQ. settings and N-1 or mix-minus operations, remote connections or relayed program bypass. Atrium when equipped with motorized faders will also follow these settings in remote control.

Other great features: AoIP connectivity allows for the inputs and outputs, elements for process and control to be distributed throughout various equipment that can also be distant physically. 

Also, remote control of various devices can be transported through the network and integrated through programmable keys of the console. Playout automation, codecs and other equipment, or camera and source switching for visual radio applications, can be an integral part of your console.

And information pertaining to the system’s different audio levels can be available throughout the control network to allow for monitoring through virtual VU meters and Visual Radio applications where video follows audio.

AEQ Atrium AoIP Mixing Console

RW: After years of discussion about interoperability, are surfaces still “locked” to a specific AoIP network or are are they interoperable?           

AEQ: The AES67 standard allows for IP Audio multi-channel interoperability but does not contemplate the control. Therefore, the most sensible thing in our opinion is to set the system on a default AoIP format and then facilitate access to other, different protocols. 

At AEQ we adopted Audinate’s Dante protocol as our native format, but given the type of equipment we design and produce, we wanted to render our gear the possibility to interconnect audio in all types of formats:

-Through one or more XC24 cards we connect in DANTE to our own devices and also to any third-party manufacturer that are using Dante as their protocol. Device and channel discovery is instant and automatic and makes the installation very, very easy and convenient.

-If we have to work with non-Dante equipment, we install additional cards in the engine. With an XC24 card, configured in AES67 mode, we can exchange up to 64 audio channels in AES67, for example with Livewire+ or WheatNet equipment. If we add a device to the network with the Dante Domain Manager application, we can also exchange audio with IP video devices in SMPTE ST 2110 -30 format.

If we add an XC34 card, we can exchange up to 128 audio channels in AES67 or Ravenna, for example with Lawo equipment. With these cards, we can also exchange audio with IP video equipment in SMPTE ST 2110 -30 and SMPTE ST 2110-31 format with control through the NMOS protocol.

And of course, also the varied types of non-IP audio: From SDI Video embedded audio to multi-channel MADI/AES10, digital stereo AES3 (AES/EBU), analog, microphone, headphone outputs, etc.

RW: Is there a “design philosophy” taken by your developers? 

AEQ: Broadcast equipment is developed for users who are working long hours and sometimes exposed to great stress. It is essential that the user is comfortable, that he or she can work quickly and precisely.

For example, take the screen for Atrium’s single-channel, four-band parametric EQ (shown). 

Atrium’s single-channel, four-band parametric EQ.

The curve can be adjusted by simply dragging the graph from one of the four snap points. But for more precision, below the graphic are each band’s three adjustable parameters: frequency, Q and gain. These can be modified moving the corresponding cursors horizontally.

But if your fingers are not accurate enough to set the required parameters, you can click on any of these and it will highlight in yellow. Now this parameter can be precisely adjusted using a TOUCH & TURN encoder on the main console.

The post Flexibility & Control Define Today’s Surfaces appeared first on Radio World.

Paul McLane

Rocky Mountain RF Grounding Pointers

Radio World
4 years 2 months ago
The community ERI FM antenna on Mt. Morrison, overlooking Denver. Note the substantial excavation of surface rock and the lack of topsoil.

The author is a Denver-based engineer and lover of a good thunderstorm.

The Rocky Mountains are young as mountain ranges go. Colorado has 53 “fourteeners” … mountains over 14,000 feet above sea level. The mountains of the Front Range in the Denver radio market are only 7, 000 feet above sea level, but they are made from solid sandstone, limestone and granite rock.

These mountains are great for transmission sites — high altitude radio and television stations cover the market well. The area sees some extreme spring and summer thunderstorms as cold northern storm fronts meets warm, humid, southern air. Lightning strikes, both direct and remote, interact with the above-ground utility power lines that feed the sites. These natural events create issues ranging from minor AC line voltage transients to serious equipment damage.

Lightning

Lightning occurs when naturally occurring electrostatic charge builds up to a flashover voltage, ionizing the surrounding air. A great surge of electrical energy is released almost instantly to a point of low-voltage potential. Earth ground has a low-voltage potential because the free charged particles, also known as ions, are plentiful in the soil.

In the Rocky Mountains and other mountainous areas, the ground situation is different. Some mountains are solid or fractured rock which have little or no deep soil on the surface to “ground” the lightning strike. Radio, television and communications sites situated on rock summits need a sufficient RF ground. Remote lightning strikes several miles away can also, through inductance, enter power lines. A small power bump or a bit of electrical noise can lockup digital equipment.

Ground Systems

Where soil is plentiful, several copper rods driven into topsoil can provide an adequate electrical safety ground that meets NEMA electrical code. But what if there is little or no soil on the surface, such as on a rocky mountaintop? The median resistivity of topsoil is approximately 26 ohm-meters compared to the median resistance of solid rock that range from 1,000 to 5,000 ohm-meters. Low-resistivity soils typically contain more salt and moisture than high-resistivity soils.

[Subscribe to Radio World Engineering Extra.]

Symptoms of an inadequate RF ground system include transmitter and transmission line damage, equipment lockups and frequent circuit breaker trips. Communication sites built on solid or fractured rock may need a more substantial ground system; this can be done by adding chemical augmentation. Augmentation systems generally are made from copper tubing drilled with leach holes, and are filled with water and a salt such as magnesium sulphate. The brine solution leaks into the surrounding rock and improves ground conductivity with a greater supply of free ions.

Taming Lightning

When lightning strikes a tower, the energy enters the transmitter building, and then tears through the transmitter because the path of least impedance is located through the utility power ground in the transmitter. A properly designed and constructed RF ground system can reduce the probability of lightning damage. Electrical power systems typically use copper cable for grounding, but RF sites often use flat, copper strap which has a lower impedance at radio frequencies.

Both electrical power and radio transmission lines should enter the building at the same point (bulkhead) with transmission lines being bonded to the RF ground node with short, low-impedance conductors. This is also a good location to place the RF ground buss bar and cable ground kits. Electrical power panels should be located near the RF ground node with both ground and neutral busses bonded to the RF ground node. All RF grounding connections should go “one way” with no reconnection to the RF ground node and no ground loop.

Nautel has published a white paper entitled “Lightning Protection for Radio Transmitter Stations” that goes into more detail on this type of ground system.

One way to reduce lightning propagation to the transmitter is with ferrite cores slipped over the transmission line prior to connection to equipment. Although RF cables are grounded, there is still a low impedance in the outer conductor. Energy from a lightning strike to the antenna or transmission line may substantially bleed off before the line enters the building; yet enough energy may still travel on the outer conductor to cause damage. The ferrite core acts as a “choke,” by creating an impedance to the magnetic field created by the electrical current. It stores energy in a magnetic field, and eventually dissipates the energy as heat. Ferrite chokes can also be used on AC power mains.

Maintenance of RF ground systems includes recharging the chemical systems with water and salts. Ferrites should be periodically inspected to makes sure they are intact.

Electrical outlets should be the isolated ground type whereby the ground and neutral conductors stay isolated from the conduit. All conduit connections should be insulated where the metal meets the equipment cabinet. It’s best to home run all ground and neutral wires back to the power panel, daisy-chaining of these conductors can create ground loops.

Safety

Site safety becomes an issue when there is a poor site ground. Towers, buildings and steel appurtenances need to be connected to a good RF ground system, typically through exothermic welded cables. Air terminals (lightning rods) should be used liberally on the towers and buildings to dissipate atmospheric static charge and create a zone of safety from a strike. Parking lots and walkways should be built over a buried metal grid bonded to the facility ground buss. Metal fences, gates and door jambs should also be grounded.

Lightning strikes can also start wildfires that can threaten transmission sites. Some sites have alternate utility power paths in the event that the primary path is destroyed.

Mountain top sites offer many challenges, but good planning, good design and good construction provide the solution. One more thing … when in doubt, ground it.

RW welcomes your Tech Tips, email us at radioworld@futurenet.com.

The post Rocky Mountain RF Grounding Pointers appeared first on Radio World.

Mario Hieb

Codecs Have Become a Swiss Army Tool

Radio World
4 years 2 months ago

Charlie Gawley is VP Sales APAC/EMEA of Tieline.

This article appeared in Radio World’s “Trends in Codecs and STLs for 2020” ebook.

RW: What’s the biggest trend in this segment of our industry?
Charlie Gawley: Remote control and simple connections are paramount these days. The pandemic has accelerated this demand, but thankfully Tieline was already well-placed to put remote control of all equipment at the engineer’s fingertips.

From a network control perspective, cloud management of all devices is expected. As an example, Tieline’s Cloud Codec Controller lets engineers fully configure and remote control all their codecs remotely from the studio or home. Our Report-IT app can be connected, monitored and allow remote input level adjustment as well. This has been extremely important during the pandemic, as a broadcast engineer can adjust remote audio levels and other settings as required from their own home.

Simple connections are also facilitated by a traversal server like Tieline’s TieLink, which allows creation of call groups, displays codec “presence” and facilitates NAT traversal.

RW: How do you see codec technologies being deployed now in clients’ facilities?
Gawley: Today there are demands to do more with less — essentially looking for that Swiss Army tool in your broadcast kit.

The ViA portable IP mixer/codec has enabled broadcasters to essentially set up a remote operational studio where they can take live calls over SIP, Skype, WhatsApp and mix directly live on-air. Users have been able to do their prerecorded interviews or commercials and either mix them in live on-air or FTP files back to the studio.

Tieline ViA codec

As an example, we have a large national broadcaster in the United Kingdom that has set up a live mixing studio for both radio and TV programs from an engineers’ lounge room due to COVID-19 lockdown restrictions using two ViAs each in triple mono mode. They are connected to four presenters on ViAs in their own homes — all mixed in the lounge room with program audio sent to a Merlin PLUS multichannel codec in Master Control. A producer is connected over Tieline’s Report-IT app to the Merlin PLUS, where a comms channel is fed to the talent off-air.

RW: How about 2020’s “big story,” the sudden explosion in remote and at-home broadcasting?
Gawley: Codecs have played a crucial role in facilitating home broadcasting and keeping stations on-air after the pandemic forced networks to send people home.

For the seasoned Tieline user broadcasting remotely for over two decades, broadcasting from home is just another venue. However, for studio-based talent it would be foreign to them.

There have been two dominant use cases. One involves broadcasters at home using full-featured codecs like the Tieline ViA with record and playback capability and the ability to integrate live callers in a home studio. These codecs also delivered redundant streaming over multiple IP interfaces like cellular and wired interfaces and data aggregation technologies.

The second use case involved rapid deployment to multiple people in an affordable and simple way. Our Report-IT Enterprise app for iOS and Android allowed users to download a software codec and tap “connect” to go live very simply. All the configuration was done remotely by the engineer at the studio or from their home.

[Check Out More of Radio World’s Ebooks Here]

RW: How many ways are there of making connections? 
Gawley: Sales of ISDN and POTS-capable codecs have definitely tapered off, and everyone has either moved or is moving towards IP audio transport.

From an IP perspective, many codecs support unicast peer-to-peer connections or can multi-unicast to dozens of endpoints. Multicasting is also supported to unlimited endpoints over multicast-capable networks. Codec IP audio streams can be delivered over any IP network and integrate seamlessly with all AES67-compatible broadcast studios.

RW: And how powerful do you think codecs can get?
Gawley: Just as processors get more powerful, so do codecs. Today’s leading codecs increasingly include more features and options than ever before. For example, audio processing like EQ, compression and limiting is performed in some. Multiple connections can be configured with multiple redundant streams and data aggregation.

RW: What best practice tips should buyers be aware of in 2020?
Gawley: From an STL and audio distribution perspective, the codecs of today increasingly integrate high-density streaming features, which deliver scalable, space-saving options. It’s what our customers are demanding.

Tieline Multichannel Gateway

For example, our new Gateway multichannel DSP-powered codec delivers 16 codecs in a compact 1RU design with flexible analog, AES3 and AES67 I/O. From a remote broadcast perspective, the leading codecs can connect multiple streams for program and separate communications or can stream to multiple endpoints simultaneously. When bandwidth becomes limited the leading codecs offer network data aggregation in addition to stream diversity.

Record and playback, FTP upload/download, audio processing (EQ, limiting and compression), redundant streaming and data aggregation, are just some of the features buyers should look out for.

RW: How have AoIP technology developments been reflected in the look and function of codecs? 
Gawley: Audio over IP has been Tieline’s bread and butter for over 16 years,  enabling broadcasters to send audio over the public internet, and is nothing new to us.

Tieline had implemented strategies to mitigate packet loss with forward error correction and auto jitter buffer techniques while other codec manufacturers were stipulating use of the five 9 MPLS networks. In 2007 the EBU foreshadowed that ISDN one day would cease to exist and wanted to have a similar level of interoperability over IP. They set up a working party, which Tieline was a member of, that gave rise to the EBU 3326 Interoperability standard over IP with the SIP protocol at its core, and Tieline was the first non-European manufacturer to implement the standard alongside AEQ, AETA, Orban and Mayah.

Fast-forward a number of years, the studio has caught up to where AoIP in the studio is rapidly becoming the norm. Tieline was ahead of the curve implementing the WheatNet-IP protocol in its codecs, from there others added Livewire, Ravenna and Dante. Given all these different proprietary AoIP standards, both the AES and EBU got the industry together and now we have AES67.

RW: And what will codecs look like in the future, if we use them at all? 
Gawley: Codecs will be required for as long as IP networks are imperfect, which is the foreseeable future.

It’s true that some networks can carry full bandwidth PCM audio over fiber, but these networks generally make up the backbone of larger networks and their primary studio-to-studio infrastructure. Transmitter sites often don’t have fiber runs due to their location or the expense of installation. Remotes are performed from anywhere and often rely on cellular and other wired services that still require a codec to reliably transport audio.

Lossy networks like the internet are imperfect and still require “smart” IP technology to reliably transport audio due to jitter and packet loss; this is where one should look for bit-stream diversity.

Despite significant advances and increases in available bandwidth, cellular networks can at times suffer from capacity constraints. This is where data bonding/aggregation comes into play and one should look for this to be included in a codec, rather than as a clunky peripheral piece of hardware that introduces an additional point of failure.

 

The post Codecs Have Become a Swiss Army Tool appeared first on Radio World.

RW Staff

Benefits of a “Scriptable” Mixing Console

Radio World
4 years 2 months ago
Fig. 1: Custom scripts allow you to change controls on surfaces or to create standalone mixing UIs.

The author is a support engineer for Wheatstone Corp. This originally appeared in the ebook “Console Tech 2021.” It is one in a series of articles about how to get the most out of popular radio broadcast products. 

Consoles come in all shapes, sizes and forms these days, from legacy hardware surfaces to the newer virtual mixers on a laptop and everything in between.  

What worked in your studio yesterday might not work today, and what works today might not work tomorrow. That’s where scripting comes in, both in terms of custom scripts for virtual mixers as well as newer hardware consoles with software configured controls. 

Creating custom scripts to change controls on console surfaces such as our LXE or GSX models or to create entirely standalone mixing UIs is one practical and affordable way to meet these constantly changing requirements.

Nearly every broadcast mixing surface or console manufactured has a set of standard features that cover 90% of the workflow or use requirements for a studio. Generally, these are: input faders, control room and studio controls, mix-minus sends, and logic I/O for tallies and remote control.

Fortunately, the world of audio over IP enabled us to make several improvements on these features. 

[Related: “How to Choose Your Next Console”]

The change from legacy console, where one wires everything to the chassis of the mixer, to a distributed or routed environment with Blades or other I/O units becoming termination points for routing, replaced miles and miles of cabling in some cases.

But even with all the enhancements the AoIP routed studio brought us, at the end of the day the console (or what is now called a “surface”) is essentially doing the same job. That is, mixing your content together and sending that mix on to the next process in the chain.

The job of the console remains the same, but what has changed is how the job is done — and on what.

Multiplicity of applications

For example, with scripting, you can change the default behavior of any hardware button, fader, encoder or OLED screen on the LXE or GSX console surface. 

This can be done in easy-to-use setup software, and changes to the surface generally do not require a restart of the surface itself. In addition to a full array of surface standard functions, users also now have control over button colors as well as the behavior of that button. 

A person could also actually write custom code using the Surface Setup GUI and the Wheatstone scripting language to have the hardware button do more than one function, and then change LED state (such as color) based on the status of whatever it was they intended to control or change.  

A simple example of this is to set up a button to fire a salvo.  

This is a simple point-and-click procedure using the LXE or GSX Script Wizard in the Surface Setup GUI. 

Setting up a button to fire a salvo is a point-and-click procedure using the LXE or GSX Script Wizard in the Surface Setup GUI.

Once the change is sent to the surface, the button becomes a Fire Salvo (macro) button. In addition to firing the salvo to change the audio routing, we can also change the state of logic pins on another Blade in the system and at the same time, change the button to a different color when that logic pin is in the ON state or activated state. 

What’s more, you can go beyond the Script Wizard and into creating a custom piece of software that executes the salvo and changes the state of the logic pin when the button is pressed, plus change the LED color of the button when that logic is active. 

All you’d need is to open the Script Editor and add a few lines of code, as shown below. 

You can can go beyond the Script Wizard, to creating custom software that executes the salvo and changes the state of the logic pin when the button is pressed, plus change the LED color of the button when that logic is active. Open the Script Editor and add a few lines of code.

As workflows and requirements change, you can modify salvos and more, and the surface will automatically update without the need to restart it or the mix/DSP engine.

In addition, with scripting tools such as ScreenBuilder, you can add custom screens directly on the console GUI itself. One of the main benefits of being able to build custom screen interfaces directly on the console itself is that these UIs don’t have to run on a PC in the studio, which most likely is already doing quadruple duty as an Internet/edit/playback PC.  

Screens can be developed using drag-and-drop widgets such as buttons, labels and meters that can be set up with logic controls that modify various aspects of the system for changing audio routing, on/off logic and tallies.

You can set up screens for not only one specific studio, but all of the studios in a WheatNet-IP audio networked system as a whole.  

Across the network

Let’s say you have five stations in a location, and there’s one person in the facility for overnights who monitors all five stations. 

From one control room, the overnight talent could call up a screen to see the status of all five stations at once and swipe through a menu to monitor audio from those stations and to get data from various points in the system. 

This can be done directly on any LXE and GSX console surface in any studio, so if the overnight talent is not in his normal position or studio he or she can still see the system from any room there’s a GSX or LXE. 

Also, these new scriptable consoles have OLED displays for each input fader and two or more for each output module. Each of these displays can be configured independently to display different data sets about sources assigned, program assignments, mix assignments and can be further customized for your own text and graphic displays.You can even add station logos or other images to reinforce station branding, and provide at-a-glance data to the operator.

Another software benefit is the LXE and GSX’s ability to have up to 32 inputs and 16 outputs in their mix engines. This means broadcasters have access to ample inputs and outputs yet are able to keep the physical fader or surface size down to a minimum. By carefully deploying layers to the surface, they can page a smaller layout surface of say 4 to 16 faders to get access to those additional inputs and outputs. This allows studio designers to keep a smaller footprint on the furniture and make additional room, or clean up an already crowded space.

When off-site, operators can also remote in to the studio or physical console using apps such as Remote LXE/GSX, ReMIX or Glass E. These are software extensions of the AoIP network or physical console that can mirror what’s happening at the studio. In some cases, remote operation can be done on an entirely standalone virtual console that contains custom scripting, all of which could be the blocks of the all-virtual studio of the future. 

Robert Ferguson has been in radio for more than 25 years, with experience both behind the board and in front of it as a broadcast engineer and on-air personality.

The post Benefits of a “Scriptable” Mixing Console appeared first on Radio World.

Robert Ferguson

NAB Details Its “Cannibalization” Worry

Radio World
4 years 2 months ago

In its strong opposition to allowing geo-targeting on FM boosters, the National Association of Broadcasters told the FCC it is worried about “cannibalization” among radio stations as well as harm to smaller and minority-owned stations.

Radio World is excerpting public comments filed to the FCC in a series of articles. Here, we summarize the section of the NAB filing about cannibalization.

“Although GBS presents its proposal as a permissive option, even voluntary adoption by only one or two stations is likely to disrupt the advertising market for other broadcasters in the same radio market,” NAB told the commission Wednesday.

“In particular, allowing geo-targeting could thrust broadcasters into a collision that disadvantages smaller stations less equipped to absorb the costs of implementing ZoneCasting effectively or reduced ad rates. GBS’s own filings demonstrates the risks.”

It pointed to an example from GBS showing a high-powered station broadcasting from downtown Manhattan that could use boosters to create zoned coverage areas in New Jersey, Connecticut and on Long Island:

“Although GBS offers this image to illustrate the station’s opportunity to use boosters to geo-target news and information to these respective areas, the station would also be able to sell geo-targeted ads,” NAB told the FCC.

“It is easy to foresee the negative impact on smaller stations licensed to Edison, N.J., and Mount Kisco, N.Y., and other distant suburbs. Such broadcasters must already compete with nearby stations for precious ad dollars from grocery stores, car dealers and other small businesses in the local area.

“If the booster rule is amended, they could be pitched into battle against much larger, New York City-based broadcasters for this critical local business. And contrary to GBS’s claims, some broadcasters believe that any such opportunity to sell zoned ads to new customers will largely be one-way because smaller stations do not have access to the capital necessary to implement geo-targeting as effectively, or capture enough new advertising business to justify the effort.”

[Related: “GBS Gathers Support for Geo-Targeting”]

NAB also questioned the usefulness of ZoneCasting for stations in small and mid-sized markets. It said its members in these markets view ZoneCasting as a “big city play,” at best.

“It would be unusual for small and mid-sized radio markets to have multiple pockets of population sufficient to support the investment required to deploy GBS’s system. GBS points to certain radio markets that cross state borders or cover multiple economic areas where geo- targeting could possibly make sense. Again, however, most broadcasters predict that larger stations would enjoy the lion’s share of any such benefits, at the expense of smaller stations.”

NAB argues that “nearly all” radio broadcasters consider GBS’s proposal “as a lose-lose proposition in which the only winners would be the technology provider and advertisers.”

The association also disputes that geo-targeting will help minority-owned broadcasters, a benefit that has been mentioned publicly several times by Commissioner Geoffrey Starks.

NAB acknowledged that public interest organizations led by MMTC have expressed support of GBS’s petition. “MMTC explained that minority station owners often entered broadcasting later than others, leading them to locate their tower sites located some distance from downtown. MMTC states that ZoneCasting would enable these broadcasters to target different programming to different audiences, and adds that such owners may also be able to entice small and minority owned businesses to purchase less expensive, zoned ads.”

NAB said it shares MMTC’s goals to help promote minority ownership of stations but says the booster rule change would likely be counter-productive.

“First, a minority broadcaster with a transmitter on the fringe of a market would already have the incentive and ability to obtain a booster so as to provide a stronger signal into the urban core of a market. Given that the FCC’s rules permit stations to deploy a booster at their convenience, we presume that any such broadcaster has already done so where the investment has been justified.”

NAB said that any incremental ad sales to small businesses from geo-targeting would not change that calculation, particularly in light of the risks and costs of implementing geo-targeting.

It noted that GBS has offered to provide vendor financing to certain FM stations, fronting the capital to design, build and operate a booster, in exchange for a share of the marginal ad revenue it generates.

NAB asked what would happen if GBS encounters financial problems and requires accelerated payment, and what would the station’s obligation be if revenues are insufficient to repay GBS or the station discontinues service.

“We understand that vendor financing has been used in other telecommunications contexts. However, to NAB’s knowledge, it would be highly unusual if not unprecedented for the FCC to alter a long-standing rule in order to approve a new broadcast technology based on the promises of a single, private company to fund its rollout.” It said the FCC should not rely on GBS’s about vendor financing plan.

“Finally, MMTC does not address the unintended consequences that ZoneCasting could impose on minority broadcasters. Just like other similarly situated, smaller radio stations, minority owned stations could face new competition from large stations in other parts of a market. There would be nothing to stop a large downtown station, with the resources to fund its own booster and effectively sell zoned ads, from building a booster near a minority-owned station and using the booster to seize ad dollars from small or minority-owned businesses in the area,” it wrote.

“Moreover, a larger station could better afford to charge very attractive prices for zoned ads to win such business. In the end, ZoneCasting could be little more than a vehicle for large stations to increase their dominance at the expense of smaller stations, including those owned by people who are members of historically underrepresented groups. Such an outcome would not serve the public interest in diverse radio service.”

[Related: “ZoneCasting Would Level the Playing Field for Radio”]

The post NAB Details Its “Cannibalization” Worry appeared first on Radio World.

Paul McLane

Community Broadcaster: Has Radio Done Enough to Fix its Racist Past?

Radio World
4 years 2 months ago

The author is executive director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

Commercial radio stations over the last week yanked tracks by country music superstar Morgan Wallen after his use of a racist slur went viral. Cumulus has ordered an end to radio hosts circulating election conspiracy theories that fueled the Jan. 6 riot led by extremists. WSMN firing Dianna Ploss over the summer is one of many instances of stations booting hosts for racist behavior. And, the radio industry has watched as more than a dozen noncommercial licensees have grappled the last few years with accusations by former and current staff of abuse by leadership and veteran hosts.

To their credit, many stations today are trying to do the right thing by making it clear they want to be inclusive. But making things better means also being transparent about how radio stations have contributed to the condition the nation finds itself in.

[Read: Community Broadcaster: DJing the Generational Divide]

Commercial radio’s sordid relationship with the racial line is no secret. Take, for example, WFUV this week documenting the history of what was known as Black radio. Let’s be clear though. Black radio then was a term that defined the industry that had to emerge for Black performers who were banned by larger radio stations that played white artists. What’s now the urban format was, not too many decades ago, called Black radio. Even as late as the 1990s, radio doing a pop format marginalized or entirely avoided Black artists and art forms, such as early hip-hop. More pervasively, as Danyel Smith points out, Americans’ perceptions of “crossover” music and performances were shaped by white acceptance of Black performers.

And let’s not even get into commercial talk radio, whose most prominent name, Rush Limbaugh, unleashed the floodgates of bigoted hucksterism that still influences local call-in shows.

For all its notions of mission, noncommercial radio has plenty of its own skeletons. Consider the many stations in the 1970s to 1990s that shelved longtime broadcasts of a traditionally Black art form, jazz, in favor of super-serving affluent white audiences. In this quest, stations wrung out virtually all color from their sound; it was bad enough that Chenjerai Kumanyika called out “public radio voice” in 2015. Considering the generations-long quest to cleanse public radio of its personality and culture, is it really any surprise prestige brands like WNYC became the poster children for terrible bosses and discrimination complaints? Stations to this day still struggle to create more equitable relationships with staff of color and make inroads in Black communities.

Obviously, radio is not at fault for all that ails the country. Yet we can’t have it both ways, demanding attention for positive work, but assigning blame elsewhere when radio contributes or has contributed negatively to public life by reinforcing prejudice. Radio has historically had the greatest reach of any media. At a time when accepting responsibility is becoming more common, we have a rare opportunity to be part of tendency that clears the air at last.

Still, there’s a contingent that says radio’s failures are in the past and people need to get over it. True vision in leadership, however, means acknowledging and apologizing for how business was done before, and striving to be more honest in correcting our errors. It also means openly talking about it, and sharing with audiences the steps you’re taking now to be an organization positioned to foster an equitable future. Scores of industries now understand this is a moment to atone and spark new relationships with our listeners.

 

The post Community Broadcaster: Has Radio Done Enough to Fix its Racist Past? appeared first on Radio World.

Ernesto Aguilar

Public File Consent Decrees Multiply

Radio World
4 years 2 months ago

Problems with station political files continue to make the list of recent Media Bureau actions at the Federal Communications Commission.

It appears that the staff there is continuing to work its way through a long list of broadcasters that failed to maintain their online political files correctly.

You’ll recall that the FCC had announced consent decrees with six major broadcast companies last July and that it subsequently rattled off a series of additional settlements.

In recent days the commission has announced fresh consent decrees with Times-Citizen Communications Inc., Powell Broadcasting Co., Zimmer Radio Inc., Bott Communications Inc., River City Radio Inc., Maquoketa Broadcasting Co. and Trending Media Inc.

All are essentially the same: The broadcast owner files for a station license renewal but the Audio Division suspends the process because the online public files aren’t kept up. The licensee acknowledges this and promises to institute steps including appointing a compliance officer, creating a compliance plan and reporting back to the commission by a later date. The commission meanwhile acknowledges that the pandemic caused a dramatic reduction in ad revenues, causing the industry significant financial stress, and drops its investigation.

Money fines aren’t involved.

 

The post Public File Consent Decrees Multiply appeared first on Radio World.

Paul McLane

iHeart Tabs John Beck for Top Job in St. Louis

Radio World
4 years 2 months ago

John Beck is iHeart’s new top guy in St. Louis. The company named the award-winning radio veteran as its market president in the gateway city.

Beck is the former senior VP at Emmis Communications, where he had oversight of several St. Louis stations.

Katy Pavelonis has been the acting market president and remains as SVP of sales.

A recipient of numerous broadcasting awards, Beck is a former president of the Missouri Broadcasters Association and now chairs its Legislative Affairs Committee; he’s also active in the National Association of Broadcasters, where he has been a board member and served on the NAB Executive Committee.

Beck launched his career at WFFM in Pittsburgh. He’ll report to Tony Coles, division president for iHeartMedia Markets Group. Coles praised Beck’s local ties and “deep roots in both the media and advertising communities.”

Send news about radio management and engineering job changes to radioworld@futurenet.com.

 

The post iHeart Tabs John Beck for Top Job in St. Louis appeared first on Radio World.

Paul McLane

FCC Rejects a Class C4 “Test Case”

Radio World
4 years 2 months ago

A Mississippi station that wanted to raise power — and be a kind of test case for a proposed new FM class — won’t get that chance.

The Federal Communications Commission has turned down an application by Commander Communications Corp. for a rule waiver to upgrade its Class A station in Sharon, Miss.

Commander wanted to operate WRTM using parameters that another company, SSR Communications, has been urging the FCC to allow by creating Class C4, an intermediate FM class between existing Classes A and C3. The FCC has an open notice of inquiry on that question.

[Related: “C4 FM Proposal Stalls at FCC”]

WRTM asked to increase its effective radiated power from 4.6 kW to 9.2 kW to reach a larger audience. In addition to providing several technical arguments, Commander said approval of its application would provide the FCC with useful information about potential Class C4 facilities.

SSR Communications supported the idea as a kind of proof of concept of its idea.

But Commander needed a rule waiver because WRTM’s application didn’t satisfy minimum distance separation requirements from WNSL in Laurel, Miss. That station is owned by iHeartMedia, which opposed the request.

WRTM is a short-spaced station under rule section 73.215, which deals with contour protections for short-spaced assignments. WNSL is a fully spaced station under 73.207, which is about minimum distance separations between stations.

These rules mean that when WRTM calculates protected and interfering contour overlap, it must protect WNSL as though the latter were operating at the hypothetical maximum ERP and height above average terrain for its class rather than its actual predicted contours.

iHeart argued that such the fundamental questions at issue here should be handled through rulemaking, not through a waiver or as an interim measure.

It said that an “involuntary section 73.215 designation” is a “highly controversial aspect” of the Class C4 proposal that would preclude WNSL from later increasing power to its class maximum and that could limit its options to relocate that station. And further, if a waiver was in fact granted, iHeart said, the reduction in interference protection would essentially constitute an unsought license modification to its station.

Albert Shuldiner, chief of the Audio Division of the FCC Media Bureau, now has ruled against Commander, saying the request didn’t provide compelling reasons to justify a waiver.

Simply wanting to reach more potential listeners isn’t a sufficient reason for a waiver, he wrote.

Also, the FCC won’t consider a waiver based on the theory that a station cannot construct, or is unlikely to construct, maximum class facilities. Maximum class protection, he wrote, is not a waste of spectrum. “Rather, it serves the public interest by preserving interference-free service while providing flexibility for future site relocations and service improvements.”

Shuldiner’s ruling emphasized that designation under section 73.215 is voluntary. “We will not force WNSL to accept diminished protection based on Commander’s assessment of whether WNSL (or the tower owner) could or should have capitalized on previous opportunities to upgrade.”

He didn’t accept other arguments made by Commander. “Many stations seeking a similar upgrade also could claim they would not cause harm by avoiding displacing secondary service stations, changing their communities of license, causing predicted contour overlap or affecting television spectrum repacking,” he wrote.

Finally, he agreed with iHeart that creating a new class of FM station or reducing protections for stations operating below class maximums “should be the result of careful consideration of a complete rulemaking record, not implemented piecemeal through the waiver process or to allow for a ‘proof of concept’ of the Class C4 proposal.”

The post FCC Rejects a Class C4 “Test Case” appeared first on Radio World.

Paul McLane

Pagination

  • First page « First
  • Previous page ‹ Previous
  • …
  • Page 125
  • Page 126
  • Page 127
  • Page 128
  • Current page 129
  • Page 130
  • Page 131
  • Page 132
  • Page 133
  • …
  • Next page Next ›
  • Last page Last »
30 minutes 50 seconds ago
https://www.radioworld.com/
Subscribe to Radio World feed

REC Essentials

  • FCC.TODAY
  • FCCdata.org
  • myLPFM Station Management
  • REC site map

The More You Know...

  • Unlicensed Broadcasting
  • Class D Stations for Alaska
  • Broadcasting in Japan
  • Our Jingles

Other REC sites

  • J1 Radio
  • REC Delmarva FM
  • Japan Earthquake Information
  • API for developers

But wait, there's more!

  • Join NFCB
  • Pacifica Network
  • LPFM Wiki
  • Report a bug with an REC system

Copyright © REC Networks - All Rights Reserved
EU cookie policy

Please show your support by using the Ko-Fi link at the bottom of the page. Thank you for supporting REC's efforts!