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Industry News

Tower Safety at Forefront of NATE Unite

Radio World
3 years 3 months ago

Just before Austin Powers and Dolly Parton (or their close facsimiles) walk on stage to entertain attendees of the upcoming NATE UNITE conference, a more sobering discussion will be part of the educational sessions on tap during the convention.

On day two of the four-day conference at the Caesars Forum in Las Vegas, the NATE Unite 2022 show will bring together a series of sessions, courses and exhibits on safety and communication for those in the tower and wireless communications infrastructure, construction, service and maintenance industries.

[Related: NATE Unite 2022 Features FCC’s Carr, DISH’s Ergen]

This year, three tracks of educational sessions will be featured at the conference including an Administrative/Business track, Technical/Engineering track and Health and Safety track.

Sessions this year will take a close look at safety measures in several sessions including “Climbing Safety: Beyond the ABCs,” that will delve into those safety topics that are sometimes skipped during a typical tower climbing safety course. Led by the safety equipment company Ergodyne, the session will highlight a series of strategies and solutions that can be used to build a comprehensive safety planning program.

A second safety session — titled “Capstan Hoist Applications and Safety” — will bring together a product specialist, equipment demonstrator and an engineer to discuss the common uses of capstan hoists in the telecom industry with a focus on safety strategies like rope selection, fleet angle and rigging techniques.

While one educational session will discuss include proper communication between safety groups and communications firms, another will give an update on NATE’s new Climber/Rescuer Training Standards (CRTS), which were updated and released in January 2022. Staffed by a group of technicians, consultants and members of the tower industries, the panel will look at the newly revamped CRTS document, which evolved from the former NATE Course Training Plan/Course Training Standards (CTP/CTS) document. The session will give an overview of the changes in this new standards document and how these changes might impact future trainings.

The NATE Unite conference will also include networking receptions, an exhibit floor and a keynote luncheon where the aforementioned Austin and Dolly will entertain alongside Frank Sinatra, Dean Martin and Sammy Davis Jr.

The conference will span four days — Feb. 21 to 24 — and will be held at the 300,000-square-foot Caesars Forum conference center that opened across the street from Caesars Palace in October 2020.

The post Tower Safety at Forefront of NATE Unite appeared first on Radio World.

Susan Ashworth

Next-Generation ‘Franken FMs’ on the Rise

Radio World
3 years 3 months ago

This story is from RW’s sister publication TVTech; given the interest among radio stations in this topic, we share it here.

This spectrum plot depicts the relative positions of digital television and analog FM radio signals within a 6-MHz TV broadcast channel. (Courtesy of Jampro)

It’s been more than a decade since the first so-called “Franken FM” radio stations took to the air—stations licensed as Ch. 6 TV operations, but using their 87.75 MHz audio carrier to create a standalone FM broadcast service receivable by most FM radios.

Frankens have long been a thorn in the side of legitimate FM operators, and during their existence, the FCC has heard plenty about them. However, as the commission has been pre-occupied with more pressing matters such as spectrum auctions and repacks, little, if any action has been directed at these “mongrel” FMs, with regulators perhaps hoping that they would vanish last year when all LPTVs were forced to either “go digital or go dark.”

However, just like the hydra in Greek mythology, cutting off the head proved not to be the answer in eradicating the beast — others soon grew back, or in the case of Franken FMs, some creative RF engineering work allowed LPTV Ch. 6 licensees to retain analog audio services despite their move to digital broadcasting.

The first of the “next-generation” Franken stations — KBKF-LD, a Venture Technologies property in San Jose, Calif. —  took to the air in the spring of 2021, with an FCC-issued STA to operate an ATSC 3.0 TV channel with a “tagalong” FM carrier. In applying for the STA, the station opined that such hybrid digital/analog fashion was covered by the ATSC A/322 standard, with its 3.0 signal “pulled in” to occupy 5.509 MHz of its 6-MHz berth and the rest given over to an FM carrier.

Reaction to ‘NextGen’ Frankens
Currently, there are at least half-dozen of these “second-generation” Frankens, and given the FCC’s apparent willingness to grant STAs coupled with the number of Ch. 6 TV authorizations, others may soon appear.

As such hybridized use of a U.S. DTV channel was not on the table when the NextGen TV standard was being drafted, the arrival of this new wave of Frankens has raised some eyebrows — and questions, just as when the first of the quasi-legal 87.75 FMs popped up back in analog Ch. 6 days.

Several individuals who have been closely involved with the ATSC 3.0 standard were polled for their opinions on this new wave.

[Related: San Diego TV Station Broadcasting Hybrid FM-ATSC 3.0 Signal on TV Channel 6]

“During development of ATSC 3.0, a number of use cases were discussed; many were documented,” said ATSC President Madeleine Noland. “I can’t recall this being one of them. ATSC 3.0 was designed to be flexible and to accommodate a wide variety of use cases and business plans. Beyond that, we cannot say whether this use case falls within the intent of ATSC 3.0, as authorized by the FCC for the U.S.”

Richard Chernock, a long-time contributor to the ATSC 3.0 initiative, stated that “the assumption going forward in the design of ATSC in the U.S. was to establish a full 6 MHz channel. Anything less would reduce 3.0’s capabilities. In my opinion, to use 3.0 for the Franken FMs is to actually lower spectral efficiency.”

However, Chernock added “using ATSC 3.0 technology to carry radio audio is a lot more efficient than to use FM. You could go into any big city with a lot of FMs and you could put them all into one 3.0 channel.”

Chernock said that he would have to do the math to get a precise figure of the number of discrete audio program streams that could be digitally transmitted within an ATSC 3.0 6-MHz channel, but he speculated that it could easily approach 1,000 given the efficiency of today’s codecs.

S. Merrill Weiss, who has been deeply involved in both ATSC 1.0 and 3.0 standards work, feels the jury is still out regarding hybrid DTV/FM transmissions.

“After reviewing all the publicly available technical material that I could obtain on the proposal to combine ATSC digital signals with FM analog signals in a single Ch. 6 emission, I found a dearth of information on either practical operating parameters and systems, or testing of equipment beyond very rudimentary prototypes,” said Weiss.

He expressed several concerns, one of them being the possible impact on 3.0 reception associated with the necessary “squeezing in” of DTV transmission bandwidth to accommodate an FM carrier. “The center frequency of the digital signal would be about 160 kHz below the channel center, and it is not known to me whether consumer receivers being sold can be pulled that far,” said Weiss. “The system may work and be useful, but the information is not available yet to prove it. Once this is released, a judgement on the practicality and utility of such a system may become possible.”

Mark Aitken, ATSC 3.0 “evangelist” and Sinclair Broadcast Group’s senior vice president of advanced technology, remarked that he was not surprised at all about the “second coming” of Franken FMs after last July’s mandatory shutoff of remaining analog LPTVs.

“Actually, I think I played a role in getting them in business with 3.0,” said Aitken, explaining that his own involvement into “stretching” a TV channel’s utility “came about quite some time ago” when he was asked if it were possible to accommodate multiple services within a single television channel’s spectrum allocation.

“The question posed to me several years ago was ‘if I had 6 MHz of spectrum and wanted to offer a narrowband 5G service, could I do that in conjunction with ATSC 3.0?’” said Aitken. “I thought about it and said ‘yeah.’ I demonstrated it later. This was with a narrowband Internet of Things service. I showed that we could carry two separate RF services within a single channel. I probably should have taken out a patent!”

Putting Spectrum to ‘Good Use?’
Asked whether he thought a Franken FM was a legitimate application of the ATSC 3.0 or a misuse, Aitken took a neutral stance.

“I’m not going to argue against folks who want to use technology to their advantage,” he said. “The large number of Franken FMs that existed are from people who are not in the TV business. With the limitations of FM spectrum, they are making use of the FCC rules and channel segmentation philosophy. They’re putting it to good use.”

He explained that by its very nature, ATSC 3.0 is designed to be extremely flexible and extensible. “Numerically — and this is not understood by most folks with regard to ATSC 3.0 — you can get to any number of bandwidths,” Aitken said. This is the reason that the [3.0] bootstrap itself is only 4.5 MHz wide. We wanted to make sure that in the future 5 MHz raster spectrum could be used by others by using the 3.0 standard. This is not ensconced or codified in the standard, as it was feared that the FCC might do an ‘about-face’ and reduce [U.S.] TV channel bandwidth to 5 MHz, so this was dropped out of the specification. A channel bandwidth of 8 MHz is, in fact, codified within the ATSC 3.0 standard and is being tried in India.”

As Sinclair owns a number of Ch. 6 TV stations that could potentially become Franken FMs, Aitken — when asked about such a possibility — said that he didn’t see this happening anytime soon, although the possibility of gaining more utility from television broadcast spectrum is always intriguing.

“I would think there’s no current interest [in Franken FMs],” he said. “Sinclair is not really interested in radio, as its core business is video. I don’t want to preclude this possibility in the future, but right now we’re focused on rolling out ATSC 3.0.”l

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

The post Next-Generation ‘Franken FMs’ on the Rise appeared first on Radio World.

James E. O'Neal

New York’s Chief PBS Member To Launch ATSC 3.0 Services

Radio+Television Business Report
3 years 3 months ago

The parent of the three main PBS Member stations serving the New York Tri-State Area will become the first operator in the nation’s No. 1 market to bring NEXTGEN TV service to those with an ATSC 3.0-equipped television set.

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Adam Jacobson

Public TV Advocacy Group Elects Board Officers, Trustees

Radio+Television Business Report
3 years 3 months ago

WASHINGTON, D.C. — America’s Public Television Stations (APTS) today has revealed its updated slate of board leaders and board members.

Andrew Russell, President/CEO of PBS SoCal and KCET in Los Angeles, has been re-elected Chair.

At the same time, Susi Elkins, Director of Broadcasting and General Manager of WKAR Public Media at Michigan State University in East Lansing, Mich. has been re-elected Professional Vice Chair. David Steward II, Immediate Past Board Chair of Nine PBS in St. Louis, has been re-elected Lay Vice Chair.

The newly-elected trustees are:

  • Annette Herrington, Commissioner of Arkansas PBS in Conway, Arkansas, as a lay trustee.
  • John D. Zeglis, Retired Chairman and CEO of AT&T Wireless Services, former President of AT&T, and a member of the board of WNIT Public TV of South Bend, Ind., as an at-large trustee.

Re-elected to the APTS Board of Trustees are:

  • Carolyn Edwards, Lay Trustee of Vegas PBS in Las Vegas
  • Susi Elkins, Director of Broadcasting and General Manager, of WKAR Public Media/MI State University in East Lansing, Mich.
  • Franz Joachim, General Manager and CEO of New Mexico PBS in Albuquerque
  • Garrett King, Board Member, Friends of OETA in Oklahoma City
  • Vickie Lawson, President and CEO of East Tennessee PBS in Knoxville, Tenn.
  • David Steward II, Immediate Past Board Chair, Nine Network of Public Media in St. Louis

Zeglis began his board term on January 5. The officers and other trustees will begin their terms on February 28.

 

RBR-TVBR

TV Streaming Engagement: Deepening at the Expense of Cable

Radio+Television Business Report
3 years 3 months ago

If you thought the COVID-19 pandemic would halt, or reverse, cord-cutting trends for MVPDs, think again.

While 40% of Americans still pay for cable services, a shift in viewing habits and streaming services is leading more consumers to say no to cable TV.

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RBR-TVBR

‘Connect to Congress’ Returns for Sinclair’s Local Stations

Radio+Television Business Report
3 years 3 months ago

WASHINGTON, D.C. — A multimedia initiative that enables Members of Congress in cities where Sinclair Broadcast Group-owned stations have a local news department to speak directly to their constituents on a regular basis has returned.

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RBR-TVBR

FreeWheel’s New Certified Partner Program Launches

Radio+Television Business Report
3 years 3 months ago

NEW YORK — Comcast-owned FreeWheel has officially launched a new Certified Partner Program.

Its purpose is to certify and organize buyers, sellers, data partners and technology partners within FreeWheel’s platform to create a more efficient and effective media supply chain for the TV ecosystem.

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RBR-TVBR

Focal Augments Alpha Evo Studio Monitor Line

Radio World
3 years 3 months ago

Focal recently expanded its Alpha Evo studio monitor line with the new Alpha 80 Evo and Alpha Twin Evo powered monitors, joined by the additional debut of its Sub One subwoofer, designed for the Evo and Shape monitor lines.

Like the original Alpha 50 Evo and Alpha 65 Evo, released last year, the Alpha 80 Evo and Alpha Twin Evo are based around a Slatefiber cone, made by Focal in France from recycled carbon-fiber. Alpha 80 Evo and Alpha Twin Evo offer a new 1/4-inch (6.35 mm) TRS jack input, a user-disengageable automatic standby power mode and, on the Alpha 80 Evo, inserts for wall and ceiling mounting. The fully analog monitors are equipped with two class D amplifiers whose high-current capacity reportedly allows full control of signal dynamics.

The new monitors feature a 5/8-inch thick (15 mm) MDF cabinet and incorporate internal braces. The bass-reflex design, with a new larger cabinet vent, has been designed aiming to ensure acoustic integration in a variety of studio spaces. Offering integrated mounting points, the new Alpha Evo line can potentially be incorporated into an immersive mixing system.

The Alpha Twin Evo sports dual 6.5-inch Slatefiber woofers and a 1-inch Aluminum inverted dome Tweeter, while the Alpha 80 Evo has a 8-inch Slatefiber woofer and 1-inch Aluminum inverted dome Tweeter.

Meanwhile, the Sub One, with its 200 watts (RMS) amp, is intended for partnering with any of the monitor models from both the Alpha Evo and Shape powered monitor lines for a 2.1 system, as well as multi-monitor immersive sound setups. For the Sub One’s speaker drivers, Focal engineers have chosen double-skinned Slatefiber cones.

Currently shipping in North America, the three models have SRPs of Alpha 80 Evo $549 each ($1,098 a pair), Alpha Twin Evo $659 each ($1,318 a pair), and Sub One $999 each.

The post Focal Augments Alpha Evo Studio Monitor Line appeared first on Radio World.

Mix Editorial Staff

‘Respecting Artists’: NAB Head, Gloria Estefan Speak On Music ‘Fairness’

Radio+Television Business Report
3 years 3 months ago

What do the longtime Miami-based singer known for “Conga” and “Coming out of the Dark” and a longtime Inside the Beltway figure who once worked on antitrust litigation and merger reviews as an associate with Howrey LLP have in common?

Both have thoughts worthy enough for sharing at a House Judiciary Committee hearing conducted virtually on Wednesday morning. The subject: the American Music Freedom Act, which would implement a royalty payment scheme on top of what broadcast radio already pays for the right to play recorded music on its AM and FM stations.

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Adam Jacobson

NAB Chief To Congress: Music Industry ‘Unwilling’ To Negotiate

Radio+Television Business Report
3 years 3 months ago

Of the witnesses that appeared in a virtual House Judiciary Committee hearing held Wednesday morning to debate the “American Music Freedom Act,” NAB Chairman/CEO Curtis Legeyt perhaps provided the most objective commentary as to why the proposed legislation is unjust and would impose financial burdens on radio stations of all sizes across the U.S.

In particular, Legeyt slammed the world’s recording industry goliaths for failing to come to the table after four years of opportunities to work with the NAB and broadcast radio in the U.S. on a “win-win” royalty scheme.

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Adam Jacobson

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