Industry News

Smartphone ownership has reached near saturation levels worldwide, no surprise there. It’s interesting is to look at the stats for online radio and music consumption, and Jacob Media’s TechSurvey 2021 has the latest.

Growth in numbers who have downloaded radio/music apps, according to the survey, has stagnated, holding at 72%. Downloads clearly skew to younger users. The Greatest Generation makes up just 55% of the total, while 90% of Gen Z respondents claim to have radio/music apps on their smartphones.

Localism rules, even on mobile devices, as the leading download named is the P1 station app holding a 53% lead. P1 is Tech Survey parlance for the respondents’ hometown station. It’s followed by YouTube, Pandora and Spotify.

Nineteen percent of those surveyed claims they frequently listen to their favorite station via a mobile app. That’s up three percentage points from TS 2020. The clear leaders are Gen X, Millennials and Gen Z. Around 60% of mobile device owners are aware that their P1 station has an app, and more than one in three has downloaded it. This number also grows over time, with 26% for TS 2017, increasing 11 percentage points for TS 2021.

According to TS 2021, 58% of those who have downloaded their P1 station’s app rate it as excellent, while 32% rate it good. The rest of the numbers suggest an interesting twist.

While adoption and usage rates for new tech almost always favor younger demographics, the ratings numbers seem to go the opposite direction. Only 50% of Gen Z respondents rate their P1 as excellent, but that number increases ten percentage points for the Greatest Generation. What’s happening here?

[Read: Survey Says Podcast Use Increases, Although Many Still Not Onboard]

While TS 2021 offers no explanation, one might wonder if it’s about expectations. Younger users are usually more tech savvy, and may compare their P1 to lots of other apps. It might take a lot more to impress them. Greatest Generation users tend not to be power users of new tech, and may just be happy if there is a way to easily listen to the hometown station on their mobile device.

The stagnated 72% download rate combined with just 50% excellent ratings from Gen Z users may suggest that some stations still have work to do on their mobile apps.

 

The post Survey Says Full Speed Ahead for Mobile Devices and Apps appeared first on Radio World.

An illustration of what an infotainment display would look like in Los Angeles in a car equipped with Android Automotive, if Google accepts recommendations from the NAB PILOT initiative. This shows an enhanced station list for broadcast radio on Android Automotive to ensure station discovery.

NAB PILOT, Xperi AutoStage and several U.S. and international radio broadcast organizations are taking steps to make sure radio is appropriately represented as automobile OEMs expand their use of Android Automotive.

The context: Big tech companies have been collaborating with carmakers in developing media environments of the future; those decisions will carry crucial implications for broadcast radio.

Broadcasters worry that some of the adaptations may not be in their best interests, especially since companies like Google and Apple seem well positioned to help choose software interfaces that will end up in the dash. Fast-developing innovation is adding urgency to those developments.

Radio in the conversation

Google’s Android Automotive OS is an Android-based infotainment system that is being built into some new vehicles and is gaining adoption momentum among car manufacturers.

The media system, which replaces the standard radio in the dash of most vehicles, is a standalone Android device with user apps installed directly to the car’s system — no smartphone required. (“Android Automotive” is distinct from “Android Auto,” where the system runs on the user’s phone.)

General Motors, Ford, Audi and Stellantis have announced plans to integrate the Android Automotive platform to power their infotainment systems in new cars. ABI Research said it expects 36 million vehicles will ship with Android Automotive in 2030.

It is against that background that NAB, Xperi and broadcasters like iHeartMedia and the BBC are working together.

A key aim is to coordinate the industry’s presentation of metadata for content and advertising.

John Clark, executive director of NAB PILOT, said the goal of the Android Automotive initiative is to make sure broadcast radio is properly supported in the open source system and help broadcast benefit from its rollout.

“Anytime you are talking about ‘what controls the radio and the dashboard,’ it’s important radio is in that conversation. We need to make sure radio functionality is built in and get Android Automotive to support it, and to make sure the tuner and all the broadcast standards like HD Radio, DAB and regular AM and FM are baked in and available to app developers,” he said. “The majority of automakers have already committed to Android Automotive.”

NAB PILOT, which is the association’s technology development initiative, is attempting to build a support system into the open source platform of Android Automotive.

“(Android Automotive) is open to anyone. If you develop in Android and Android Automotive, there is access if we are successful,” Clark said.

The initiative is intended to result in additional software and functionality in the Android Open Source Project (AOSP), with open source solutions available to Tier One and app developers around the world.

It’s important because there are “no guarantees the digitalization of the dash will be good” for broadcast radio, Clark said; it could lead to increased competition in the dashboard from pure-play services like Spotify.

“Further fragmentation, and broadcasters and auto manufacturers all doing things a bit differently with no one on the same page, is the worst-case scenario. That would mean different user experiences,” he said.

“We want the broadcast radio to be uniform from car to truck. When you take away the simplicity of radio and put it into a software user interface, it could turn into a giant challenge if people can’t easily find the product,” he said. “There is a huge benefit for cohesiveness.”

Clark said the group’s intent is to make sure “none of the features of broadcast radio are lost. And further, what happens if the dashboard becomes completely reliant on an IP connection? That would be disastrous if dashboard designers are not paying attention to the broadcast component.”

Companies involved in PILOT’s Android Automotive initiative include Bauer Media, the BBC, Beasley Media Group, Commercial Radio Australia, Cox Media Group, Entercom, iHeartMedia, New York Public Radio, NPR, Salem Media Group, SWR and TBS Radio. Clark said they are “providing their expertise and their voice” to the initiative.

Google is “listening”

Xperi is doing lot of the development work on dashboard redesign when it comes to delivery and rendering of metadata, said Joe D’Angelo, its senior vice president radio.

Xperi is the parent of HD Radio; it also recently launched the DTS AutoStage hybrid radio platform. It is a member of PILOT and describes itself as an advocate on behalf of the radio industry.

D’Angelo said Android Automotive “will control the radio tuner, so it’s imperative that broadcasters around the world ensure that Android Automotive fully implements all of the radio standards that are commercially deployed in the world. It’s critical that the head units have the ability to tune in analog AM and FM, HD Radio and DAB signals. That is going to be dependent on the completeness of the operating system’s functionality,” he said.

“Google is engaged with our group, but they are a huge company that has a lot of competing constituents looking for support and resources, too.”

Google did not reply to Radio World’s requests for comment about Android Automotive and how radio fits into the evolving tech landscape.

Clark of NAB said Google is “listening to us like any good company should that wants to get feedback on their product. They have asked us to remain in talks with them. They are very much interested in our progress and they want to hear more from the players in the field, and how what we are doing aligns with what auto manufacturers are doing in the dash.”

He added: “We have to convey to Google that if they pay attention to radio, then radio will really be there with these services.”

Enriched “now playing” information, showing a carousel view of New York stations. Both images in this article show reference designs that will be part of the initiative’s delivery to Google; a DAB design will be delivered as well.

D’Angelo said NAB and Xperi have “open access to Google’s engineering and strategic partnership teams” and can “can educate them on our progress. … We have a long history of working with Google, the automakers and the Tier Ones so we bring to the table our product development, engineering and product certification expertise.”

While Android Automotive is a relatively new entrant to the dashboard wars, he said Google is quickly making inroads.

“I think what is unique is they are coming in not only with a new operating system but also with a suite of applications. It’s not dissimilar to what they did in the smartphone space. They are not dominant yet in auto, but they are trying to make a big push into auto.”

D’Angelo sees natural overlap between Android Automotive and DTS AutoStage, though he said the latter focuses on ensuring terrestrial radio’s presence in the dash.

Google is “offering a set of IP-based services alongside (the Android Automotive) operating system,” he continued, but Xperi is focused on the radio broadcast component.

“Android Automotive is a hybrid system. It has IP functionality, connectivity to the internet and support for over-the-air reception. So it is a platform that DTS AutoStage as a service can be integrated on, but it is not the main goal for the group. That part of it is attractive to us and other hybrid radio advocates, but the scope of the project is solely focused on getting broadcast right. Because if we don’t get broadcast right, there is no hybrid radio,” he continued.

“First we have to ensure that the automakers around the world adopting Android Automotive have the best analog and digital broadcast radio experience possible. Then we can talk about how we evolve and maybe take advantage of the IP connections.”

Broadcasters for now should remain diligent and support efforts to add metadata to their broadcast signals, NAB’s Clark said.

Broadcasters should make sure their over-the-air service “is taking advantage of all the functionality of the transport system,” D’Angelo said. “If radio is offering a rich, compelling multimedia experience that benefits the driver of a vehicle, then the car companies will be compelled to implement all the technology.”

He said companies supporting the PILOT project realize the importance of broadcast metadata being displayed on the dash alongside audio services, and that the metadata is actually presented to the driver, not replaced.

Michael Beach, VP of distribution at NPR, said, “NPR and PRSS believe it is critical to work with the National Association of Broadcasters and Xperi on the development of efforts like this, which will continue the vitality of broadcast radio and take advantage of features on new and emerging platforms.”

Broadcaster involvement, D’Angelo said, is “really critical so we can accelerate the deployment of these great services for vehicle manufacturers that have committed to Android Automotive. And we’re really pleased to have some of the largest broadcasters giving us feedback.”

The post PILOT Project Targets Android Automotive appeared first on Radio World.

DHD.audio 22-fader SX2 audio console at L1’s Maastricht headquarters.

L1, a television and radio broadcaster in the southern Netherlands province of Limburg, has chosen DHD.audio mixing systems for its headquarters in Maastricht and a connected studio in Venlo.

[See Our Who’s Buying What Page]

Product specialist Nicky Hartsuiker with the installation contractor Media Utilities said, “L1’s existing audio control infrastructure needed replacement after 15 years of operation … After researching and comparing the available alternatives, the L1 operational and engineering teams selected DHD as the preferred replacement. Also aiding in the decisions was Netherlands-based system integrator AutoMates which provides advice and technical support to L1 on projects.

For two new radio studios in the Maastricht headquarters a 22-fader SX2 mixer and TX touchscreen mini mixer were installed in each. For two voice and edit booths TX mini mixers were installed. A journalist prep room received a TX touchscreen as well. It also house a visual radio system.

For television and video editing facilities, a 24-fader RX2 console operates in a control room with two studios attached TX mini-mixers populate several video edit and VO suites. XC2 DSP and I/O Cores provide networking support.

A podcast studio for Netherlands broadcaster L1 featuring a DHD.audio TX touchscreen mixer.

A remote operation in Venlo has a TX mixer along with XS2 I/O and DSP Core. These are linked to Maastricht via a dedicated fiber connection.

Send news for Who’s Buying What to radioworld@futurenet.com.

 

The post Netherlands Radio/TV Broadcaster L1 Decides on DHD appeared first on Radio World.

Webcasting royalty rates in the United States have just gone up, including a doubling of the minimum annual payment for noncommercial webcasters.

The Copyright Royalty Judges on Friday announced new rates for webcasters for 2021 through 2025.

The rate for commercial nonsubscription services in 2021 will be $0.0021 per performance, up from $0.0018 last year. For commercial subscription services it will be $0.0026, up from $0.0024. Rates for the ensuing four years will be tweaked based on the Consumer Price Index.

The rate for noncommercial webcasters (except educational) has doubled to $1,000 a year per station or channel, for transmissions totaling up to 159,140 Aggregate Tuning Hours (ATH) in a month.

If a noncom webcaster goes beyond that number on a given channel or station, the per-performance fee this year is $0.0021 for the additional transmissions, up from $0.0018. Again it may change in 2022 to 2025 based on the CPI.

Webcasters will have some back payments to make as a result. The Copyright Royalty Board had delayed issuing its rates for the new five-year period until spring. Commercial and noncommercial webcasters were told by SoundExchange to use 2020 rates in the meantime but that adjustments would be retroactive to Jan. 1.

Note that rates for other categories — noncommercial educational webcasters, satellite radio, audio for business establishments and certain others — are on a different calendar cycle, so their 2021 rates were already known. Those can be found at the SoundExchange website.

The post CRB Raises Webcasting Royalty Rates appeared first on Radio World.

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

Is your noncommercial radio station taking advantage of increased listener support? And, if you did not know such interest was a thing, how might you act now?

The Corporation for Public Broadcasting unveiled its State of the System report at the Public Media Business Association’s annual conference. The figures were not especially encouraging in several areas. Most notably, underwriting saw a steep decline. In addition, foundation grants were down. How much? Underwriting saw a dip of 14%. Foundation support fell by a whopping 32%.

[Read: Community Broadcaster: Masks Off]

This is not great news particularly for rural radio, which may rely on underwriting revenue to stay on the air. Many noncommercial stations may fund their news initiatives with grants, making that foundation nosedive particularly stinging. In all, the fall of 2021 and into 2022 could be quite difficult for noncommercial radio stations.

The one bright spot is a shocker, though. Individual giving grew by 5%.

Why? The reasons may reflect the moment for radio. Elections, big news events and a public obsessed with media in 2019 were flashpoints. As with any ebb and flow, such attention may shift, but it may not be now. With pandemic reopening on many Americans’ minds, it is almost assured that the media will remain a central reference point. Noncommercial radio would be wise to talk with audiences about its value in their lives.

Community and public radio depend on on-air fundraising to keep the lights on. Pledge drives have been parodied on television and in movies. However, savvy noncommercial station managers know fundraising is a year-round operation that goes on even between pledge drives. We must be constantly stating our case for relevance, and reminding listeners why financial contributions matter in keeping content they turn to coming.

Photo: BewitchingVintage

What better time than now for public and community radio to fire off a fresh email, on-air spot, or social media post that speaks to how valuable individual giving is for stations?

You might think people can’t give due to their money woes. In fact, Americans have saved a great deal of cash during the pandemic. People are in a spending mood. And, as any good development professional will tell you, people are happy to give when they believe the donation is appreciated and supports something they care about.

It can sometimes be in the DNA of some community radio stations to shy away from asking for money, or do it when only absolutely necessary, like during a pledge campaign. Your station is missing out on not only a critical fundraising opportunity. You are neglecting your fans who want to support your station beyond pledge drive. They are just waiting to be asked.

Increases in individual giving are not a constant. Audiences will find new interests, or not be as charitable due to a range of factors. Thus, when it is clear listeners are giving more than they usually do, public and community radio station leaders should be intelligent with the renewed attention. It’s more than money. It’s about reminding your community how radio amplifies the news and culture that residents want to hear more about.

The post Community Broadcaster: Giving Mood appeared first on Radio World.

Oliver Berliner circa 1989.

Some things never go out of favor. One is the disc phonograph record. Even after more than 130 years, it’s still very much alive here in the 21st century.

The disc record has also framed the life of one individual, Oliver Berliner, who at 91 probably knows more about the history of that invention than anyone else, because it was his grandfather Emile who invented it.

In the 1880s, Emile decided to improve the wax cylinder recording technology that Thomas Edison had developed a decade earlier. This led to the ubiquitous disc or “platter,” still revered by audio aficionados today.

However, this is not a story about Emile, but rather his grandson Oliver, whose father Edgar ran the Canadian branch of the Berliner Gramophone Company in Montreal at the time of his son’s birth.

The dog Nipper listening to “His Master’s Voice” on a gramophone. It was introduced by Emile Berliner as his trademark in 1900. It reigned for a half-century as the world’s most famous trademark.

Asked about memories of his grandfather, Oliver lamented that he had never met him.

“He died the same year I was born, 1929,” said Oliver, who admits to nothing in the way of memories about the operation his father ran. He was one year old when the rebranded U.S. parent recording and record producing operation, The Victor Talking Machine Company, was sold to the Radio Corporation of America, and the Berliners relocated from Canada to England.

“I believe that my father left RCA Victor of Canada on my birthday, May 29, 1930,” Oliver recalled.

Teenage entrepreneur

Although he didn’t spend his formative years hanging out in recording studios and recording pressing operations, Oliver eventually did his share of recording, acquiring a Presto recording lathe and cutting airchecks for none other than big band leader Xavier Cugat.

Berliner explained that his air-checking enterprise had its roots in an earlier venture where he provided “sound reinforcement” for dances at his high school. (After five years in the U.K. and a return back to Montreal, the family resettled in California, with Oliver ultimately enrolling at Beverly Hills High School.)

“In high school, I rented out portable PA systems for student dances,” he recalled. “Many of the clubs at Beverly Hills High had dances and I built up quite a reputation for providing these sound systems.

“I used Shure and Electro-Voice mics, as well as an RCA ‘Aeropressure’ dynamic mic. I built the amplifiers myself around 6L6s and 6SJ7s. The speaker enclosures were plywood bass reflexes fitted with Jensen 12-inch speakers.”

His reputation and rentals extended well beyond school dances, though.

“One of my clients was a Beverly Hills High graduate, the soon-to-be-famous André Previn,” he said. “As a teen, his trio was getting bookings in and around Beverly Hills, and André always called on me for a sound system.”

Berliner mixes a remote broadcast at the Veterans Hospital in West Los Angeles in this 1950 photo.

Following high school, Berliner enrolled in engineering studies at UCLA, but decided that this side of the recording business wasn’t really his passion.

“I soon switched to business administration with a specialty in marketing,” he said. “I graduated in 1951 with a BS degree.”

His association with Cugat and his band at about this time indirectly launched him into the next phase of his career in the music and recording industry.

“I was dating the daughter of Xavier Cugat’s drummer at the time,” Oliver said. “They were doing a lot of remote broadcasts then and that’s how I ended up cutting airchecks for Cugat. That’s also how I became interested in Cuban music.” (Cugat, a Spaniard, spent his early years in Cuba.)

“In 1956, I launched a music publishing business, Hall of Fame Music, which specialized in Cuban music. My company ultimately owned the two most famous cha-cha-chas in the world.”

Oliver noted that during the time of his music publishing enterprise, he chartered a sister operation that he dubbed Gramophone Music Company.

“This was a way of keeping the name of my grandfather’s invention alive,” he explained. “That publishing company will live forever as an ASCAP member.”

Berliner in an undated photo, shown with commercial art that was created by his grandfather’s Deutsche Grammophon operation around 1910.

Oliver’s next foray in businesses involving records was the 1965 purchase of an FM station in Orange County, Calif., which he recalled as a pioneering stereo operation.

After five years in broadcasting, Oliver turned innovator, creating what would ultimately be known as the “music video.” His concept was to make short video recordings of new artists that would be played in record stores as a way of providing exposure for these relatively unknown performers.

“I gave the idea to a record promotion friend at Warner Bros.,” said Oliver. “I suggested just recording the artist straight, without all of the crazy costumes and sets that were used later. I was hoping that Warner would hire me to produce these lip-synched recordings, as the soon-to-be-popular ‘music videos.’”

Broadcast product manufacturer

His next innovative effort was in the television field, even though the company was named Ultra Audio Products.

Berliner’s Ultra Audio Products (UPC) company manufactured  video test gear and other broadcast products.

“We created low-cost compact versions of video test equipment — waveform and pulse-cross video monitors, and a vectorscope. These were designed for remote trucks, CATV studios, institutional operations; applications where users had limited space and money.”

Oliver’s creative efforts soon shifted to audio, with the creation of a compact consolette incorporating a rather unusual feature.

“It was intended to be run in a small TV production studio and had many features, including frequency-selective ducking,” said Oliver.

“When a disc jockey doing a voiceover hit the mic key, it ducked the level of the record he was playing by seven dB — not the entire audio range of the disc; just the voice range. The resulting effect of the voice enveloped by the music was astonishing. Radio should today be using it.”

In keeping with his music background, Oliver has been called as an expert witness to testify in several high-profile cases involving performance and usage rights.

When asked for his take on the current state of radio broadcasting, Oliver confessed that while he loved music, he was not an avid radio listener.

“I just don’t like what’s on radio today.”

 

Oliver’s “Grandpa,” Emile Berliner is seen experimenting with disc mastering improvements in his Berliner Gramophone Co., Montreal, Canada lab in this 1919 photo. Berliner’s name for his disc player — the Gramophone — is the origin of the name for the recording industry’s Grammy Award.

The post Berliner: A Life in Music and the Recording Arts appeared first on Radio World.

This is Microphone Month at Radio World. Here is one in a series of interviews with people who work in and around radio about the kinds of mics they love and why.

Larry Langford is owner and chief engineer of WGTO(AM/FM) in South Bend, Ind.

Radio World: What is your personal favorite mic on the air?

Larry Langford: I love the RCA 77-DX but let’s be real, who can afford that sweet but expensive and delicate broadcast icon? Aside from it making you feel like a “real broadcaster,” use of such expensive units like that are more emotionally based than technically necessary for great audio!

The more realistic answer? I like the newer cheaper mics, as the FET capsules do a great job for typical on-air voice, and the prices are very reasonable. I like the performance and pricing of the MXL imports, the MXL 770 goes for 80 bucks and the MXL 990 is about a hundred.

MXL 990 promotional image

RW: How about for remotes and specialty applications?

Langford: For mics that are going outside, I want something that is a bit more rugged and does not need phantom power. The Electro-Voice 635 has always been my omni favorite in the street, and the Shure SM58 for cardioid. You can’t kill them and they are cost-effective.

RW: Tips to share or misconceptions to address?

Langford: I try to teach folks that no radio station ratings have ever been tied to the mic used in the studio.

Years ago some stations went way overboard on studio mics. NBC-owned stations used 77-DXs for all DJ operations, and I know WIND in Chicago used Neumann U 87s for AM announce work!

While certain mics can be tied to certain time periods as the “standard” — EV 666, Sennheiser 421 and EV RE20 —nowadays there are many inexpensive choices that will do very well in podcasts, broadcasts and general voice recording.

My advice: Put money into the mixer and processing. The MXLs are dirt-cheap, sound fine and if you want to change after a couple of years, you can toss them and not feel you have thrown out a piece of gold.

Read more of Radio World’s coverage of microphones.

The post My Favorite Mics: Larry Langford appeared first on Radio World.

Franken FM stations may have some hope after all. The Federal Communications Commission has opened that door, at least a crack.

The commission has granted special temporary authority to one digital LPTV station that is also still operating an ancillary audio signal at 88.7 FM. The STA will allow it to continue its “FM6” operations for at least the next six months rather than shut down at the July 13 deadline.

Radio World has learned that the commission will consider similar STA requests until it decides how it will handle the FM6 issue.

Similar requests “will be considered”

KBKF(LD) in San Jose, Calif., which is licensed to Venture Technologies Group, converted to ATSC 3.0 digital operations earlier this year. It then requested special temporary authority from the FCC to continue its analog FM6 operations beyond the July 13 deadline for LPTV analog stations to complete their digital facilities.

KBFK airs contemporary Christian music from the Air1 Radio Network from the Educational Media Foundation. EMF in March urged the FCC to “act expeditiously” on the FM6 proceeding.

FM6 proponents say the ATSC 3.0 standard allows a station’s DTV signal to occupy as little as 5.509 MHz, which leaves room for an analog audio carrier that does not degrade the station’s DTV signal. FM6 operations may only be conducted on 87.75 MHz.

[Read our prior story “Time Running Out for FM6 Stations?”]

An FCC spokesperson told Radio World: “This STA will allow for such stations to continue operating, with conditions, until the commission determines how to act on the broader rulemaking. The STA operations will help inform such future action.”

This development doesn’t change the fact that analog LPTV stations must terminate analog television operations by July 13. “However, if other analog Channel 6 LPTV stations convert to digital 3.0 by the July 13 deadline and request similar STA relief, those requests will be considered,” according to a FCC Media Bureau official.

Paul Koplin, president of Venture Technologies Group, told Radio World in an email: “This provides Channel 6 the path forward to survive in a digital world. The technology works without interfering with other stations or its own signal.”

Ari Meltzer, a spokesman for the Preserve Community Programming Coalition (PCPC), a FM6 advocacy group, said: “This will prevent any disruption for listeners on July 13 and help establish a record of real-world operations for the open rulemaking proceeding.”

Operators of “Franken FM” stations have lobbied for several years to be able to maintain an analog output on 87.7 FM even after converting to digital TV6 service. Analog LPTV’s were allowed to request an extension to complete their digital TV facilities beyond July 13.

Nothing Ventured …

In its letter to Venture Technologies Group acknowledging the special temporary authority, the FCC emphasizes that the designation is temporary and there are conditions the licensee needs to meet, including making immediate modifications if any interference is reported.

The FCC noted in its STA letter that Venture had provided notice to all potentially affected Channel 5, Channel 6 and 88.1 FM stations in San Jose, San Francisco, Oakland and adjoining Designated Market Areas, telling them that it was beginning digital service with ATSC 3.0 video and an ancillary audio signal.

The letter was dated June 10 and signed by Barbara Kreisman, chief of the video division of the Media Bureau.

Venture Technologies Group also committed to making efficient use of the ATSC 3.0 video portion of the station’s signal. “Venture represents that KBKF(LD) will provide at least one stream of synchronized video and audio programming on the ATSC 3.0 portion of the spectrum on a full time (24×7) basis,” according to the FCC correspondence.

Venture must also submit several written reports to the FCC during the six-month period detailing any reports of interference to other licensed users and any interference between KBKF(LD)’s video and audio services that in any way limits the coverage of its video, according to the FCC.

 

The post FCC Throws Lifeline to an FM6 Station appeared first on Radio World.

WASHINGTON, D.C. — The FCC’s Public Safety and Homeland Security Bureau has confirmed that the Federal Emergency Management Agency (FEMA), in coordination with the Commission, has selected the day it will conduct a nationwide test of the EAS and Wireless Emergency Alerts.

The date chosen: Wednesday, Aug. 11.

The time: 11:20am Pacific, or 2:20pm Eastern.

There is a backup date of August 25, should there be an unforeseen glitch that prevents the test from occurring on August 11.

All EAS Participants must renew their identifying information in ETRS Form One on or before July 6; the ETRS is now available for the acceptance of 2021 filings.

During the event, a test message will clearly state that the alert is only a test.

FEMA will transmit the EAS portion of the nationwide test through a hierarchical, broadcast-based distribution system, otherwise known as the “daisy chain.” Because the test will be disseminated in this manner, FEMA indicates that “full message text and multilingual messaging will not be available.”

FEMA explains, “[T]he intent of conducting the test in this fashion is to determine the
capability of the [EAS] to deliver messages to the public in the event that dissemination via internet is not available.”

The Media Bureau adds that testing the daisy chain will allow the FCC and FEMA to assess whether the national EAS would perform as designed, if activated, and help to ensure the reliability and effectiveness of broadcast-based alerting as part of our national emergency communications infrastructure.

For further information regarding the nationwide EAS test, contact Maureen Bizhko, Attorney Advisor, Policy and Licensing Division, Public Safety and Homeland Security Bureau, at 202-418-0011 or maureen.bizhko@fcc.gov; Rosemary Cabral, Attorney Advisor, Policy and Licensing Division, Public Safety and Homeland Security Bureau, at rosemary.cabral@fcc.gov; or Christina Clearwater, Deputy Chief, Policy and Licensing Division, Public Safety and Homeland Security Bureau at christina.clearwater@fcc.gov. 

It signed on the air in 2009 as a Class A FM serving the Adirondack Mountains town of Saranac Lake, N.Y. Since January, it has been one-half of a Variety Hits operation branded as “Lake FM,” with coverage of nearby Tupper Lake provided by that second FM.

Now, a deal is in the works sending the Class A to a new licensee.

It sees noted longtime media executive turned licensee Randy Michaels agreeing to its sale.

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