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Bauer Media Audio has acquired SharpStream, a streaming audio software provider.

The deal was announced March 20, 2024, and is subject to regulatory approval and other customary closing conditions.

SharpStream already provides services to Bauer Media Audio outlets in the United Kingdom, Ireland, Slovakia, Portugal, Denmark, Norway, and Sweden.

“As long time partners of SharpStream, we’ve seen the team’s professionalism and diligence in delivering audio streaming technology. I’m excited to welcome them formally into the business, and look forward to supporting their future development,” stated Bauer Media Group President of Audio Vivian Mohr.

SharpStream’s streaming platform and tools are used by a wide range of broadcasters for streaming live and on-demand content via the internet, including high-profile sports broadcasters like ATP Tour tennis and Le Mans racing series and smaller to niche, ethnic and community audio broadcasters.

“We have had the pleasure of a close working partnership with Bauer for over a decade. The team and I are delighted to be joining Bauer to progress into the next exciting chapter for our technology and services,” stated SharpStream Managing Director Dane Streeter. “We look forward to helping Bauer and our third-party clients achieve their goals in redefining digital audio for the future.”

Bauer Media Audio described the acquisition as “an important step” for the company as the industry evolves.

[Read more Radio World business news here.]

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A locally owned and operated Spanish-language radio station offering banda and regional Mexican music to Southern Nevada from an FM translator atop Arden Peak in Henderson is celebrating its selection by the SBA as Nevada’s “Microenterprise Small Business of the Year.”

“This is huge for us,” says Rafael Cerros Jr., founder and Managing Partner of “Fiesta 98.1,” which feeds K251BS from KLUC-FM 98.5 HD3 in Las Vegas. “When we started this journey back in 2020, our goal was simple but bold. We wanted to create a radio station that really meant something to the people of Las Vegas, especially our Hispanic community. It wasn’t just about playing music; it was about creating a platform for connection, culture, and community support.”

Now, Cerros says his enterprises’ adventure into blending traditional broadcasting with social media and community engagement has genuinely paid off.

“It’s made us one of the top stations in Vegas, something we’re incredibly proud of,” Cerros says. Indeed, “Fiesta 98.1” in the last quarter of 2023 was the No. 1-ranked regional Mexican station in the market. “More than anything, our commitment to giving back and being there for our community has been at the heart of everything we do,” he adds. “This isn’t just an award; it’s a milestone that marks our commitment, our sacrifices, and our love for the community that stands strong with us.”

Cerros will formally receive the award on May 2.

Interested in reaping the benefits and strong ROI that can come from serving Spanish-speaking radio listeners in your community? The 2024 Hispanic Radio Conference is your opportunity! Learn from the experts, and the winners of the 2024 Medallas de Cortez. The two-day Hispanic Radio Conference is scheduled for June 12-13 at the San Antonio Airport Marriott. Early bird registration is now open, along with a limited room block at the host hotel. For information on all sessions and speakers, visit the agenda HERE.

 

 

 

In November 2017, a licensee led by Lyle Reynolds agreed to acquire an Alabama 1kw Class C AM for $200,000. It was a station that had seen its call sign deleted from the FCC’s database just three years earlier due to a lack of service across its license period, but was quickly brought back to life.

Now, he’s agreed to sell the station at 1/10 that price.

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GS Broadcast Technical Services (GSBTS) has announced its acquisition of Ron Paley Broadcast (RPB), which is Canada’s supplier of Wheatstone products.

GSBTS, also based in Canada, describes itself as “a one-stop shop for everything from the mic to the transmitter.”

The acquisition adds Wheatstone WNIP systems to the GS catalogue, along with the VoxPro, AudioArts and Wheatstone processing lines.

Richard Sondermeyer and Sarah Haslip are the owners of GSBTS. Sondermeyer said he is excited about adding the Wheatstone line to GSBTS’ portfolio as he has been installing Wheatstone gear across Canada for two decades.

Ron Paley, president and CEO of DJB Software Inc., said in the release: “We are very happy to transfer RPB and the Wheatstone line to GSBTS. It’s a natural fit and we know the Sondermeyers will uphold the Paley legacy of outstanding customer service. Making this move frees up key resources to focus on our  award-winning DJB Radio software lines.”

RPB’s VP of Operations Adam Robinson, Business Manager Mark Filimowski and CFO Ted Paley will stay with DJB in those roles. 

“Canadian Broadcasters will be the ones that benefit most from the GSBTS offerings, now as a full-service systems dealer and integrator,” said Wheatstone’s Darrin Paley in the release. “Thank you to Ron Paley and his team for all the hard work over the past 18 years.” 

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GatesAir is expanding its Flexiva GX transmitter family with a new 2 kW model.

The Flexiva GX2K provides 2,000 watts of analog FM power in two rack units. The spring convention also will be the North American debut of the GX50 (50 watts), GX1K (1 kW) and GX3K (3 kW) models that were introduced last fall at the IBC show.

“The compact, high-density architecture of the GX2K accentuates the value proposition of the Flexiva GX line for the FM engineer,” GatesAir states in its announcement.

It highlights a strong power-to-size ratio for all six power levels, which also include 5 kW and 10 kW models.

“The design packs exceptional power density into a compact chassis, with overall efficiency ratings up to 76 percent,” GatesAir says.

Also new, the company has enhanced the GUI for the GX line, including integrated audio playback and a supporting playlist manager.

Options include GPS receivers for SFN support, as well as GatesAir’s Intraplex IP Link 100e (IPL-100e) module. The latter integrates within Flexiva GX transmitters, enabling IP connectivity of FM audio and data from the studio.

“This further reduces rack space requirements inside RF facilities with limited open real estate. The IPL-100e also provides support for optional integrated professional 10-band audio processing software, which can save users thousands of dollars in auxiliary equipment.”

The Flexiva GX line can be configured to serve large national or regional FM single-frequency network deployments. They also support N+1 configurations.

NAB Show Booth: W2730

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Streamline Publishing is pleased to announce that the nomination window for the 2024 Medallas de Cortez is now open.

The highly coveted awards, the only in the U.S. focused on Hispanic radio broadcasting, will be presented at the 15th annual Hispanic Radio Conference. This year’s two-day event moves to San Antonio, home of the first full-time Spanish-language radio station in the nation: KCOR.

Now is the opportunity for YOU to nominate the shining stars in the Hispanic radio industry.

Have a favorite marketing campaign? Celebrate your marketing guru or an advertiser by recognizing their attention-grabbing campaigns that create excitement and help drive attention to Hispanic radio and among Hispanic consumers. Let’s also hear it for those radio sales reps who work tirelessly to generate revenue for your station! These dedicated sellers build meaningful relationships with your clients while reaching out and developing new clients. Nominate them to show your appreciation!

The Medallas de Cortez awards are named in honor of Raoul Cortez, who founded KCOR-AM in San Antonio in 1946. Nominations are now open to anyone involved in the success of Hispanic broadcasting.

The awards are sponsored by vCreative; be sure to recognize your team members in one of seven categories.

Nominations must be submitted by April 12. Make your nominations today!

The 2024 Medallas de Cortez will be announced at the two-day Hispanic Radio Conference, scheduled for June 12-13 at the San Antonio Airport Marriott. Early bird registration is now open, along with a limited room block at the host hotel. For information on all sessions and speakers, visit the agenda HERE.

 

 

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HOUSTON — In early 2019, the VP/General Manager of TEGNA‘s CBS-affiliated property serving the Texas Gulf Coast’s biggest market officially retired. Selected to succeed Susan McEldoon at KHOU-11 was the Director of Advertising and Promotion at co-owned KUSA-9 in Denver, who also served as an integral part of the TEGNA Marketing Leadership Team.

Five years later, a new leader will soon be coming to KHOU.

 

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WASHINGTON, D.C. — The Reston, Va.-based media consumption and partner for planning, transacting and evaluating media across platforms seeking to win more business in the TV ratings arena has just scored a key accreditation for two audience measurement categories from the Media Rating Council (MRC).

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Radio World Buyer’s Guide articles are intended to help readers understand why their colleagues chose particular products to solve various technical situations. This month’s articles focus on transmitters.

Bill Traue, CSRE, 8-VSB, AMD, says he was on the receiving end of a conference call that included a station owner in Wyoming and the manager of the local airport. 

“One of the owner’s FM stations had suddenly developed a problem with spurious emissions and was interfering with aircraft communications in the area,” said Traue, who runs a technical services firm in Idaho Falls, Idaho.

“The first question I asked was if the interference was being heard on 121.5 MHz, the distress frequency, and it was not. Only slightly relieved, I advised the station owner to shut down that transmitter immediately and I would come and get him back on the air, sans interference.”

Traue said he felt that the problem was with the station’s old FM transmitter. “Although a solid-state model, it occupied a full rack about a tall as Frankenstein. I hoped it wasn’t IM interference from things like rusty tower joints.”

When he arrived in town he stopped at the studio first and picked up a brand-new Bext XL3000, in its unopened box, which was awaiting another project. 

Bill Traue

He took it up the transmitter mountain and installed it as quickly as possible, moving the AC wires from the old transmitter to the new, the antenna coax with 7/8-inch flange and the composite audio from the processor to the Mux input on the rear of the transmitter. (The XL3000 can be ordered for single- or three-phase power, as can its larger brother the XL6000.) 

“I prefer to operate a new transmitter into a dummy load for a week to wring out any problems and become more familiar with it. But there was no time for that since this station was off the air,” he said.

“Bext provides the transmitter documentation on a USB thumb drive, and they are also available via a front-panel USB connection even if the transmitter is not powered up.”

He resigned himself to slowing down long enough to fire up his laptop computer and read up on what this transmitter required to get it working. 

“I realized after a minute that the colorful touch screen user interface on the front of the XL series transmitter was all I needed, and I put the PC away. I intuitively changed the frequency, lowered the preset power down to nothing and pushed RF ON. The cooling fans came up to full speed for a few seconds, then slowed down to just what is required to manage things thermally.”

He slowly raised power and with no reflected power, he went right up to 3000 watts. Then he called the airport manager and asked if the interference was gone. He checked around on his radios and found no trace of it. 

“As I drove down the hill and around town, listening to the new transmitter, I noticed how great it sounds, a noticeable improvement from the old transmitter in the Frankenrack.” The XL3000 takes up three rack spaces, leaving lots of room for other gear.

The next morning he returned to make sure the transmitter was happy in its new home. He called up the airport manager again to verify that there was no interference with his radios and there was none. He drove the signal out as he left the area and enjoyed the improvement in sound. 

“Two months later, I asked the station owner if the XL3000 had been stable so far, and it has. Several listeners have commented to him how great the station sounds and asked what they had done,” Traue wrote.

“I think the upgrade in sound is due to the direct FM at carrier frequency design. You can keep spending thousands on the latest greatest audio processing but if you don’t have the design found in this Bext XL series working for you, you are just creating louder noise.”

He said they plan to buy several more XL series transmitters. 

[Read More Buyers Guide Reviews Here]

The post Bext Solves a Problem of Spurious Emissions appeared first on Radio World.

Radio World is checking in with business and technology leaders about the state of the industry as radio prepares for the NAB Show in April.

Natalie Marsh is VP, market manager of Lotus Broadcasting in Las Vegas. She is in her 25th year with the company.

Radio World: What do you consider to be the most important issue or challenge for radio broadcast owners and executives right now?

Natalie Marsh

Natalie Marsh: Radio has many of the same challenges many businesses face in a post-COVID world.

We are all trying to navigate the impact of inflation. In my opinion this requires investing in updated technology, which can improve efficiency across the operation while optimizing ways to engage with your audience. 

One example of this would be updating studio equipment to include cameras in the studio. Listeners and advertisers alike are looking for a 360-degree interaction. The appeal of radio has always been the connection to the local audience. You can increase that connection by adding a video option. It allows you to compete with content creators. 

Audio remains the king, but it is necessary in today’s environment to meet your listeners where they are at. It also requires creative compensation packages to help employees who are also battling the impact of rising costs. This can be as simple as flexible schedules and remote work when possible. These options help save commuting costs or allow for a work life balance that normally could create cost of living challenges.

RW: What technologies or new media platforms are you watching closely, for their potential impact on how radio organizations do business? 

Marsh: The biggest one I am watching currently is podcasting. It has been rapidly growing and it is such a complimentary platform for radio. 

We have some pretty popular podcasts for our sports stations that are simply on-demand options for listeners of the show. These are the simplest examples of how to turn current content into a new option for listeners. 

From there you need to look at other options to explore. What passions do people have in the building that could engage an audience? You never know what gold mine exists in your team. We all have such diverse backgrounds, hobbies and likes. 

It all circles back to connections. Finding topics that help you connect with the audience. 

The other platform I am paying attention to is social audio. In sports radio, the social media platform of choice is X. I am highly intrigued by X Spaces with this audience. Sports hosts and listeners alike are very passionate about sharing their opinions in the sports space. 

Other social audio apps have come into the market that I am watching for how they may align with some of our other formats. Clubhouse, Discord and Stereo are a few that I am paying attention to.

RW: Generative artificial intelligence was last year’s big buzz topic. Has it met expectations for its impact in radio? 

Marsh: AI is not going away. Quite the opposite. It is growing at an almost frightening pace. My viewpoint on things like AI is leaning into how they can help you. 

Again, I am going to focus on what I consider to be one of radio’s biggest attributes: connection to the local audience. So we are looking at how AI can help us streamline content creation. 

Can we use it to help us with more interactive features such as polls, quizzes or live chats? I am also looking at the abilities of AI to analyze listener behaviors and how we can utilize this to enhance their radio listening experience. We also want to figure out if there is an ethical way to use it to enhance engagement for our listeners without losing the human connection that is paramount to radio. 

We are being very cautious in the AI world. You have already seen the backlash on some industries that might have jumped in too quickly.

RW: Over the next three years, what will be the most important change or evolution in how radio companies are run? 

Marsh: It feels like, now more than ever, it is hard to predict how technology may evolve. 

I am aging myself here a little, but I sometimes think back to my childhood watching “The Jetsons” on Saturday mornings and I think “Wow, we are so close to that reality.” I never imagined that we would be able to see the people we were talking to via phone on a video screen, but it is so commonplace now. 

Radio has been ever evolving and I do not expect that to change. Radio will expand its online presence and digital platforms. It will figure out how to use emerging technology to tailor content and enhance audience engagement. 

So as an executive at a radio company, you have an obligation to stay on top of the trends and technology. It is so important to continue to understand and explore ways to engage your audience. 

RW: Other thoughts? And what else should radio managers be thinking about as the spring show approaches?

Marsh: This year marks 25 years with Lotus for me. It is such an honor to work for the Kalmensons. They truly care about community and our partners, and they encourage that for all of their employees. 

I have never failed to find the solutions to my challenges or some new emerging technology at the NAB Show. You have to keep an open mind in order to really grow and adapt. Growing up one of my favorite movies was “Ferris Bueller’s Day Off.” It was such a generationally iconic movie. It also has one of my favorite quotes: “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” He may be saying that to convince his friend to ditch school, but I like to use it as a reminder to not move so fast you miss the important things.

[For More News on the NAB Show See Our NAB Show News Page]

The post Natalie Marsh: Keep an Open Mind About New Tech appeared first on Radio World.

New from Digital Alert Systems is software Version 5.3 for all 64-bit-compatible DASDEC and One-Net systems.

This is on top of the recent release of V5.2, which incorporated the latest FCC requirements. V5.3 makes further improvements to platform’s security posture, offering increased security settings to match users’ network restrictions and IT requirements. 

The company will exhibit at the NAB Show.

“These new options make it possible to tailor the device to work in the smallest to the most extensive corporate network environments,” the company states. Several older protocols also were removed to tighten security.

Version 5.3 includes other enhancements. For DASDEC-III units with HDMI outputs, the company added new safe-title display boundaries and increased the font size to maximize the high-definition alert message textual display output.

A new alert duration feature allows users to set any of the GPOs (up to 32 possible) to remain closed for the duration of an alert. Thus a user can set a GPO to remain closed during the entire alert, not just while the video or audio is playing. Customers can use it to trigger other devices or alarms while an event remains technically active.

Several additions correspond with updates to the company’s Halo Enterprise Level EAS Device Monitoring program. Because Version 5.3 is coupled with the Halo program, DASDEC and One-Net users can now select EAS logging views by device or in sync with their browsers.

This software update is free to customers who are enrolled in the company’s Software Assurance Plan, have purchased a new DASDEC unit or have taken advantage of the company’s Up-Trade program since April 2022.

NAB Show Booth: W3920

[For More News on the NAB Show See Our NAB Show News Page]

The post Digital Alert Systems Releases V5.3 appeared first on Radio World.

ATRESMEDIA is one of Europe’s largest media companies, with a formidable presence in Spain. Now, the Madrid-based company’s international arm is entering into the U.S. market with a trio of free ad-supported streaming television offerings.

For ATRESMEDIA Internacional, it brings “FAST” channels to the important Hispanic marketplace in America, adding to its presence in various overseas markets.

Now available are Zona Investigación, Cine y Series, and Única, and they join linear channels Antena 3, Atreseries, Atrescine, and ¡HOLA! TV on the atresplayer.

For the initial roll-out of the FAST channels in the states, ATRESMEDIA Internacional has chosen to launch on FUBO and on global media streaming platform Plex. The goal, the company says, is to expand the presence of these streaming and free signals in the Americas through upcoming agreements with other distributors.

ATRESMEDIA is the home of “El Hormiguero,” which will soon be added to the 8pm time slot on Estrella TV thanks to a licensing agreement between Estrella Media and ATRESMEDIA.

NEW YORK — A woman with Irish media experience who a decade ago spent a year at New York’s NPR Member station has been selected for the role of Executive Editor of a new unit focused on misinformation within CBS News and Standards.

Taking the role at CBS News Confirmed is Rhona Tarrant. She starts on April 1 and will report to CBS News and Stations SVP Claudia Milne, who heads standards and practices.

CBS News Confirmed is a new initiative that brings together a team of journalists who use data and technology to verify and fact-check questionable videos and reports and explain CBS News’ verification process. “CBS News Confirmed represents an investment in several key areas: hiring forensic journalists, new training, state-of-the-art technology and other tools, all focused on ensuring that CBS News combats misinformation and ensures the accuracy of its reporting,” CBS says.

Tarrant has trained journalists worldwide to verify, debunk and track online misinformation and disinformation through her work with the Google News Initiative and Storyful, where she has been head of editorial for the U.S. marketplace since 2019. Earlier, Tarrant served as EMEA deputy editor at Storyful, where she led daily coverage of international news events from Dublin.

“Rhona is one of the leading journalists and editors working in and breaking new ground in the area of verifying information,” said Milne. “She has developed new tools to uncover misinformation and disinformation and has worked across multiple platforms. Her experience and leadership will be an asset to CBS News Confirmed.”

Tarrant commented, “The rise of generative AI and online misinformation has made the role of journalists more critical than ever. I am thrilled to join the exceptional team at CBS News to lead this new unit dedicated to visual verification and fact-checking. Together, we’ll support CBS News’ unwavering commitment to journalistic excellence and empower our audience to sort fact from fiction.”

Tarrant worked from 2014 to 2015 at WNYC Radio in New York, where, as an assistant producer, she focused on a year-long investigative series that uncovered inaccurate reporting of road traffic deaths in New York City.

From 2011 to 2017, Tarrant served as a producer and reporter for RTÉ Radio and Television in Dublin.

 

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FCC adopts rules requiring cable and satellite TV providers to specify the "all-in" price for video programming services in order to allow consumers to make informed choices.

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The Clee Hill transmission site, home to the Ludlow small-scale DAB multiplex. (Photo courtesy Muxnet UK)

On March 11, 2024, the 50th small-scale DAB multiplex in the United Kingdom went on air from Clee Hill in Shropshire, England.

British broadcast regulator Ofcom began its first round of small-scale DAB licensing in April 2020; since then it has conducted five rounds of tenders with a sixth round planned for April 2024.

Muxnet UK, which works with local broadcasters and community groups to help them launch small-scale DAB multiplexes, marked the milestone 50th multiplex launch by noting the rapid pace of deployment of small-scale DAB over the past two years.

“I’m pleased that we’re realizing a belief and a commitment that digital radio could be done better, and more cost-effectively, without compromising existing services or technical quality,” stated Muxnet Technology Lead Nick Piggott. “Small-scale DAB has delivered more innovation in two years than the legacy approach has in the preceding 20. It really is a platform that is accessible to every kind of radio service.”

The Shropshire multiplex license was awarded in January 2023 to Murfin Media (Digital) Ltd. during Ofcom’s fourth round of small-scale DAB licensing. At launch, the multiplex is carrying Sunshine Radio Ludlow; however, other radio stations may join the multiplex. Murfin Media and Sunshine Radio have a common ownership. According to Sunshine Radio, the DAB signal serves listeners in Ludlow and Cleobury Mortimer in southeastern Shropshire, as well as in Tenbury Wells, Worcestershire.

Muxnet UK noted that the first small-scale DAB multiplex went on air in December 2021. Since then, new DAB multiplexes have been licensed across the country, ranging from large city-based multiplexes bringing tens of new radio stations to listeners to more rural multiplexes, like the one in Shropshire.

“The rate of licensing and build has exceeded the speed of previous licensing initiatives, meaning community and small stations can start their migration from analog to digital at a time where RAJAR shows analog listening decline is accelerating,” the organization stated.

Cakes and ‘Nozeco’ (transmitter sites are alcohol-free zones) helped mark the launch of the 50th small-scale DAB service in the U.K. (Photo courtesy Muxnet UK)

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A new FCC proposal, which is meant to incentivize broadcast localism, also casts doubt on an earlier decision by the agency to do away with the “main studio rule.”

The FCC said the newly-proposed rule aims to boost local broadcast journalism by providing priority for staff to review processes like renewals, transfer, and assignment applications to licensees that certify their station provides an average of at least three hours of locally-originated programming each week.

“There’s something special about when you hear a local voice on the airwaves or see a familiar face on your television set in the evening,” said FCC Chairwoman Jessica Rosenworcel. “Over time we’ve come to trust those voices and they provide an important service to these communities. We want to recognize that dedication when it comes time for license renewals and transactions and this proposal does just that.”

By focusing on where the programming is created, the FCC says its proposal avoids having them try to evaluate the content of a station’s broadcasts to determine their local nature.

While the intent of the FCC proposal is to promote local journalism and reward broadcasters who provide it, the commission’s Notice of Proposed Rulemaking (NPRM) also openly questions the outcome of the commission’s 2017 decision to eliminate the main studio rule. In fact, the new proposal includes multiple references of the main studio rule and the role it played in preserving broadcast localism.

The main studio rule required stations to maintain the main studio in or near its community of license to facilitate interaction between the station and the local community it is licensed to serve, according to the FCC. The new FCC proposal on localism states: “We question whether the Main Studio Elimination Order’s predictive judgment — that the commission’s action there would foster creation of more and better local content — has actually come to pass.” 

[Related: “FCC Eliminates Main Studio Rule“]

Now, the NPRM seeks comment on whether the elimination of the main studio rule did in fact lead to less local programming. 

Washington attorney David Oxenford wrote in his Broadcast Law Blog that the notice suggests that the decision to drop the main studio rule may have been “wrongly made, and alleges that the 2017 decision did not serve what the majority said was its purpose — promoting more local programming.”

Oxenford says, despite questioning the decision to eliminate the main studio rule, the NPRM did recognize that the commission has held that local programming is not necessary to serve the public interest. 

Several radio royalty groups say the commission is correct to question whether the predictive judgments in its “Main Studio Elimination Order” are still correct. 

“(T)he commission at the time predicted that its action [i.e., eliminating the main studio rule] would foster creation of more and better local content,” wrote the musicFIRST coalition and Future of Music Coalition in joint comments as part of the proceeding. “Since the elimination of the rule, we have observed a trend in commercial FM radio of a general decrease in localism rather than an increase, both with respect to music programming as well as news and information.

“This apparent decrease in localism appears to have coincided with increases in local utilization of syndicated radio programming, remote voice-tracking and decentralization of music programming in commercial radio,” the radio royalty groups told the FCC.

The National Association of Broadcasters has not filed an official response, but in an ex-parte filing the group noted that broadcasters already have every incentive to produce locally-oriented content. 

“Offering local content is a competitive advantage over the plethora of nationally-focused content throughout the marketplace,” NAB wrote in its comments, recapping a meeting with representatives of Commissioner Anna Gomez’s office. “Those radio and television stations able to provide locally-originated programming already do it. The barrier to initiating or expanding local content is that producing such content is generally very expensive.”

The NAB concluded that establishing a “carrot” in the form of change to how certain complex applications are processed for certain stations will not address the fundamental challenges affecting broadcasters who would like to expand local program production.

The NPRM also drew dissent from both of the FCC’s Republican commissioners. In fact, commissioner Brendan Carr says he asked that the NPRM cut back on the discussion of the main studio rule before its release. In a statement he wrote: “However, my colleagues were only interested in moving forward with the localism proposal if they could also cast aspersion on the separate main studio rule along the way.”

The FCC says it does not propose to offer priority application review to applications filed for radio translators or boosters. The commission says a station’s participation in certifying for prioritization would be voluntary. “A station may choose whether it wants to provide the additional information to qualify for prioritized review of its application and, should it decline to, would have its application processed pursuant to its normal procedures.” 

Comment from broadcasters in the proceeding has been limited so far, without filings by any of the major broadcast groups. National Public Radio told the FCC it generally supports the commission’s proposal to promote locally originated programming. 

“With the continued decline of local newspapers, broadcasters are seen more than ever as essential, trusted, local news providers,” NPR commented, “and no one can disagree that providing local communities with information about the events and issues that directly impact them is a public good that should be supported. However, as to public radio, the incentive offered in the NPRM is weak.” 

Meanwhile, community radio advocate REC Networks says in its comments “the proposal is ambitious, but not practical.”

Reply comments on the FCC’s NPRM (MB Docket No. 24-14) on broadcast localism can be filed through April 8 online at the FCC’s website. 

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