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There’s a plan in the works to build a new international shortwave radio station in Illinois, one that would use the Digital Radio Mondiale modulation system. But now several prominent members of the U.S. shortwave community are asking the Federal Communications Commission to take a closer look first.

Parable Broadcasting Co. in April asked the FCC to allow it to build the station in Batavia, Ill., west of Chicago, using the call sign WPBC. It wants to offer “broadcasting and data services.”

Specifically, Parable wrote that the station would “serve the areas of Europe that may be authorized by the commission. The planned broadcast content includes religious and educational programming, as well as data content provided by third parties.” It added that it wants to “take advantage of the recent push by the National Association of Shortwave Broadcasters to develop and provide content for the growing DRM market.”

Now three individuals, collectively called the High-Frequency Parties, filed an informal objection. It’s that wording about data content that concerns them.

Bennett Z. Kobb, Kim Andrew Elliott and Christopher D. Rumbaugh said international broadcast stations in the U.S. are intended “to be received directly by the general public in foreign countries.”

Now they told the FCC that it is impossible to tell from the Parable application whether all of the data services and data provided by third parties will qualify.

Elliott is a former VOA employee who produces the program “Shortwave Radiogram” and is active on Twitter. Rumbaugh publishes the DRMNA.info website. Kobb has held various roles in radio and telecommunications including launching a telecom newsletter and writing books about spectrum allocations. He currently is a government contractor. The three have filed joint comments to the FCC before.

They wrote to the commission: “Various elements of the application and its geographical location suggest that the station will be engaged in the provision of point-to-point data services for hire, a common carrier or private carrier of messages not ‘intended for direct reception by the general public’ and not ‘to be received directly by the general public in foreign countries.’”

Nothing in the rules allows non-broadcast service, including ancillary or auxiliary services, they continued. “The applicant proposes to use the Digital Radio Mondiale (DRM) standard. All data messages from this station must be in a form readily decoded by ordinary DRM receivers and rendered as publicly accessible content without encryption or obscuration of their purpose or meaning. While Section §73.758 authorizes ‘datacasting’ to stations using DRM, it does not allow any form of datacasting that is not also broadcasting.”

[Related: “U.S. Shortwave Broadcasters Eye Digital”]

They said they’re definitely not against international data broadcasts or to DRM. (“Our members pioneered such services at the Voice of America and have operated DRM promotional websites recognized by the DRM Consortium for more than a decade.”) But they said someone wishing to conduct commercial HF point-to-point messaging for third parties should do so in a service dedicated to that function; if none exists they should petition the FCC for one.

While the FCC has authorized international data stations experimentally, those were “never conceived to engage in revenue operations indefinitely as an alternative to regular spectrum allocations and transparent, public license assignment procedures.”

In a separate email to Radio World, Kobb noted recent news coverage of shortwave applications for private data communication services such as instant stock trading; examples are here and here. Kobb emphasized that the objectors have no reason to think Parable is associated with those particular projects.

But regardless of audio programs that Parable may transmit, the three told the FCC that licensing a point-to-point message facility this way would be “an impermissible excursion around formalizing an international private data service or updating existing rules to accommodate it.” So they say the commission FCC should require Parable to certify that “no nonpublic, non-broadcast, nondisclosed, encrypted, confidential or clandestine data messages shall be sent over the proposed station.”

They added that the FCC needs to update its “hoary Part 73F rules, some dating from the 1930s and now without any articulable public interest basis.” These include “excessive” minimum required power level and a prohibition on domestic service. “Rule changes might embrace data communications under an expanded scope of service.”

Radio World invited comment from Parable via its attorney, Donna Balaguer of Fish & Richardson P.C. She replied in an email: “We have just received the informal objection and require time to review it.  However, Parable Broadcasting Company proposes to provide valuable cultural and educational content overseas, as intended by the FCC for International Broadcast Stations. Parable’s application complies with FCC rules in all aspects.”

The application lists a Virginia address for the company and lists Stephen J. Bartlett as president. Its consulting engineer is Stephen Lockwood of Hatfield & Dawson Consulting Engineers, whose engineering work can be seen in the application. [Read the Parable application including technical filing.]

Parable’s facility would operate on the 5.9–15.8 MHz international shortwave bands with 15 kW power. Two 10 kW Amplifier Systems transmitters (main and standby) would feed 550 feet of 5-inch Comscope pressurized coax to a “super high gain” TCI log-periodic antenna system. The latter would consist of three towers, including two at 184 feet, with antenna power gain of 18.0 dBi, which the application notes is “a multiplier of 63.1.”

The post Proposed Shortwave Station in Illinois Prompts an Objection appeared first on Radio World.

For the first time in 64 years, the popular Broadcasters Clinic, held annually near Madison, Wis., won’t take place this fall thanks to the pandemic. But there will be a virtual version.

Until now, the organizers of the engineering-oriented event had been hoping that they could still conduct a physical conference in October.

“With the decisions the state made this past weekend, we just can’t move ahead with an in-person Clinic,” said Linda Baun, vice president of the Wisconsin Broadcasters Association, in an email.

“With its 60+ years of service to the engineers and industry, I personally am saddened by the turn of events. However, I will do everything within my power to see that the engineers are served to the best of my ability.”

The annual event nominally is a state and regional one but it has drawn attendees and vendors from around the United States and remains a popular local conference that has outlived many others sponsored in the past by other states’ associations.

Baun said the organizers are now turning their efforts “into planning a stellar virtual Clinic.” Details will be announced later.

The post Broadcasters Clinic in October Will Be Virtual Only appeared first on Radio World.

The author is with law firm Fletcher, Heald and Hildreth, on whose blog this article originally appeared.

The Federal Communications Commission has just released a Public Notice that impacts operators of C-Band (3.7-4.2 GHz) earth station dishes to receive or transmit programming or data. Previously, the FCC reallocated the lower portion of that band for auction, with incumbents earth stations entitled to reimbursement for their expenses to move their operations to the upper part of the band. In order to be eligible for reimbursement, a C-Band earth station must meet certain qualifications:

(1) The earth station must have been operational as of April 18, 2018, and remained operational; and registered (receive-only) or licensed (transmit/receive) in the 3700–4200 MHz band.

(2) If unregistered or unlicensed before April 18, 2018, registration or license applications must have been filed by Nov. 7, 2018.

(3) If registered or licensed before April 18, 2018, the registrant or licensee must have:

1. Certified the accuracy of the registration/license information in the International Bureau Filing System (IBFS) by May 28, 2019; OR
2. Filed a modification/update to the registration or license in IBFS during the April 19, 2018–Nov. 7, 2018 filing window; OR
3. Filed a timely renewal application for the existing registration or license by May 28, 2019.

[Read: C-Band Plan Aims to Limit Broadcast Disruption]

FCC staff has analyzed its database and produced a list of the incumbent earth stations in the continental U.S. (lower 48 states) entitled to reimbursement. The list includes name, call sign, technical data, etc. The FCC has asked C-Band dish operators to review the list, and by July 16, send in any corrections to the data on the list, as well as corrections regarding the omission of earth stations that should be but are not on the list.

If you have a C-Band dish that you believe is registered or licensed in the continental U.S., check the list. If your dish is not listed, or if the data listed contains errors, check with your attorney right away.

The post FCC Seeks Confirmation of C-Band Earth Stations Entitled to Reimbursement appeared first on Radio World.

What should buyers of radio broadcast consoles know about important trends?

Jason Ornellas, CBRE, is director of engineering for Bonneville International Corp. in Sacramento, and a member of the NAB Radio Tech Committee and SBE national board of directors. This is one in a series of interviews with industry console experts. An earlier version of this article appeared in the RW ebook “Trends in Consoles.”

Radio World: The topic at hand is consoles. What’s the most important design trend, in your view?

Jason Ornellas: I see consoles becoming more of a touchscreen with virtual layers and a smaller physical footprint. Thinking of the younger folks in the industry, and today’s kids only know touchscreens, so it would make sense if we saw studios have touchscreens only. As much of a pain it would be to support a fully touchscreen type studio, I’m sure they will be common within 10 years or less. Also, with software being the backbone of these consoles nowadays, I can see consoles becoming very small, the size of a laptop, think RODECaster Pro.

RW: How could equipment manufacturers make your life as a user and buyer of consoles easier?

Ornellas: I think the console manufactures do a great job with the layout, hardware selection and color selections of consoles already. They constantly make different flavors of the console with various size and price, so they unanimously know their audience and buyers.

I think, as an industry, it is configuring the equipment or console that gives us the biggest headache or is the most time-consuming. I would like to see more coders and programmers to work with the vendors to make the user interface as seamless as possible while navigating it and configuring your AoIP system.

RW: What role does the console play today when planning a radio studio? 

Ornellas: The console is still the heartbeat of the studio, but so many other factors play bigger roles within the design and planning of a new broadcast studio. I believe they will become more automated and smaller in size as things move virtually within the studio. The days of having big consoles, fully loaded with faders are not the future of studio design, especially for music format stations. I can see how a news talk format may still want a more traditional style console, but with AoIP making switching sources I believe time will change that mindset as well as part of the design.

RW: What will the next generation of user interface look like? 

Ornellas: I think the next generation of a user interface will be very animated and powerful. I think we have already embraced in some instances that we will not be using a physical console for some studios and take everything virtual. Think out of the box. And could facial recognition be a way for a user interface to log in and interact or control the layout of the GUI? All of this is a true possibility with enhancement of technology and where we are going as humans, with everything being virtual and dependent on AI.

[Related: Watch our interview with Jason Ornellas as part of the Radio World webcast series “Broadcasting From Home.”]

The post Ornellas: Today’s Console Is Tomorrow’s Touchscreen appeared first on Radio World.

What should console buyers know before shopping these days?

Eric Hoppe is owner of Progressive Concepts and head of sales and marketing for master distribution of D&R products in the United States. This is one in a series of interviews with industry console experts. An earlier version of this article appeared in the RW ebook “Trends in Consoles.”

Radio World: What is the biggest trend in console design?

Eric Hoppe: Today’s consoles have most of the features customers are looking for. The only trend I could possibly see is the need for more network sharing in larger studios. The D&R consoles we handle are for small to mid-size studios that mostly use stand-alone broadcast mixers. For this reason D&R mixers include integration with music playout software very elegantly.

RW: What demands do you hear from potential buyers?

Hoppe: These days, most music content comes from playout software rather than tapes, vinyl or CDs (though there are still a good number of studios using these other mediums). For that reason, D&R has implemented a USB interface for audio communication in all of their mixers while maintaining both analog and digital ports for interfacing with legacy types of equipment.

[Related: “Progressive Concepts Takes on RVR”]

RW: What role does the console play now when someone is planning a new studio?

Hoppe: Today, the mixing console is still the centerpiece of the studio’s operation and thus needs to be very easy to understand and use, because not all studios today employ professional DJs.

RW: What functions and features are being offered on new models that engineers who haven’t bought a console in a while should know about?

Hoppe: They should ask themselves, “What do I really need to make my radio program work?” and not select a console with too many gadgets or features as to complicate its function. Progressive Concepts is very good at helping the client find the right board for their needs.

RW: What will the console of the future look like, if we use one at all?

Hoppe: Generally speaking, DJs still want to use hardware with physical faders to control their content. Some products have the entire control surface on a touchscreen monitor, which I believe is getting a little far removed from the feel of an actual mechanical fader.

RW: How vibrant is the marketplace for analog consoles? 

Hoppe: I believe there is still a market for analog only mixers; however, D&R consoles and mixers include a hybrid design of digitally controlled analog audio mixers that provides tremendous value in terms of sound quality and reliability for their price point.

RW: Any suggested best practices for someone who is setting out to make a console system buying decision? 

Hoppe: Seek out a supplier who can help you find a mixer or console that fits your needs and who provides friendly service to help you set up your console.

The post Buying a Console? Focus on What You Really Need appeared first on Radio World.

This is part of Radio World’s series exploring trends in radio broadcast consoles.

Jay Tyler is director of sales for Wheatstone Corp. An earlier version of this article appeared in the RW ebook “Trends in Consoles.”

Radio World: What’s notable in how consoles are designed today?

Jay Tyler: They have become “softer.” We still have a physical control surface, with knobs and metering and faders, [but] the actual functions of those buttons have changed.

Where we would normally have a Program button, there might be a Program All or that might be a programmable button to not only put that channel on-air in Program, but it might start a skimmer, it may cue up other microphones in the talk studio.

The physical consoles we’re using are becoming more flexible and more user-defined, rather than manufacturer-designed like their analog counterparts.

A perfect example is Townsquare Media. Traditionally it had been an AoIP customer buying traditional control surfaces that acted like their analog counterparts, as far as the user goes. Well, we’ve done [projects in] Lafayette, La.; Lufkin, Texas — and now Duluth, Minn., where we’re rolling out eight control rooms — with what we call Glass LXE. This is our console that’s not running on Wheatstone surface hardware. It’s talking to a Wheatstone Mix Engine but it’s running on third-party hardware, whether it’s an all-in-one PC or a fancy touchscreen.

Ultimately, that’s where a lot of people are leaning — to save money and to break into the next level, and maybe make that control room look futuristic.

RW: How does virtualization apply to this conversation?

Tyler: In Wheatstone’s world, when you’re virtualizing something you’re running many instances of software. That could be our mixing console, that could be our applications, or that could be our drivers. We consider that at the local level.

So when you hear virtualization, automatically we think, “Okay, we’re going to consolidate PCs and everything we have here locally.” We’re going to virtualize the console. That means it’s going to go on a hard drive somewhere, and it’s going to have a touchscreen interface. When we virtualize studios, this means we’re consolidating our resource locally.

You’re going to hear another term called centralization. Centralization and virtualization go together. This means we’ve got our audio located in one spot in the country, usually on-site at somebody’s property within the organization; and then we’re polling and we’re distributing music.

[Related: “Virtualization and Cloud Come to the Forefront”]

Virtualization is just a consolidation at the radio station. Automation manufacturers were the first ones to virtualize their systems. They didn’t put it in a cloud; they basically put it on a big server with redundant drives and all the security you could ask for.

The other side of virtualization is what we think of as cloud-based services. Everybody wants to save money, we get it; everybody wants to jump on the bandwagon and use Amazon and Google Cloud, etc. People are looking at it, we’ve had discussions with customers about it.

One of the biggest obstacles we’re going to have to overcome is latency. If you were to take all the “stuff” we have in the studio now and put it in the cloud, all of your microphone audio has to go up. Everybody’s microphone would have to go up; arrive at the same time; be mixed; and then be sent back to us at the local market.

We see the automation guys leaning more towards cloud-based services and cloud-based delivery, because latency isn’t such a big deal. I think what you’re going to see initially as an end result is a combination of maybe a virtual studio with a cloud-based automation system being streamed down.

RW: How vibrant is the marketplace for a traditional analog console? 

Tyler: You can quote me on this: We sell a lot of analog consoles.

If you’re a small studio and more than 50% of your sources are analog, it makes perfect sense for you to buy an analog console, especially if your transmission chain is analog. At a typical small mom-and-pop station, we’re going to have a couple of analog microphones, an analog telephone hybrid, a couple of channels with automation. We’re probably going to have a consumer CD player.

There’s still nothing wrong with the analog mix engine. In our Audioarts lineup we currently have the 08, the AIR-1, the AIR-4 and the Lightning — from small to bigger mid-market analog offerings.

Some of the advantages of analog? Guys can fix it. People feel comfortable with it. There’s no laptop, no software, no licensing — you own it. When you get an analog console, you’re not going to get an upgrade, it’s just going to do what it does.

How long will analog be around? As long as your analog power amplifier! People can always fix them, you can always get the parts for them. Unless [you have] power supply issues or you’ve spilled something in it, they tend to work.

Wheatstone still services every single analog console we’ve ever sold. That goes back to our recording days.

RW: Other thoughts?

Tyler: If you’re an analog guy and feel comfortable buying analog, all of us manufacturers still do some cool interfaces with the analog. We’ve given you Bluetooth interfaces, we’ve got analog consoles with USB I/O. You can still get some of the advantages of the digital boards out there by picking the right stuff.

RW: But those digital boards sure are pretty powerful.

Tyler: You can control them from anywhere in the world. Most of the digital boards are going to give us a remote interface; so instead of the engineer in Ithaca, N.Y., driving to the radio station in the snow to hit the program button on the monitor module for the jock, they can open up their laptop, log in and soft-select a monitor module and go back to sleep.

Because the digital stuff becomes more technical, it also allows you the benefits of factory support services that all of us offer. With digital we can remote in and do a lot of stuff. We can configure things, we can troubleshoot, and we can do online training. There are big advantages there.

The post Consoles Get “Softer” and More Powerful appeared first on Radio World.