Aggregator

.

The Commission Announces the Membership of the Diversity Advisory Committee's Working Groups

.

.

Duluth, Minn., rock station KQDS(FM) hosts a Great Outdoors blog at https://95kqds.com/. It features “experiences, tips and discussion.”

I love to hike, bike and walk, especially on trails through the woods. Judging from the quantity of people I encounter on my excursions, I am not alone in my passion for the great outdoors. It’s one of the few remaining places in America where people actually openly smile and say hello to one another. I suppose we are all in a better mood when carefree and breathing fresh air. 

Radio stations are always searching for ways to project fun, tap into good feelings and show support for public institutions. By appointing one of your on-air personalities as your “outdoors person” — or hiring a freelancer — you can capture this feel-good attitude. And yes, there’s even a way to generate revenue by doing so.

A clever name or title for this al-fresco role will help you to build affection for the person presenting information on-air, online and via your social platforms. You are creating a subject matter expert — an influencer, in today’s parlance — who has the street cred to guide your audience into the great outdoors. 

No doubt, part of the appeal of communing with nature is that many outside activities are either inexpensive or even free. It’s important to communicate the financial facts and other details when talking about park entry fees, activities and events. 

Here’s an example of how this could play out on your station and then across your brand’s platforms: 

1. On-air pre-recorded piece: “Hey, it’s Smokey O, the Outdoors Guy. During this amazing spell of mild winter weather, have you considered hiking in the nearby George Washington National Forest? Parts of the forest are less than two hours from DC. One trail I particularly recommend is the Woodstock Tower Trail, a moderate 45-minute gradual climb. When you get to the top, you can climb the ranger tower where you can see for miles over the Shenandoah Valley. Entrance to the park is free. Get more details about how to plan your day at [station’s website], Facebook page or see pics at #SmokeyO.” 
2. Tag: “Smokey O, the Outdoors Guy, is brought to you by Smoot’s Outfitters, where all your climbing gear is now 20% off.” 
3. On Instagram, you’d post pics of the hike. 
4. Your host, Smokey O, could do a weekly five-minute podcast about his forays. 
5. Some of these clips could be recorded while Smoky O is actually hiking, a great way to inspire listeners to get up and go.

Ozarks Public Radio capitalized on June as Great Outdoors month at www.ksmu.org, branching out from its regular coverage of Missouri news and politics.

After you’ve established your Outdoors Person as an authentic, reliable personality and he or she has gained a following, you’re really ready to run. They can begin making appearances at nonprofit events and activities to strengthen your station’s community relations, then also serve as a personality doing live cut-ins from retail establishments and commercial exhibitions related to anything outdoors.

FINDING YOUR SMOKEY O

I’ve left the most challenging part of this plan for last. You’re likely wondering how in the world you are going to find the right person for this role. 

Aside from the normal job sites, like LinkedIn and Indeed, and getting recommendations from locals connected to the outdoor scene, have some fun! 

Run a contest and do “tryouts” for a month. You could feature contestants on your morning show, have them guest-post photos on your Instagram, and then let your audience vote. 

You could also check to see if there are any local influencers with an active lifestyle who are already big on YouTube or Instagram. Likely, they’d love to reach a new audience via radio and your social channels. 

Sowegalive.com features its own “The Great Outdoors Radio Show” and a podcast for Georgia outdoor enthusiasts.

Remember that this concept is not limited to hiking. Depending on your location, you can cover fishing, hunting, skiing, snowboarding, kayaking, sailing… virtually any outside activity that your audience enjoys in your area. 

More than 150 years ago, Massachusetts native Henry David Thoreau wrote in his journal, “What is Nature unless there is an eventful human life passing within her?” Encourage your listeners to experience the world outside, and who knows what they may discover.

Mark Lapidus is a multi-platform media, content and marketing executive and longtime Radio World contributor. Email mark.lapidus1@gmail.com.

The post The Great Outdoors for Fun and Profit  appeared first on Radio World.

The FCC is getting pressure to free up the entire 1,200 megahertz of the 6 GHz band for Wi-Fi, as broadcasters wave caution flags over potential interference to their signals should a sharing regime be instituted.

A continued call for all of the spectrum that stations now use for electronic newsgathering (ENG) came in a letter to the FCC from some of the biggest in Big Tech — Apple, Facebook, Google — as well as from consumer and free-market advocacy groups.

That was followed closely by a letter from a bipartisan pair of legislators calling for the same approach, including one whose Northern California district skirts Silicon Valley.

Broadcasters use the band for broadcast auxiliary services (BAS) operations such as sporting events, breaking news and special events. They said the FCC’s proposed interference protections — limited to lower-power, indoor operations — miss the mark, particularly as some camera transmitters used to relay footage to stations also operate indoors and at low power, so they would be in the interference line of fire even with those limitations on unlicensed devices.

Broadcasters have had to fight for ENG before as the FCC trolled for spectrum. They don’t want the agency to allow full use of the band without assurances — and not simply from the computer companies or cable operators hungrily eyeing the spectrum — that new uses won’t interfere with existing operations.

Cable operators, who are looking for more Wi-Fi spectrum, agree with the computer companies that there is a way to share and share alike.

The FCC on a mission to free up as much spectrum for 5G as possible (a Trump administration priority), including allowing shared use wherever it is feasible.

While some have argued for moving incumbents to a different band entirely, Apple and others have said that process could take a decade. Besides, sharing will work without jeopardizing incumbent service, tech companies told the FCC: “If the commission wants to bring more midband spectrum into use for next-generation wireless in the near term, while preventing disruption and interference to incumbents, the clear answer is to make 6 GHz available for shared unlicensed use.”

Lawmakers Join Push

In their letter, Reps. Jerry McNerney (D-Calif.) and H. Morgan Griffith (R-Va.) asked the FCC to free up the entire band ASAP. “We believe the 6 GHz band’s greatest potential would be realized by unlocking all 1,200 MHz of the band for unlicensed use,” they wrote. “This would foster innovation and greatly benefit American consumers and our nation’s economy.”

The legislators said they agree that protecting incumbents is crucial, but also argue that Wi-Fi has a track record of successful sharing and this should be no different, given the FCC’s expertise in protecting licensed users from interference.

The FCC voted unanimously back in October 2018 to propose opening up the band to unlicensed devices — everything from laptops to Fitbits to offloading wireless traffic — using automatic frequency control (AFC) devices to prevent interference with licensed users.

All the commissioners pointed to the need to relieve congestion in the wireless band, including under the direction of Congress in the MOBILE NOW Act, which charged the FCC with finding more spectrum for 5G.

The FCC is expected soon to vote on making that proposal a reality. But not if broadcasters have anything to do with it.

The National Association of Broadcasters argues the proponents of sharing in the band “assume away” the challenges of protecting those BAS operations. The trade group told the FCC earlier this month that hundreds of MHz can be opened for Wi-Fi and broadcasters are willing to work with the government and stakeholders on a solution to sharing. But nothing the computer companies have so far come up with fills the bill.

“[T]he Wi-Fi uses under consideration in this proceeding are simply incompatible with mobile broadcast operations used for electronic newsgathering — and no proposal advanced by any party to date will protect those mobile operations,” NAB says.

If those do ever materialize, the NAB said, the FCC can consider them then, and in a separate proceeding.

 

The post Big Tech, Broadcast Battle Over 6 GHz appeared first on Radio World.

David Mathew

The author is technical publications manager and a senior technical writer at Audio Precision in Beaverton, Ore.

When reduced to its basics, the process of audio test and measurement is concerned with a small number of performance benchmarks. At my company, we call these “the Big Six,” and they are as follows:

• Level
• Frequency Response
• THD+N (Total Harmonic Distortion plus Noise)
• Phase
• Crosstalk
• Signal-to-Noise Ratio (SNR)

Fig. 1 shows a typical test setup for the Big Six audio measurements.

Fig. 1: Test setup for the Big Six audio measurements of a device under test. LEVEL

Any Device Under Test (or DUT, as often referenced in the world of test and measurement) may have a number of level measurements that are of interest. You must choose which level you are seeking. Target levels include:

• an input level that produces a given output level, such as 1 volt, or 1 watt, or unity gain (see below for a discussion of DUT gain);
• an input level that produces a certain output distortion, such as 1% THD+N;
• a level that provides good noise performance with comfortable headroom, often called the operating level;
• an input or output level specified in a testing document.

Any of these levels may be used as a reference level on which we can base further measurements. Frequency response measurements, for example, are expressed relative to the level of a mid-band frequency; THD+N measurements are made at specified levels, which should be reported in the results.

The ratio of a DUT’s output voltage level to its input voltage level is the voltage gain of the DUT. For example, in a DUT with a gain of 2, an applied input of 2 volts will produce an output of 4 volts. A gain of 1, where the output voltage equals the input voltage, is called unity gain. Some DUTs offer no gain adjustments, and are said to have fixed gain. The gain may be fixed at unity, or at some other value.

A DUT with a volume control or other setting that affects gain is a variable gain device. When setting and measuring level, it is essential to consider whether or not the DUT gain is variable (not only volume controls, but tone controls and other settings can change gain), and, if it is, how to set the DUT controls for the desired test results.

FREQUENCY RESPONSE

A frequency response measurement reports the output levels of a DUT when stimulated with different frequencies of known level. The simplest of all frequency response measurements consists of only two or three tones, the first near the middle of a DUT’s usable frequency range, and followed by a tone near the higher extreme of the range and sometimes a tone near the lower extreme. Assuming the tones are all generated at the same level, the DUT’s output levels describe its response to these different frequencies.

Fig. 2: An example of a frequency response sweep of a device.

Full-range frequency response measurements can be made by a number of different methods, the classic being a sweep of a sine wave from the lowest frequency in the range to the highest, with the results plotted on a graph. A “flat” response describes the shape of a graph where the DUT responds equally at all frequencies, producing a trace with a slope of 0 and with minimal variations. Fig. 2 shows a typical result.

THD+N

THD+N stands for Total Harmonic Distortion plus Noise. Harmonic distortion is the unwanted addition of new tones to the audio signal. These tones are harmonically related tones to the original signal: when the signal is one sine wave of frequency f1, harmonic tones are f2, f3 and so on, at integral multiples of the original tone. Total harmonic distortion is the sum of all of the harmonics measured in the DUT’s bandwidth.

Why THD+N? Why not just measure THD (the distortion) and N (the noise) individually? Well, in the pre-FFT days of audio measurement, it was difficult to measure the THD by itself, without the noise, but it was relatively simple to measure the THD and the N together. So the accepted techniques handed down from years past specify THD+N, because that’s what was practical. In addition, THD+N is a convenient and telling single-number mark of performance, widely understood and accepted.

The measured THD+N of a device will vary with the measurement bandwidth. You will almost always want to restrict the measurement bandwidth using high-pass and low-pass filters, and you must include the bandwidth used when you state the result. THD+N is typically measured and reported in a 20 Hz–20 kHz bandwidth.

Fig. 3: Screenshot of a THD+N measurement of a device at maximum operating level.

The measured THD+N of a device will also vary with level and the frequency of the applied signal. Audio THD+N is typically measured and reported at a mid-range frequency (1 kHz or so) at either the device’s nominal operating level or at its maximum output level (MOL). Fig. 3 shows a typical THD+N measurement result at MOL.

PHASE

In audio engineering, phase measurements are used to describe the positive or negative time offset in a cycle of a periodic waveform (such as a sine wave), measured from a reference waveform. The reference is usually the same signal at a different point in the system, or a related signal in a different channel in the system. This choice of references defines the two most common phase measurements: device input/output phase, and interchannel phase.

Phase shift varies with frequency, and it is not uncommon to make phase measurements at several frequencies or to plot the phase response of a frequency sweep. Phase is expressed in degrees.

CROSSTALK

In audio systems of more than one channel, it is undesirable for the signal in one channel to appear at a reduced level in the output of another channel. This signal leakage across channels is called crosstalk, and in practical devices it is very difficult to eliminate. It’s expressed as the ratio of the undesired signal in the unstimulated channel to the signal in the stimulated channel.

Crosstalk is largely the result of capacitive coupling between channel conductors in the device, and usually exhibits a rising characteristic with frequency. It’s often expressed in the form of a single-number result; however, a crosstalk versus frequency sweep will show how a DUT performs across its operating bandwidth.

SIGNAL-TO-NOISE RATIO

How much noise is too much? That depends on how loud your signal is. Signal-to-noise ratio (or SNR) is a measure of this difference, providing (like THD+N) a single-number mark of device performance. The signal is usually set to the nominal operating level or to the maximum operating level (MOL) of the DUT. When SNR is made using the MOL, the result can also be called the dynamic range, since it describes the two extremes of level possible in the DUT. (Dynamic range in digital devices has a somewhat different meaning). SNR is usually stated in decibels, often shown as negative. Fig. 4 shows a typical SNR measurement result.

Fig. 4: A typical SNR measurement result.

Using traditional methods, SNR requires two measurements and a bit of arithmetic. First you measure the signal level, then turn off the generator (and often, terminate the DUT inputs in a low impedance as well, to fully reduce the noise in the device). Then the noise level (often called the noise floor) is measured, using filters to restrict the measurement bandwidth. The ratio between the two is the SNR.

David Mathew has worked as both a mixing engineer and a technical engineer in the recording and filmmaking industries. He was awarded an Emmy for his sound work in 1988.           

The post Introduction to the Six Basic Audio Measurements appeared first on Radio World.

Michael LeClair reflects on trends in audio consoles; Fred Jacobs worries about unintended consequences of radio job layoffs; Christian broadcasters convene in Nashville seeking their 2020 vision; and readers react to our ebook “Radio Engineering in Crisis.”

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

WORKBENCH
Infrared? Don’t Just Point & Shoot

Engineers, here are useful tips to avoid getting false hot spot readings as you inspect your facilities.

BUYER’S GUIDE
Sports Reporting & Remote Gear

One of our jobs at RW is to help bring buyers and sellers together. Read from your colleagues about why they chose to buy particular products from companies like Comrex, Tieline, Henry and AEQ.

ALSO IN THIS ISSUE:

• FCC Weighs the Future of FM6 Stations
• Have Layoffs Done Collateral Damage to Radio?
• Radio World Remembers Our Colleague Kwentin Keenan

The post Inside the Feb. 19 Issue of Radio World appeared first on Radio World.

The National Association of Broadcasters announced it will proceed with the 2020 NAB Show in Las Vegas, but also laid out the steps it is taking in response to concerns about the coronavirus, which it says it is taking “very seriously.”

The show dates are April 18–22 in Las Vegas.

Getty Images/Yaroslav Mikheev

The fact that NAB would issue a statement affirming that the show will go on is a measure of the impact COVID-19 has had on major event planners around the world.

“The association is closely monitoring COVID-19, commonly known as coronavirus, and is prepared to devote whatever resources necessary to ensure a safe and productive NAB Show experience,” it said in a statement. “While the NAB stands firm in its commitment to hold the convention as planned, the health and safety of attendees and participants are NAB’s top priority.”

The association explained the steps it is taking.

Its management team created a COVID-19 resource page on the NAB Show website, where updates will be provided.

As of a week ago, as reported by our sister publication TV Technology, NAB had said no exhibitors had pulled out but that NAB was reaching out to companies from China to assess their status.

They said the show is adhering to guidance and recommended safety measures issued by the World Health Organization and the Centers for Disease Control and Prevention, as well as state and local health organizations; and that it is working with the Las Vegas Convention Center, airport authority and area hotels and resorts to coordinate safety procedures.

It said it is following CDC recommendations and protocols for “heightened levels of cleanliness” at event facilities, and making accommodations and encouraging attendees to take “common-sense precautions” and follow CDC guidelines to prevent the spread of illness.

NAB said it will ensure that medical care is readily accessible to address immediate health concerns, and that it is “working with China-based exhibitors and registered attendees to evaluate options for those unable to attend due to travel restrictions.”

It noted that attendance from China, “although growing, represented less than 2 percent of total registered attendees in 2019.”

As of a week ago, as reported by our sister publication TV Technology, NAB had said no exhibitors had pulled out but that organizers were reaching out to companies from China to assess their status.

In the announcement, the organizers said they have experienced “an uptick in exhibit sales, attendee registration and hotel bookings in recent weeks, and conference program speakers are confirmed daily.”

The post NAB Show and Coronavirus appeared first on Radio World.

Digigram Asia Pte Ltd and Barix are now working together in the APAC region.

The companies announced their exclusive partnership, which covers several APAC countries.

These include Singapore, Malaysia, Indonesia, Vietnam, Cambodia, Laos, Philippines, Myanmar, and South Korea.

Under the agreement, Digigram Asia will distribute the entire Barix product line, including the new SIP Opus codec.

“Digigram Asia Pte Ltd is taking another step in its expansion strategy by adding Barix to its existing agreements with Auvitran and Streamguys,” explained says Nancy Diaz Curiel, Digigram Asia managing director. “We will be able to provide extended service and additional value to our customers,” she said.

“Digigram’s knowledge of the AoIP market combined with Barix’s cost-effective solutions for radio broadcast, intercom and paging, as well as audio streaming gives Asian customers access to better solutions for their AoIP needs,” added Reto Brader, Barix CEO.

The partnership took effect Feb. 1.

The post Barix and Digigram Asia Announce Partnership for APAC appeared first on Radio World.

.

.

.

.

.

The Federal Communications Commission released its most recent report on the ownership of broadcast stations across the U.S. For the first time it also gathered data on the gender, ethnicity and race of those with an attributable interest in noncom educational stations.

The results revealed that women and minorities still hold only a small fraction of majority ownership in U.S. broadcast stations.

[Read: America’s Broadcasters Should Look Like America]

For example, the report revealed that women collectively or individually held a majority interest in 874 commercial broadcast stations, compared to their male colleagues who hold a majority interest in 8,736.

Yet the report also reveals that radio is an industry providing a higher percentage of attributable ownership opportunities for women and minority groups. According to the report, based on information submitted by licensees in response to the FCC 2017 biennial ownership report, women hold a greater percentage of majority voting interest in commercial AM radio (8.9%) when compared to full-power commercial television (5.3%).

The same trends were seen when in tracking ethnic groups across radio. Hispanic and Latino individuals held a held a discernable majority voting interest in 4.2% of all full-power commercial television stations as compared to 6.1% of commercial AM stations.

Radio World will shortly publish second item with more data about radio specifically.

The disparity was similar when comparing the race of commercial station owners. Those who identify as white were reported to hold a majority interest in 10,076 commercial broadcast stations compared with  416 commercial stations owned by those who identify as a racial minority.

Ownership based on racial group was broken down further:

• Black/African Americans owned 239 commercial broadcast stations;
• Asians owned 136 commercial broadcast stations;
• American Indian/Alaska Natives owned 31 commercial broadcast stations;
• Native Hawaiian and other Pacific Islanders owned seven commercial broadcast stations.

The numbers played out similarly when it came to noncommercial broadcast stations.

Women collectively or individually hold a voting interest in 401 noncommercial broadcast stations. While women have a 9% stake in noncommercial FM radio stations (a total of 314 across the country), not one woman was listed as holding a majority in any noncommercial Class A television stations. Compare that to the noncommercial ownership numbers for men, which collectively or individually hold a majority of the voting interests in 2,564 noncommercial broadcast stations, including 2,086 FM radio stations.

Data gathered from the 2017 biannual report gave details on ownership, such as a breakdown of owners of commercial AM radio stations.

Racial minorities holding a majority of the voting interest at noncommercial stations includes 109 noncommercial broadcast stations, including 12 AM radio stations and 91 FM radio stations.

Ethnicity was also tracked as part of the report. Those who do not identify as Hispanic or Latino hold voting interests in 9,836 commercial broadcast stations, compared to only 668 Hispanic/Latino owners. For noncommercial stations, the numbers were still stark: Non-Hispanic/Latino persons collectively or individually held a majority interest in 3,100 noncommercial broadcast stations, compared to 121 noncommercial broadcast stations.

“It is striking — but not surprising — that no minority group is better off in owning more full-power commercial broadcast stations than they did in 2015,” said FCC Commissioner Geoffrey Starks in a statement. The year 2015 was the last year that this type of ownership data was collected. Of 1,385 stations, African-Americans owned just 12 stations in 2015 — “an anemic figure to be sure,” he said — and still owned just 12 stations in 2017.

Many minority groups saw their ownership numbers worsen, he said, including American Indian or Alaska Native women. “They lost all eight stations in which they held a majority ownership interest in 2015,” Starks said, which was the last year that the report was produced.

Women lost ground overall, representing only 5.3% of full-power commercial station owners, down from 7.4% in 2015.

“I have said it before: America’s broadcasters must look like America,” said Starks, one of two Democrats currently sitting on the five-member FCC. “We have much work to do — and it starts with us fulfilling our direct order from the Third Circuit to implement a data program that would help understand the impact of our regulatory efforts on the ability of women and people of color to own stations.”

In addition to a breakdown on gender, ethnicity and race, the report includes a comparison of 2017 and 2015 data for full-power commercial television, Class A television, low-power television, commercial AM radio, and commercial FM radio stations; as well as detailed ownership information in a series of tables and spreadsheets.

Reports can be searched via licensee name, call sign, service or  FCC Registration Number here.

 

The post Report Paints Bleak Diversity Picture in U.S. Broadcast Ownership appeared first on Radio World.

D.C. NPR affiliate WAMU 88.5 announced it will sell WRAU(FM) of Ocean City, Md., to Delaware Public Media. Pending Federal Communications Commission approval, the deal will close in June, and programming changes are slated for the same month. 

The press release positions the sale as “a strategic move on the part of both parties to benefit the WRAU listening audience.” Terms were not disclosed.

Additionally, WAMU said the current WRAU listening audience represents only 2% of WAMU’s weekly broadcast audience. WRAU is licensed to the Salisbury metro area — more than two hours from D.C., where the American University licensee’s programming originates — and its signal reaches Wicomico, Worcester and Somerset counties in Maryland and Sussex county in Delaware, according to a WAMU representative.

For those unfamiliar with the geography of Maryland’s Eastern Shore, Salisbury is just a stone’s throw from the Delaware state line. According to Radio-Locator’s WRAU coverage map, the station’s local signal reaches close to Milton, Del., and its fringe signal extends well past Dover, representing more than half of the state’s geographic area.  

NEW DELAWARE OWNER, LOCAL FOCUS

In the announcement, Delaware Public Media President Jane Vincent said the purchase is in line with her organization’s mission to serve Delaware’s three counties “with independent high-quality news and programming for and about Delaware.” (Current describes WRAU as a repeater station for WAMU.) She added that continued “access to great NPR programming” for Sussex Country, Del., residents and “keeping the signal within the NPR family” are “bonuses” from the deal.

Delaware Public Media was founded in 2010 as a “digital-only outlet” and added WDDE(FM) 91.1 two years later, making it the First State’s only NPR affiliate. The organization also assists Brandywine School District’s WMPH(FM) and Red Clay Consolidated School District’s WMHS(FM).    

For WAMU’s part, it indicated financial support of WRAU was not in line with current goals. According to the announcement, WAMU will concentrate on the D.C. metropolitan area. WAMU General Manager JJ Yore described the decision as a win-win that enables both pubcasters to provide “local audiences with the best possible public service.” He emphasized that WAMU is “deeply committed to strengthening our coverage of the Washington region, not only on 88.5 but also through WAMU.org, DCist, our podcasts and social media.”

The post WAMU to Sell WRAU to Delaware Public Media appeared first on Radio World.

We all love cool, new technology, but sometimes we need to talk about technology that is not as sexy yet still extremely important.

I want to talk a little bit about uninterruptible power supplies (UPS).

It is not a conversation we like to have, but we all know how important it is to protect expensive equipment and improve uptime. I expect many smaller stations will have a similar experience to mine, so I wanted to take the time to help drive the right ways to think about this important equipment.

Production room with APC SMX UPS

Working at Holy Spirit Radio in the Philadelphia area, we operate two small non-profit stations. Although I have been involved with the stations since the foundation was formed 20 years ago, my involvement over the last three years has increased tremendously as we prepare for the next 20 years.

Equipment in radio has changed dramatically, from much larger analog equipment of yesteryear to the all-digital equipment of today. In my view, some of the older equipment could handle power fluctuations that would damage or destroy some of the newer equipment that is used today.

Right before I started to increase my involvement at the stations, the engineer replaced all our UPS equipment. The prior equipment was not nearly powerful enough to meet the needs, and the batteries did not last long in a power outage event. Like many of us, he was frustrated by the higher costs for some of the name-brand equipment, even though the technology they used was relatively unchanged. At the time, he was determined to avoid APC and a few other brands.

GENERATOR/UPS CONFLICT

The UPS units purchased back in 2016 have been doing their job effectively over the past few years, although I am certain some of the batteries are in need of replacement. I only had one frustration, and that was discovered during a long-term power outage during a hurricane. Due to the cost, our stations currently do not have an automatic backup generator, but instead we use a manual generator during the few times we require it.

Rack UPS with extra batteries

During this particular incident, the UPS units would not power on with the generator due to the ups and downs (or “dirty” energy) that they produce. In order to get the power to the equipment, we had to bypass the UPS units, which can hurt some of the equipment.

One of the key protections of any UPS equipment should be to even out the power, ultimately preventing surges. The challenge is that once you get through an issue like that, sometimes it is moved to the backburner in favor of other issues that seem to be more pressing. We should never hold off on issues that can destroy thousands of dollars in equipment!

Earlier this year, we had a few incidents that brought the issue with our UPS equipment to the forefront. Over the years, the vast majority of our electrical outages have been at night, so we did not witness how well our UPS equipment handled the outage. The equipment typically stayed working, or if the battery died, it came up as soon as the utility power returned.

NOT ENOUGH PROTECTION

Recently, there was an electrical fire right down the street from our studios. It eventually caused the electricity to go out, but my concern started at that moment the fire started. As I watched the lights dim or go bright as the electrical pattern went up and down, I noticed some of our equipment acting in a similar manner. I immediately made sure they were plugged into the UPS, and they were. Ugh!

I was now worried about the thousands of dollars we’d spent on Wheatstone equipment as the UPS was obviously not working properly. Since I could see the incident from my window, I brought down all non-essential equipment and lowered our transmitter power.   Over the next few hours, our electricity went up and down.

A few days later, we had another electrical issue due to weather and a car accident. This time, the power went fully down, and when it returned, the UPS equipment did not turn on. Even though the equipment was not three years old, I decided I had to replace each of our UPS units.

We may have saved money with the UPS purchase three years ago, but it almost became a costly mistake. Luckily, none of our equipment showed lasting impact, so I started the process to purchase new UPS units. I outlined what our needs would be, including ability to handle “dirty” energy, relatively quiet operation (especially for our studio), communication in the event of an outage, the ability to add battery power or hot swap batteries during an outage, the ability to program various levels to shut down equipment that is not needed, as well as guarantees for equipment.

MAKING THE RIGHT INVESTMENT THIS TIME

Since we do not have an automatic backup generator, batteries can help extend the time for us. If we did turn on our portable generator, I wanted equipment that would not require rewiring to get it back online. I decided to go with the SMX series by APC.

Control room with APC UPS

Even prior to ordering the equipment, I started mapping out the electrical needs in each area that would require a UPS. It is important to understand your inputs and outputs, as well as determine what must be protected, but may not be necessary in an outage situation.

I then went and placed my order. I purchased online from a variety of sources, depending on the price of the specific equipment. Between both of our stations, I knew I would have to purchase six UPS units and two additional batteries. I decided we should start with just two and make sure it was the right equipment for our needs as well as determine if changes needed to be made regarding the necessary equipment.

SHOP FOR DEALS

I found a great deal for an additional battery from NewEgg. It was a return that they were selling with original warranty. It had a huge cost savings, so I was worried. The box arrived at my home with the outer layer held together with tape covering virtually every square inch. It was obvious to me that the item’s original box was beyond repair. As I cut through the tape, I was able to find a perfect condition battery unit inside. I would not always advise making such a purchase from unknown vendors, but I have had good experience with NewEgg, so I trusted them. The battery worked flawlessly.

Some of the equipment had the best price on Amazon, so I ordered it there. This caused me to understand why someone had to return the battery to NewEgg, because it is easy to make mistakes! I did. I accidentally purchased the SMT series instead of the SMX. The SMT series is probably a smarter UPS, but they do not allow add on batteries (although you can hot swap them). When I searched the model number, Amazon showed the SMT22000 instead of the SMX2200. I was able to use it, just not in a place where I would have an extra battery.

Another mistake I made was not checking out dimensions of the equipment. I simply assumed the server rack mount would fit easily within our servers. Well, the 2,200-watt model has a much greater depth than our server rack (APC does offer a shorter, double height version). It was not a big deal, but I had to change where I would mount it and removed a door on the back of the rack.

In our main studio, I realized after the fact that a few of our rack areas do not have the same depth. This caused me to have to reposition the UPS backup. It is always a learning process!

The APC devices were fantastic but certainly far from perfect. As I maneuvered these devices, I was able to reduce the equipment required by two UPS units. It required some rewiring of the racks, but not much work. I cleaned up each rack. I then added two Tripp-Lite network grade power strips (one 15-amp and the other 20-amp) as well as utilizing the existing strip built into the rack. One power strip is used for primary or always on power, another is secondary, which would stay on for part of the time and the other was equipment that would not be needed in the event of an outage.

The amount of time I would program in would vary by rack. With some racks, it immediately shuts down non-essential items, while others allow non-essential items to run for 15 minutes or so.

BEWARE OF REQUIRED UPGRADES

I was frustrated that the APC equipment required separately-purchased network cards for some of the functionality I wanted. I was surprised this was true for the SMT, which has an app that can monitor the device through a different network connection, but if you want that functionality, you have to buy the $300 card. It is stupid that the app does not offer the broader functions. Anyway, I was able to locate a used network card on Amazon for $88, so no big deal.

We did find out in our testing process that our new UPS equipment can power even our backup transmitter (it is small). So, after testing, I reduced our number of UPSes from six to four, but purchased an additional battery to allow our equipment to feed our other station as well as operate our backup transmitter for over seven hours.

Today, we have a sophisticated backup power system, even when an automatic generator is still out of reach for our non-profit. We have programmed smart ways of using our power to help protect the equipment but also allow key equipment to be available longer in an outage.

Did we make mistakes? Sure, especially with purchasing no-name equipment in the past. We learned from it and changed gears. In the future, we will be mindful of our cost-savings effort but we will consider the ramifications of those decisions.

Frank Eliason is a consultant helping Fortune 500 brands with customer experience and digital disruption. He is an author and director of operations for Holy Spirit Radio in the Philadelphia area.

——

Read an earlier RWEE series on small generators by Buc Fitch:

Part I — The Good, the Bad and the Noisy
Part 2 — Sizing and Selection: the Big Picture of the Small End of Power Generation
Part 3 — Pragmatics 101: The Big Picture of the Small End of Power Generation

The post Be Smart When Thinking About UPS appeared first on Radio World.

Credit: Getty Images/oleg7799

Let’s normalize post-sunset power levels on the AM band.

In the 1930s, AM radio stations began popping up everywhere. Many were granted 24-hour operation as there was little need to protect from nighttime sky-waves in the beginning. As more and more stations were licensed, we added daytime-only licenses, which meant a station could operate during the day-only because the sky-wave generated at night could cause interference hundreds or even thousands of miles away to a 24-hour station. 

Some stations could operate at night at reduced power, but the lower limit on a licensed station was generally 100 Watts, eventually lifted to 250 Watts for newer stations. Sometimes a multi-tower directional night pattern could allow operation at 250 Watts, but often, the nighttime plant was too expensive to build to be profitable and remain within budget. 

Some daytime stations could not go on at night no matter what kind of directional array they contemplated because of the need for total protection to other stations. They remained at a severe disadvantage, as they would not come on air until as late as 8:15 a.m. local time in winter. After a lot of pressure, the FCC allowed pre-sunrise operation of up to 500 Watts starting at 6 a.m. and going until sunrise. But stations were still required to go off the air as soon as 4:15 p.m., a huge problem. 

After more lobbying, the FCC came up with post-sunset authority (PSSA) and crunched the calculations for all daytime stations to grant night authorizations that would not create substantial sky-wave. The lucky stations were able to get power levels between 50 and 250 Watts, but others were given levels so low that the term “flea power” was adopted for stations allowed in some cases 5 Watts or fewer. 

A classic flea power example would be WHFB(AM) of Benton Harbor, Mich.; because they operate 5 kW days they were only allowed 1.3 Watts overnight service to protect KYW in Philadelphia. 

With commercially available transmitters going no lower than 250 Watts, engineers at the flea power stations had to come up with unique ways to get this level on the air. You younger engineers missed all the fun of trying to make that happen back in the ’80s when post-sunset was new and widespread. Many AM stations had to come up with “unique” and cheap ways to make it work.

Sure, you might laugh at an AM broadcast station running 1 Watt. But if that station’s tower is located in town, the 1 Watt broadcasts could be heard in at least a few neighborhoods. 

IT’S COMPLICATED

However, to get 1 Watt on the air was no easy or cheap task. Most commercial transmitters at the time were tube units with fixed power. For instance, a 5 kW unit might be switchable to 1 kW or maybe down to .5 kW or 250 Watts but not lower. Attempts to lower output below the design limit of the transmitter would often result in very distorted audio and unstable performance. Engineers had to come up with ways to bleed off power and send the remainder to the tower.

The universal method was to make a divider that would send the more substantial portion of the RF to a dummy load, as much as 500+ Watts, and the remaining flea power would go to the tower. This required RF contactor switches, dummy loads that could take continuous operation, and interlocks to pause the high voltage when the divider is switched in. Often a more sensitive RF current meter needed to be switched in to provide a clear indication of line current. 

To complicate matters even further, most stations were allowed to ramp the power down in half-hour intervals before hitting the tiny night output. An example would be a station running 1 kW days, 200 Watts at sunset, 85 Watts in the second half-hour and as low as 1.8 Watts in the second hour past sundown and then 1.3 Watts overnight. Some elaborate custom systems were designed to step the power down by shifting the ratio from the tower to the dummy load.

(I should also note that when trying to get the FCC authorization document for PSSA, which may have been lost over the years, you will find that the FCC only publishes the final night power. The ramp down levels noted in the letters are only available if you call or write the FCC Audio Division and make a request, but I have found they are happy to help.)

Some of us came up with an array of light bulbs to absorb power instead of a dummy, switching on more lamps in as the night went on. But as you can imagine, the impedance of such a system was not always predictable or stable.

Then came along LPB Corp. with a series of low power AM type-accepted transmitters with variable outputs that ranged from the maximum output of 5 Watts to 100 Watts, and each could be dialed back to flea power as needed.

As the major transmitter manufacturers built more modern units, multiple power levels were built into the designs, with most units being able to achieve five or six discrete power levels often as low as 5 Watts. But even the modern units that could do 5 Watts could not easily be modified to do less.   

Then, after a few years, LPB went out of business, and over time the flea-power LPB units failed, mostly due to inadequate cooling, and the cost to repair them was high — assuming the parts could be found. 

MAKING DUE 

All that to say: if a station was granted night authorization of less than 5 Watts and had a newer commercially made day transmitter, they might opt to just turn it down to the 5-Watt minimum and let it ride. Illegal? Technically, yes. But in reality, an FCC inspector would not cite you for this infraction, unless he had ice-water in his veins. 

But the rules are the rules. 

I suggest that we standardize the flea power to a minimum of 5 or 10 Watts for AM nighttime. That way, stations don’t have to fudge or come up with complicated ways to drop to something like 1.3 W, which no currently available commercial type accepted transmitter (that I have found) can easily do. 

I would hazard to guess that even the Class-A lobby would not oppose my suggested change, as the night impact on sky-wave at 2 Watts is not damaged much by increasing to 5 or, maybe, even 10 Watts. 

Also, standardizing the nighttime lower limit will make life a lot easier for stations that cannot maintain some of the Rube Goldberg systems that were designed to allow adequate power waste to achieve such a small output. 

But we will have to wait and see. 

Not every AM station has an FM translator, and some do still rely on flea power for night service. Let’s make it practical, uniform, and legal for all who bear ultra low output authorizations because they do the best they can to serve their area under less than ideal circumstances determined by the laws of physics.

Langford is the owner of WGTO of Cassopolis, Mich., and W246DV of South Bend, Ind. He can be reached at LarryLangford@AOL.com.

The post Standardize Flea Power to Support AM Stations appeared first on Radio World.

Graham Murray has joined Calrec in the role of business development manager, effective immediately. Murray now represents Calrec in the Middle East.

Graham Murray

In his new position, Murray’s goal is to further develop Calrec’s business in that region.

According to the company, Murray boasts more than 30 years of sales experience across the broadcast, studio and post-production industries in the U.K. and worldwide.

He previously worked for Calrec, managing sales efforts in the APAC region and subsequently worked for Studer with a focus on the Middle East and Africa.

Prior to this, he held sales and engineer roles in the post-production industry for console/DAW manufacturers AMS Neve and Fairlight. Murray also set up and ran his own business distributing and supporting brands in post-production. More recently he established himself as a business development consultant for high-end audio manufacturers.

“Graham’s wealth of technical experience starting out as an engineer at AMS in the 80s, coupled with his extensive experience in the broadcast audio industry make him the ideal fit for this job,” said said Dave Letson, Calrec VP of sales.

“The industry is ever changing, and Graham’s level of technical knowledge and experience will truly strengthen Calrec’s efforts. His knowledge of the region also makes him an incredible asset to Calrec,” he said.

The post Graham Murray Joins Calrec appeared first on Radio World.