Industry News

The author is CEO of Benztown.

Andreas Sannemann

Every great audio brand tells a story, and makes listening to a radio station an experience far beyond just accessing a format. In this age of countless choices in entertainment and audio jukeboxes in the form of digital and on-demand music services, radio imaging is more critical than ever to creating an experience and world that listeners want to spend as much time with as possible.

Audio branding and imaging reinforce a station’s story with detail, nuance and frequency, identifying and differentiating the brand from its competitors in a strategic and engaging way. Imaging is the character or vibe of a radio station that everything else is built upon, the nucleus of the brand that communicates brand personality with the audience more often than when the mic’s open.

That said, audio branding, radio imaging and sound design are highly abstract, artistic and subjective areas. So how do we evaluate such a complex, intangible medium? What is the difference between a good audio brand and a great audio brand? Would it help if we could see sound?

VISUALIZATION

“Seeing Sound” is a blueprint for Benztown’s creative team. It is a five-step process developed over the years to deconstruct, understand and create world-class audio brands and to transform good audio brands into great audio brands.

This process is characterized by the visualization of sounds, and allows imaging directors to visualize their brand and define it for their program directors, general managers, and production team.

It is not a one-size-fits-all recipe for sound design. Every station has a unique market, format, positioning against web competition and other differentiating factors that need to be evaluated individually and as a whole. But it all starts here and helps drive the tremendous success we have building great audio brands that listeners love with our station clients and partners.

Step #1: Know who you are, what you do and for whom you are doing it.

Define the core values of your program and brand characteristics by developing an on-air positioning statement. Are you optimistic or informative? Is your goal to be an opinion leader or a friendly neighbor? Great audio brands are useful to the listener, as well as being entertaining and fun. Audio branding has your station’s values at heart, and those values drive every audio expression of the brand.

Once you know who you are as a brand, develop a core listener profile by identifying who is currently listening and whom you wish to reach. That is where reliable research comes into play and informs the process and your brand strategy.

You also need to know the competition and market dynamics. Be as specific and detailed as possible in your descriptions to draw a clear visual picture of your brand and the listener landscape. The clearer you are, the better your brand will be. This step is essential to creating an audio brand that hits the mark and resonates with listeners.

Step #2: Translate these values into sounds.

Use sounds to effectively tell your brand’s story, creating a visual image in the listener’s mind. This is where the art of sound design comes in. It is key to not only understand the music, but the demo and lifestyle of listeners; to speak to them directly through jingles, custom imaging and promos that tell the story through effective and original use of sound; and build upon that story, week after week.

Step #3: Compile all these values into a world-class audio brand identity and an outstanding sound logo.

Deconstruct and define how your sound will be produced in relation to genre, instrumentation, mood, rhythm and tempo (it never hurts to do research to guide your decisions). These choices should be reflected in all station-related audio, including jingles and voiceover artists.

Step #4: Identify your station’s touch points with listeners through audio branding. Every interaction is an opportunity to make an emotional connection with your listeners and create affinity for your brand.

Hitz Malaysia has 20 interactions with the listener in an average hour on air — 20 distinct opportunities to connect and reinforce the brand.

For example, our client Hitz Malaysia has 20 interactions with the listener in an average hour on air (see graphic). Those 20 interactions are 20 distinct opportunities to connect, cut through the noise, get the message delivered successfully and reinforce the brand.

Don’t forget to consider all the non-linear touch points your audio branding has with your audience, including online, on demand, and at events.

Step #5: Create a world-class audio brand!

Strategize your audio branding and imaging by defining its boundaries and style. Create a vision that fits all the core values you have identified through research.

Strategize your audio branding and imaging by defining its boundaries and style, and creating a vision that fits all the core values you have identified through research. The more thought you put into it, the more successful you will be in creating a great audio brand that listeners love, remember and choose to spend time with.

Benztown is a radio imaging, production library, programming, jingles and voiceover services company. See benztown.com.

The post Seeing Sounds — How to Create a World-Class Audio Brand in Five Steps appeared first on Radio World.

TORONTO, Ontario — Some of the world’s best podcast creators and thousands of their avid fans will be in Toronto Nov. 6–11 for the 4th annual Hot Docs Podcast Festival.

The recurring event, which is being held at the Hot Docs Ted Rogers Cinema (named for the late Canadian media mogul Ted Rogers; son of Edward Rogers, who invented the “batteryless” AC-powered AM radio), demonstrates how popular the podcast has become in its short lifetime.

“This year’s festival features live events in which the world’s best podcasts perform live episodes for Toronto’s passionate community of podcast-lovers and a three-day industry conference (the Creators Forum) in which accomplished podcast professionals from across Canada and around the world come together for industry panels and networking events,” said Will Di Novi, the Hot Docs Podcast Festival’s lead programmer.

“Podcasting is, simply put, the hottest medium in nonfiction storytelling right now, with rapidly growing audiences, thrilling new creative developments under way, and huge potential from a business development standpoint.”

The Hot Docs Podcast Festival is structured to meet the needs of podcast creators (“the industry”) and the fans who adore this new medium (“the public”).

“On the industry side, we are offering exciting opportunities to hear the insights of some of the most important experts and decision makers in the international podcast industry — and to do so in an intimate setting where there are real opportunities to meaningfully engage with them and their expertise,” said Di Novi.

“At this year’s Creators Forum, we’re thrilled to be featuring panels, fireside chats and interactive workshops with brilliant folks like Mia Lobel, executive producer at Pushkin Industries (Malcolm Gladwell’s podcast studio); Sarah van Mosel, chief revenue officer at Stitcher; Leslie Merklinger, senior director of audio innovation at CBC; Mimi O’Donnell, executive producer of scripted content at Gimlet Media; David Stern, director of product development at Slate; Kenzi Wilbur, head of original programming at Luminary; and Steve Pratt, co-founder of Pacific Content.”

The public will participate in the Hot Docs Podcast festival by sitting in on a range of live podcast productions.

“We are offering the opportunity to see and hear some of the world’s most exciting audio storytellers live and in the flesh, such as Jon Ronson, Wesley Morris and Jenna Wortham (from the New York Times’ Still Processing), former Daily Show correspondent Mo Rocca (presenting his Mobituaries podcast) and Canadian broadcasting legends like Ian Hanomansingh (Uncover), Jesse Brown (Canadaland) and Anna Maria Tremonti (presenting the exclusive world premiere of her new podcast More with Anna Maria Tremonti),” Di Novi told RWI.

The festival expects about 7,000 members of the public to attend this year’s event, plus hundreds of podcast creators and related personnel from around the world. It occurs at a time when podcasting has come into its own; fed by the public’s appetite for long-form nonfiction audio programs such as “Serial,” The New York Times’ “Caliphate” and Canada’s “Missing and Murdered.”

[Read: MXL Releases Podcasting Bundle]

Such podcasts “do for the audio space what the bingeable masterpieces at studios like HBO, Netflix and Showtime have been doing for prestige television,” said Di Novi.

The paradox is while “we’re seeing all this huge growth at the high-end, macro-level, emerging and mid-career podcasters — especially those who work as freelancers or for independent outfits — are still struggling to make a living in the industry and struggling to monetize their independently produced passion projects.”

 

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FEMA has approved the release of the new Federal Bridge certificate bundle designed for Digital Alert Systems DASDEC and OneNet CAP EAS devices to receive IPAWS messages. A deadline of Nov. 8 to install the certificate has also been announced.

[Read: Broadcasters Need to Keep Eye on Latest EAS Updates]

This was revealed through an email from Digital Alert Systems’ Edward Czarnecki, the company’s senior director of strategy & government affairs, to Society of Broadcast Engineers members.

The certificate is needed to ensure proper validation of CAP alert message from IPAWS. It is a free update and it works with software versions 2.6, 3.x and 4.x.

“We are aware that Nov. 8 leaves very little time — however, the final confirmation from FEMA to release the certs to EAS users was given a few hours ago,” said Czarnecki.

DAS has posted the certificate on its website, included with instructions and download links.

 

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Now is the chance to recognize individuals and organizations that have significantly contributed to the television and radio industries by nominating them for the 2020 NAB Technology Awards. The nomination window is open between now and Jan. 13, 2020.

These four annual awards consist of the Radio and Television Engineering Achievement Awards, recognizing individuals for their outstanding accomplishments in each industry; the Technology Innovation Award, which acknowledges an organization showing an advanced technology or exhibit at the 2020 NAB Show that has not yet been commercialized; and the Best Paper Award, honoring the author(s) of a paper published in the Proceedings of the 2020 Broadcasting Engineering and Information Technology Conference.

The awards are presented each year as part of the NAB Show in Las Vegas.

“It is an annual highlight to present these awards to deserving individuals and organizations in celebration of our industry’s technical and engineering achievements,” said Sam Matheny, NAB’s executive vice president and chief technology officer. “I look forward to again recognizing the success that foster progress in broadcast technology and broadcaster innovation at the 2020 NAB Show.”

Nominations are due by Jan. 13, 2020. Nomination forms and award rules are available at www.nab.org/events/awards.asp.

The 2020 NAB Show will take place from April 18–22, 2020, in, as always, Las Vegas.

 

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The Media Bureau at the Federal Communications Commission is asking two licensees to clarify why they haven’t paid years’ worth of regulatory fees — in one case, for more than a decade — and warned the owners that the next possible step could be loss of the stations’ licenses.

In both situations, the backgrounds are similar. Cox Broadcast Group and La Favorita Inc. are being questioned by the FCC over allegedly unpaid regulatory fees. For Cox station WCGA(AM) in Woodbine, Ga., the FCC said that the licensee allegedly failed to pay regulatory fees for fiscal year 2010, 2103, 2016, 2017 and 2018 resulting in unpaid regulatory fees totaling $11,531.21. Despite the fact that demand letters have been sent to Cox, no payments have yet been made, the Media Bureau said.

[Read: Virginia FM Handed $15,000 Forfeiture for Alleged Filing Violations]

A similar situation has occurred with three AM stations in Georgia licensed by La Favorita Inc. The Media Bureau said the licensee has unpaid regulatory fees stretching back more than a decade — from 2007 through 2018 — for stations WAOS(AM) in Austell, WLBA(AM) in Gainesville and WXEM(AM) in Buford. The amount of unpaid fees totals $79,457.69 for those years. The bureau said that demand letters have been sent to La Favorita but to date have not been paid.

In both cases, additional charges will continue to accrue on these debts until they are paid in full, the bureau said, which includes a penalty equal to 25% of the amount of the original fee.

The commission also has the authority to revoke a station’s license for failing to pay regulatory fees and penalties. As a result, the commission has asked Cox and La Favorita to file documented evidence within 60 days to show that that it has paid or to show cause why payment should be waived. The FCC warned that failing to provide such evidence within the next two months may result in revocation of the stations’ licenses.

 

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The Federal Communications Commission said it may be time to tackle the issue of duplicative programming in commonly owned radio stations.

FCC Chairman Ajit Pai said in a blog post this week that the commission will seek comment on modifying or eliminating a rule that limits the amount of duplicative programming that can be aired by commonly owned radio stations in a market.

This rule was originally adopted in 1992; since then the number of radio stations has continued to grow. In his blog post recapping the issues set for the November FCC meeting, Pai said that number of AM and commercial FM stations has increased to 19,500 (up from 11,600 in the 1990s) while the number of noncommercial FM stations has more than doubled and more than 2,000 low-power FM stations have been launched.

[Read: Groups Call on FCC to Waive First-Term Fees for Incubating AM/FM Stations]

And as the number of stations proliferate — and those stations continue to offer content over the air, on websites and through mobile apps — the commission is seeking comment on how to ensure competition and program diversity, which were the objectives of the radio duplication rule when it was set. As a result, the commission will seek formal comment on whether the rule is still necessary and whether it should be modified or eliminated.

Comments on that notice, known as Media Bureau Docket Number 19-310, can be found in the FCC’s ECFS database under the formal title of “Amendment of Section 73.3556 of the Commission’s Rules Regarding Duplication of Programming on Commonly Owned Radio Stations.”

The November commission meeting is set for 10:30 a.m. Eastern on Nov. 19.

 

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Graham Lay has joined the GatesAir team as its new regional sales manager representing the Middle East and Africa. One of his key responsibilities is to build GatesAir’s market share and brand visibility in those regions.

Graham Lay

Lay has more than a decades’ worth of experience in sales and account management for broadcast and communications. He previously worked for electrical cable distribution company IEWC, moving to Dubai in 2015 to serve as the business unit leader, MEA for Argosy Cable, an IEWC company.

“I look forward to working with the greater EMEA team to strengthen our brand in the Middle East and eastern Africa,” Lay said. “We see enormous opportunity to help broadcasters refresh FM radio infrastructure, and drive large, national digital TV and DAB radio transitions that generate new revenue and service opportunities for customers.”

Lay is based in Dubai and reports to Andy McClelland, managing director, EMEA.

 

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Equipment dealer Progressive Concepts has announced an agreement with RVR Electronica of Italy to become an authorized dealer and service center.

Progressive will be handling RVR’s current stereo FM transmitter line: TEX30, TEX100, TEX150, TEX300, TEX502, TEX702 and TEX1002. These range from 30 W to 1 kW in power and can be controlled remotely via the web.

All of the TEX models feature a stereo encoder with left and right analog audio inputs, mono inputs, and MPX composite signal and auxiliary inputs for SCA/RDS signals. They utilize a Power Factor Correction power supply.

They are also FCC- and Industry Canada-approved.

 

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The following comments were about the column “Are You Doing Your Part” in the June 12 issue of RW Engineering Extra.

TALKING TO THE WRONG PEOPLE?

Hi Cris, I was fortunate enough to have worked with the late Tom Osenkowsky in the early 1990s. While I was holding down afternoon drive, he appointed me “assistant chief operator” of WLAD Danbury, Conn. — more an honorary position than a functional one, but it meant I could field tech issues and check logs when he wasn’t around.

My deeper interest in engineering didn’t happen until a couple of years later — 1994 — when Tom Walker (WNNK-FM Harrisburg) suggested I join the SBE. Along the way, I got my CBT and CEA certifications and I did my best to wrangle my way into working with any engineer I could who was in charge of an AM directional system. I wanted very much to learn how those things worked.

Well, I must have been speaking to all the wrong people. Nobody anywhere wanted to share their secret knowledge with me. Between stations along the southern tier of Maryland and much of Northern Virginia, I couldn’t get my nose into the tent. One told me his skill was all that was keeping him employed and didn’t want to risk losing out to someone (slightly) younger and no doubt less expensive to hire. Another told me I was just a dumb disc jockey who had no business getting into engineering. Whatever I learned about directional RF came on my own from being a ham, and even then that’s limited to two sticks and a little algebra at best.

I sympathize with the industry and the shortage of qualified folks. I also sympathize with those before me who needed to make it to retirement with a paycheck. I’m now a few years out from hanging up the headphones myself, so a mentoring program would be wasted on me. I’ll eventually walk away from the biz pleased with other things I accomplished, but always a little unhappy about the selfishness I experienced, and flummoxed by the lack of foresight that caused AM to shoot itself in the foot in slow motion.

Alan Peterson, KJ4IVD
Arlington, Va.

 

NICELY PUT

Just read your “Radio World” article. “A few funerals away.” What a capsualization! What a brisk way to report the apparent future of broadcast engineering.

I hold SBE certification, but broadcast engineering is at arms’ length.

Thanks for that crisp designation.

Ludwell Sibley
Medford, Ore.

 

PASS IT ON

Excellent commentary, Cris! Much like my advice at the NAB Engineering Achievement Award event two years ago, and Gary Cavell’s this year — to pass knowledge on to younger generations. Unfortunately, it’s easy for us to forget the need as we get involved in our day-to-day work.

In my career, there were a few “senior” engineers (a generation older than me, at the time!) who gave me some lifelong lessons in technology and engineering philosophy. Their contribution to me and others were extraordinary. However, I wish their experience could have extended to many others. I believe we should develop more opportunities to teach and discuss in sessions with others, so that the knowledge is passed on.

It is difficult for national conferences to be a venue for education — sessions seem to be increasingly shorter and lighter in detail. But educational venues could be developed elsewhere. Maybe at SBE meetings and conferences? Personally, I’d welcome the chance to teach, and I wonder how others feel about this.

Thanks for bringing up the transfer of knowledge and wisdom. It is indeed an important issue for our industry!

John Kean
Falls Church, Va.

 

ROCKY MOUNTAIN TRAINING

Great article, Cris. The Colorado Broadcasters Association has hosted three “Introduction to Broadcast Engineering” classes in the last two years. These are modeled after Alabama’s program and taught by their staff engineer, Larry Wilkins. The courses are free to everyone, not just members, and we invite anyone with an interest in broadcast to attend. On average, the course has attracted as many as 22 individuals who attend all three days of the course.

I hope you’ll send some “potentials” our way the next time we host this (currently looking at October 2019) and I would really appreciate any outreach you could provide to get more people to attend the classes.

Thanks again for this article. The call to action is desperately needed!

Justin Sasso
President & CEO
Colorado Broadcasters Association
Englewood, Colo.

 

Do you have a story to share? Write to radioworld@futurenet.com. Please reference “Are You Doing Your Part” in the subject line.

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Is there an afterlife for “Franken FMs?”

WRME(LP) in Chicago broadcasts the MeTVFM format as a music companion to the MeTV network, which airs classic television programming. The LPTV station is owned by Venture Technologies Group and operated via an LMA with Weigel Broadcasting. It has received press attention for its success in attracting listeners.

VHF low-power analog television stations that present themselves as radio stations — airing audio on TV Channel 6 spectrum just below the U.S. FM band — face an approaching sunset date for LPTV analog service that could spell their doom.

Advocates argue that many FM6 stations provide important audio services to supplement their video signals and that “millions” of Americans tune to 87.7 FM to listen to programming not available anywhere else, particularly in ethnic and minority communities that are underserved. The very term Franken FM, they add, is a pejorative one coined by radio stations that fear additional legitimate competition.

But once LPTVs transition to digital in 2021, listeners will no longer be able to receive audio from Channel 6 stations on 87.7 MHz.

Their advocates say the industry has developed a technical solution to protect these services but that the FCC has left their future in doubt.

OPPORTUNISTIC

The audio carrier for TV Channel 6 can be heard on many car and tabletop FM receivers. Opportunistic low-power licensees use their TV transmitters to air separate audio and video content, according to those familiar with the practice. FM6 stations are programmed as radio stations, though they are still required to transmit a TV signal, sometimes merely travelogues or nature scenes, in other cases more useful information like visual traffic and weather. The TV signal is analog, “so no one is watching them,” according to one observer.

The stations can operate this way thanks to a loophole opened when the FCC created the LPTV rules, as Radio World has reported. FM6 stations operate in a number of major cities; there are approximately 30 presenting themselves as FM stations in the United States. They were nicknamed Franken FMs by broadcast engineers who were aware of the practice early and considered the signals to be, like Frankenstein’s monster, an unnatural mashup.

As controversial as the practice might appear, legal analysts say the LPTV licensees are working within FCC regulations, though critics feel the practice was not what the FCC had planned when crafting LPTV rules.

Until the 2009 digital transition, full-power TV stations could be heard on that part of the dial; but most audio signals at 87.7 FM have since disappeared.

FM6 operators want to continue to provide analog carriers in order to reach FM radios after the LPTV analog sunset date. That sunset has been extended several times, giving FM6s a longer life than expected. However, the FCC is not believed to be considering another extension.

“NO TECHNICAL BARRIER”

According to the LPTV Spectrum Rights Coalition, operators are continuing to work on technical solutions to provide maximum performance without causing impermissible interference.

“There is no technical barrier to allowing TV Channel 6 FM operators to continue after the July 13, 2021, LPTV analog sunset date,” said Mike Gravino, director of the Washington-based group.

“Remember, it is all about highest and best use of spectrum; and 87.7 FM is available in all markets, can be heard by most car radios and should be used as much as possible.”

The Preserve Community Programming Coalition (PCPC), a group of FM6 broadcasters, has asked the FCC to permit LPTV and TV translator stations on analog Channel 6 to supplement their future digital LPTV operations with a small analog audio carrier.

“This will allow listeners to continue receiving analog audio programming on 87.7 FM without disrupting the ATSC-compatible digital transmission using the majority of the 6 MHz channel,” said Ari Meltzer, a communications attorney with Wiley Rein LLP, representing PCPC and spearheading talks with the FCC.

A slide from a presentation to FCC officials given by FM6 broadcasters. They urged the commission to preserve the capability of LPTV stations operating on Channel 6 to continue broadcasting an aural signal that can be received on 87.7 MHz following the LPTV digital transition.

The goal of the group is not to extend the analog deadline, Meltzer said, but to allow existing Channel 6 FM broadcasters to continue delivering valuable and diverse audio programming that can be received on 87.7 FM following the digital transition.

PCPC estimates that approximately 50 LPTV and TV translator stations are authorized to broadcast an analog signal on Channel 6, more than half of which provide a separate audio stream for reception on 87.7 FM.

The group says analog Channel 6 LPTV radio stations on the air include KRPE(LP) in San Diego, WNYZ(LP) in New York City, WRME(LP) in Chicago and KZFW(LP) in Dallas.

It says that WRME in Chicago has outperformed several traditional AM and FM stations in several ratings categories; that Guadalupe Radio in southern California is an important Christian voice; that WDCN is the second largest Hispanic radio station in the D.C./Maryland/Virginia area; and that KXDP is the only station in Denver that broadcasts live news, traffic and weather reports in Spanish.

Audio from an analog carrier on 87.7 FM and Channel 6 DTV can coexist on the same channel, according to the PCPC presentation to the commission. “An 87.7 MHz audio signal can coexist on the same 6 MHz channel as a digital Channel 6 LPTV station without harming TV or FM reception.”

The group’s ex parte filing stated that “a television station typically utilizes 5.38 MHz of its 6 MHz channel to broadcast a digital signal. The unused 0.62 MHz can be used to transmit a supplementary audio signal.”

 

A chart from the group indicates that by “slightly narrowing the bandwidth used for the DTV broadcast on Channel 6, it is possible to insert an FM audio carrier at 87.76 MHz without degrading the DTV signal or derogating the ability of ATSC tuners to receive it.”

Meltzer said the PCPC is not proposing a shift in analog audio from 87.75 to 87.76 MHz. The exact placement of the audio carrier is less important than the fact that this is a proven concept consistent with the FCC’s rules, which do not require full compliance with the ATSC standard for digital LPTV stations, Meltzer said.

Advocates believe that by narrowing the bandwidth used for the DTV broadcast on Channel 6, it is possible to insert an FM audio carrier at 87.76 MHz without degrading the DTV signal.

“Procedurally, the FCC already has a full record on allowing digital LPTV stations operating on Channel 6 to add an analog audio carrier. The PCPC is merely asking the commission to clarify that the analog sunset rules do not prohibit the broadcast of a supplemental analog audio carrier when existing Channel 6 FM stations transition to digital,” Meltzer said.

According to the FCC, its records indicate there are no digital LPTV Channel 6 stations operating with an analog audio carrier at 87.75 MHz.

UNCERTAINTY

 

LPTV Channel 6 advocates say the commission’s “failure to address questions raised by its 2014 NPRM raises uncertainty about the future of these stations.”

In 2014, the Media Bureau released an NPRM seeking comment on whether digital LPTV stations should be allowed to operate analog FM radio type services on an ancillary or supplementary basis. At the time National Public Radio voiced opposition to the changes.

The FM6 advocates say there is no evidence that a Channel 6 TV station, operating within lawful parameters of its license, causes harmful interference to an FM radio station.

LPTV stations do not have codified rules to protect FM facilities in the reserved band (87.9-91.9 MHz), according to legal observers. And LPFMs are required to protect LPTV (and thus FM6) stations. In addition, FM translators must protect Channel 6 stations.

Since TV Channel 6 is adjacent to the noncommercial portion of the FM band, which runs from 88.1 to 91.9 MHz, there are interference concerns for some observers.

“If the FCC legitimizes Franken FMs, the TV6 radio operators need to follow the same rules applicable to radio, and protect adjacent NCE stations from incoming interference,” said Melodie Virtue, a communications attorney with Foster Garvey.

There currently are no interservice (TV-FM) protection requirements, Virtue said.

“LPTV, as secondary, needs to protect full-power NCEs. There should be protection in favor of the NCE full-power radio stations from FM6 audio stations if those are allowed to continue to exist after the LPTV digital transition deadline.”

PROTECTED CONTOURS

Data collected by REC Networks, an LPFM advocate, appears to support FM6 broadcasters’ argument that interference between FM6s and noncommercial broadcasters is not a concern.

REC told Radio World it has evaluated the service contours of all of the FM6 stations mentioned in PCPC’s ex parte comments. “We found that most of the service contours where those FM6 stations are, there is already a protected contour of a NCE FM station on 88.1 or 88.3 MHz,” said Michi Bradley, founder of REC Networks. “If there is any actual interference from a FM6 station to full-service broadcasters, existing NCE FM stations would already know about it.”

In a related matter, the FCC this year released a Notice of Proposed Rulemaking (MB docket 19-193) that could affect the LPTV FM6 stations. The NPRM, based on a petition from REC Networks, proposes to improve technical rules that primarily affect LPFM stations.

In it the FCC reaffirms the sunset date for LPTV analog transmissions. But the NPRM also states: “REC concludes (in its petition) that the LPFM rules significantly over-protect TV6 stations and could be reduced with little impact … REC supports but is not proposing a complete repeal of TV protection requirements.”

The FCC further proposes “to provide LPFM stations relief from television 6 protection rules and to eliminate TV6 protections entirely on July 13, 2021, and propose to institute a waiver process in the interim, i.e., as of the effective date of any new rule adopted in this proceeding and before July 13, 2021.”

Industry voices, like NAB, have long been guarded in comments about FM6 stations. NAB declined comment for this story.

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

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