Industry News

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.

The post Is There an Afterlife for “Franken FMs?” appeared first on Radio World.

The music platform VuHaus has migrated to NPR Music to give its station clients and the artists it supports a much bigger distribution point.

The nonprofit platform was officially launched in 2015 by Public Media Co. (with a grant from the Corporation for Public Broadcasting) to create a coalition of public radio member stations from across the country to showcase professionally shot in-studio live sessions that highlighted local artists, introduced new music, and promoted up and coming artists.

[Read: VuHaus: All About Music Discovery]

According to an announcement by Paragon Media Strategies, a consulting firm that continues to work with NPR News and others, the video performances, interviews and live streams from VuHaus stations will continue as Live Sessions at NPR Music.

The news comes at a time when both public radio and television revenue have grown in recent years, according to a report by market consultant Public Media Co. For the first time in 2018, the report said, radio’s higher growth rate has led to public radio revenue overtaking public TV’s revenue.

While the consumer-facing name of VuHaus will dissolve with the integration, the name will remain as part of the organization’s B2B station network and operating group. VuHaus will also continue to handle curation, manage station involvement and grow sponsorship revenue for its stations.

The move had been in the works for more than a year, according to Mike Henry, founder of Paragon, in a statement on its website.

According to a statement by Henry, when Paragon began conceiving the concept of a national video platform for public radio music stations, the goals were simple: For public radio stations to retain the expensive video production investments they had made over the years. “Their internal investments had created phenomenal original video content in support of emerging, national and local artists, but there were very few eyeballs and even fewer dollars to cover production expenses,” Henry said in a statement. “After hearing the same concerns from multiple stations, the idea was hatched to aggregate all their video content onto one consumer-facing platform.”

Three years ago when Houston Public Media became an affiliate for the music discovery video platform, the broadcaster’s comments were similar to the assessment of many — the new platform was a means of both supporting its local artists, giving them greater exposure and also introducing audiences to new emerging artists across the country. In the years since its founding, VuHaus has grown to 20 public radio and TV stations.

The VuHaus platform can be viewed at the NPR Music platform.

 

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The Texas broadcaster who pushed the FCC to allow voluntary all-digital transmission on the AM band in the United States is pleased that the commission plans to consider the idea.

“I think this is a uniquely positive step in AM revitalization,” said Ben Downs, reacting to news that the FCC will consider a proposal at its next meeting to take public comments and explore the implications. Downs is VP/GM of Bryan Broadcasting in Texas; he petitioned the FCC in March to initiate a proceeding to authorize the MA3 all-digital mode of HD Radio.

[Read: All-Digital on the AM Band? The FCC Might Allow It Soon]

“We’ve talked for years about the rise in the noise on the AM band and how the quality of receivers has declined. But this is the first time we’ve had a chance to directly resolve both of these issues,” Downs told Radio World in an email. “With the approval of AM all-digital, we have a technology that cleans up all the noise and hash we’ve been complaining about and sends an FM quality signal out of the speakers.”

Going all-digital would mean a station could not be heard on existing analog-only AM receivers. Downs said he recognizes that all-digital would not be the right choice for every station. “We asked for a voluntary standard because of that.”

But he said there are two circumstances where it makes a lot of sense.

One, he said, is an AM station competing with music that has an FM translator for “backup.”

“In that case, the station would be able to compete with high-quality audio while the translator covered listeners who only have analog radios.”

The other, he said, is a major-market station that wants to compete with music but hasn’t been able to break through the low-fidelity reality of AM radio receivers.

“Plus it would be nice to see title, artist and album on the AM dial just like our FM friends,” Downs said.

“There are enough HD Radios being driven around now that it makes sense for operators to think about this step. Every HD radio that’s been sold has the ability to receive AM all-digital. So do you take your chance with the 25% of cars with HD Radio or the shrinking percentage of people who listen to music on AM? It’s a market-based decision.”

Downs said he does not consider an all-digital option as the only answer to AM problems, but a piece of the solution. “And it directly impacts the problem we face on the AM band. I’m glad the FCC realized that AM radio just wants a level playing field. This coming vote allowing all-digital AM is a chance to give AM operators a tool to compete.”

Chairman Ajit Pai described the proposal in a blog post Monday: “Just as the FCC is trying to keep pace with changes in the market, so are AM radio operators, and the commission wants to give them as much flexibility as possible to compete in the digital age,” Pai wrote.

“AM radio stations are currently authorized to operate with either analog signals or hybrid signals, which combine analog and digital signals. In three weeks, we will consider a proposal to allow AM licensees to broadcast using an all-digital signal on a voluntary basis. It would seek comment on topics ranging from the predicted benefits of all-digital AM broadcasting to the interference potential of all-digital stations, as well as addressing the technical standards for all-digital AM stations. And because all-digital broadcasting would be on a voluntary basis, AM operators would be the ones deciding if transitioning is right for them.”

[Read Radio World’s recent ebook “What’s Ahead for All-Digital AM?”]

“I think this is a uniquely positive step in AM revitalization,” Downs told Radio World on Tuesday. “We’ve talked for years about the rise in the noise on the AM band and how the quality of receivers has declined. But this is the first time we’ve had a chance to directly resolve both of these issues. With the approval of AM all-digital we have a technology that cleans up all the noise and hash we’ve been complaining about and sends an FM quality signal out of the speakers.”

 

The post Downs Hails FCC Announcement on All-Digital AM appeared first on Radio World.

AM radio station operators in the United States may soon have the option of switching their transmissions to all-digital.

It’s not a done deal; but the concept is about to take a step closer to reality, because the Federal Communications Commission will consider a proposal at its next meeting that would start a process. It will take comments on whether to allow AM band licensees to make the switch if they want.

Ben Downs, VP/GM of Bryan Broadcasting in Texas, petitioned the FCC in March to initiate a proceeding to authorize the all-digital mode of HD Radio.

[Read a commentary from Ben Downs about why he asked the FCC to take this step.]

Allowing stations to use all-digital transmission is an idea that some broadcasters feel could give business-challenged AM stations in the United States new life or at least another option. Turning off their analog signals would mean that most existing receivers could no longer pick up that signal; but many AM broadcasters are currently heard on FM translator simulcasts now. And adding the all-digital AM option could open up new possibilities for them as the number of digital receivers in the marketplace continues to grow.

One station, WWFD in Frederick, Md., owned by Hubbard, is operating in all-digital AM under special temporary authority, as RW has reported.

Chairman Ajit Pai described the proposal in a blog post Monday: “Just as the FCC is trying to keep pace with changes in the market, so are AM radio operators, and the commission wants to give them as much flexibility as possible to compete in the digital age,” Pai wrote.

“AM radio stations are currently authorized to operate with either analog signals or hybrid signals, which combine analog and digital signals. In three weeks, we will consider a proposal to allow AM licensees to broadcast using an all-digital signal on a voluntary basis. It would seek comment on topics ranging from the predicted benefits of all-digital AM broadcasting to the interference potential of all-digital stations, as well as addressing the technical standards for all-digital AM stations. And because all-digital broadcasting would be on a voluntary basis, AM operators would be the ones deciding if transitioning is right for them.”

[Read Radio World’s recent ebook “What’s Ahead for All-Digital AM?”]

“I think this is a uniquely positive step in AM revitalization,” Downs told Radio World on Tuesday. “We’ve talked for years about the rise in the noise on the AM band and how the quality of receivers has declined. But this is the first time we’ve had a chance to directly resolve both of these issues. With the approval of AM all-digital we have a technology that cleans up all the noise and hash we’ve been complaining about and sends an FM quality signal out of the speakers.”

 

The post All-Digital on the AM Band? The FCC Might Allow It Soon appeared first on Radio World.

If you weren’t able to attend September’s IBC Show in Amsterdam or you just weren’t able to catch up on everything that was on the show floor, you can now catch up with a detailed look at some of the best products via the IBC 2019 Best of Show Award Digital Edition.

This new digital edition offers all of the Best of Show award-winning and nominated products from TVBEurope, Radio World and ProSoundNews Europe. All of the products included were praised for their innovations and how they can help drive the industry forward.

To access the IBC 2019 Best of Show Award Digital Edition, click here.

 

The post IBC2019 Best Of Show Award Digital Edition Now Available appeared first on Radio World.

MILAN — The Radioplayer Italia app will be available in Italy in early 2020.

Last July, many Italian radio broadcasters teamed together to foster their digital presence through any available device. They launched Player Editori Radio (PER) with the goal of giving their listeners a direct, immediate access to partnering stations’ live streaming content, as well as to podcast, extra content and native videos through a single app.

On Oct. 21, PER signed an agreement with Radioplayer, the international industry-backed radio platform, to launch Radioplayer Italia for the benefit of 44 million Italian radio listeners.

HYBRID FOLLOWING

Present members of PER include Italian public service broadcaster Rai, Radio Mediaset, Gedi, Sole 24 Ore, RTL 102.5, RDS, Radio Italia, Radio Kiss Kiss, Radiofreccia, and organizations Aeranti-Corallo and Federazione Radio Televisioni, which include most local broadcasters.

Player Editori Radio comprises public, commercial and local broadcasters in Italy.

Radioplayer is a non-profit radio aggregation model. There are shared technical standards for the browser, the radio-discovery apps and the back-end systems that power them, but broadcasters retain full control over their own branding, streaming, and commercial deals. In addition, each system is specific to the country in which it is available.

The Italian stations will also join the international Radioplayer data feed that powers the hybrid radio interfaces in many Audi, VW and Porsche cars. These smart devices can switch automatically between DAB, FM, and streaming, to keep listeners locked into their favorite radio stations.

As well as enabling “hybrid” switching between broadcast and streaming as reception varies, the new data feed can power next generation features such as personalized radio recommendations, search results and catch-up content.

“We welcome this new partnership,” said Michael Hill, managing director at Radioplayer. “Italy is a major car manufacturing center, and one of the top automotive markets in Europe. We are determined to keep radio strong in the car, and we’ll do it by working closely with broadcasters and car companies.”

PER and Radioplayer representatives celebrate the launch of Radioplayer Italia. (L to R) Massimiliano Montefusco, RDS; Mario Volo, United Music; Michele Gulinucci, Rai; Lorenzo Suraci, RTL 102.5; Laurence Harrison and Lawrence Galkoff, Radioplayer Worldwide; Paolo Salvaderi, Mediaset Radio; and Eugenio Lateana, RTL 102.5.

With the Radioplayer Italia app “we target all digital platforms,” added Michele Gulinucci, PER director. “One key fact is that each content comes directly from the broadcaster, with no additional advertising. Radio evolves by being itself.”

RELATION ENABLER

According to Eugenio Lateana, PER board member and R&D director for RTL 102.5, broadcasters have typically approached Telco companies, web giants and the automotive industry as individual players. Those large-footprint companies are used to dealing with global representative bodies, while they are less used to working with a multitude of individual players.

“The Radioplayer platform has now reached the critical mass required to sit at the same table with those global-business entities,” said Lateana. “More than a mere aggregator, Radioplayer is a relation-enabler between radio broadcasters and the automotive industry, as well as smart speaker manufacturers and other global players.”

Given the availability of the Radioplayer app on a car multimedia system, all partner stations will immediately be available in the dash, as well as podcasts and time-shifts.

Radioplayer APIs will also upload the most recent version of station logos and brands to the radio receiver. Within this workflow, Radioplayer essentially acts as a database populated by radio stations themselves, with no third-party interference. It also provides metadata directly from each station to receivers.

“No single broadcaster nor any national radio industry could realistically achieve that,” Lateana concluded.

 

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Sens. Brian Schatz (D-Hawaii) and John Thune (R-S.D.) have reintroduced the Reliable Emergency Alert Distribution Improvement (READI) Act, which is meant to improve the emergency alert system and prevent its accidental triggering.

Among other things, the bill would allow broadcasters to repeat presidential and FEMA alerts, something they can’t do now.

The bill was introduced last year — and passed the Senate — in the wake of an inadvertent missile alert triggered in Hawaii during which some people did not receive the alert. “Even though it was a false alarm, the missile alert exposed real flaws in the way people receive emergency alerts,” said Schatz, Oct. 24, ranking member of the Communications Subcommittee.

FCC Investigating Missile False Alarm

Local officials in Hawaii inadvertently issued an incoming nuclear missile alert, leading to some panic and an FCC investigation into the incident.

“South Dakotans understand how drastically the weather can change on a dime,” said Thune, chairman of the subcommittee. “For that reason, among many others, this legislation would make necessary improvements to help keep South Dakotans and communities around the country safe in times of emergency.”

The bill would:

1. “Ensure more people receive emergency alerts by eliminating the option to opt out of receiving certain federal alerts, including missile alerts, on mobile phones;”
2. “Require active alerts issued by the president or FEMA to be repeated. Currently, alerts on TV or radio may only be played once;”
3. “Explore establishing a system to offer emergency alerts to audio and video online streaming services, such as Netflix and Spotify;”
4. “Encourage State Emergency Communications Committees to periodically review and update their state Emergency Alert System plans, which are often out of date;”
5. “Compel FEMA to create best practices for state, tribal and local governments to use for issuing alerts, avoiding false alerts, and retracting false alerts if they occur, as well as for alert origination training and plans for officials to contact each other and federal officials during emergencies;” and
6. “Establish a reporting system for false alerts so the FCC can track when they occur and examine their causes.”

A House version has also been introduced by Reps. Jerry McNerney (D-Calif.), Tulsi Gabbard (D-Hawaii), Pete Olson (R-Texas) and Gus Bilirakis (R-Fla.).

“We applaud the leadership of Sens. Schatz and Thune and Reps. McNerney, Bilirakis, Gabbard and Olson for introduction of the READI Act of 2019 which develops guidance and best practices for how state and local governments can improve emergency alerts, particularly to address the issuance of false alerts,” said NCTA — The Internet & Television Association. “As participants in the nation’s emergency alert system, cable operators appreciate Congress’ efforts to improve coordination between federal and local authorities to ensure consumers receive accurate and relevant emergency and public safety information in their local communities.”

 

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Value engineering. What does that mean? As broadcast engineers, we typically don’t build devices, but we do build systems, often made up of equipment from multiple, disparate manufacturers. We start off by determining the goal of the project — just what is the system supposed to accomplish? We then begin drilling down to key elements of the system, their roles and how they interact with other parts of said system.

But always in the background, we’re forced to work within a framework of cost. It’s great to say, “If money were no object, this is what I would do …” but I have yet to work on a project for a radio station in which money was not an object. I’m quite sure the same goes for you. We all have budgets that need to be satisfied.

When we purchase a piece of gear, there are several aspects of it that we must consider:

• Role in the system
• Functionality
• How well it integrates with other parts of the system
• Upfront cost
• Operating cost

And let’s face it, a big part of the purchasing decision is whether we like a brand or not, and that comes mainly from prior experience. Trying a new brand, or a new technology, is often something people don’t want to do because they have no experience with it and can’t form any idea of how it will affect them negatively. “Tried and true” is something most of us want to stick with.

Value engineering comes into play when what you want to accomplish doesn’t fit within budgetary requirements. It’s as simple as that.

Say, for example, you’re moving an entire radio station cluster to a brand-new facility, and when you look at the overall cost for the entire project, you find that it’s short on budget by, say, 10%. (That’s also of concern because you’ve no contingency money at the end.)

Another cause for value engineering would be when you want to get a certain item, but it doesn’t fit within your budget parameters, so you are left figuring out what else can be removed, or otherwise made less expensive, so that your desired “thing” then does fit.

HOW TO FIND THAT 10 (OR MORE) PERCENT

It should be obvious that the easiest way to find savings is by studying the largest budget line items first, since they’ll have the most impact mathematically. In a studio move, for example, that will likely be consoles, followed by furniture. In a transmitter site build, that will likely be the transmitter itself.

If you’ve found out that you are over budget after completing your initial design, likely there will be some anger and frustration to get over. You could be saying to yourself, “We just can’t do it for that much!” and it’s probably true. (Although it’s putting the cart before the horse, many times budgets get set before the system design is complete. It happens that way all the time.)

The order in which I would look for savings, from the least worst to the worst, is this:

• Can I reduce some of the studios to a less complex (and less expensive) console model?
• Can I reduce the size of the routing system? Do I really need that many inputs and outputs?
• Can I defer the building of several of the studios until a different budget period comes along?
• Can I re-use one or more of the “old” studios at the new place until a different budget period comes along?

No one wants to take this approach, but it’s one of the many aspects of managing a large capital project that you must be able to do in order to succeed. Hopefully, you’ll have your project fully budgeted before the station owners say, “Just how much is this going to cost?” so that you don’t find yourself in this position. Be forewarned, though: Just because you have all the numbers added up doesn’t mean that the station owners will agree to that amount.

There’s much more on the topic of value engineering, which we’ll discuss in future editions of Best Practices. And as always, we welcome your contribution on the topic.

Doug Irwin, CPBE AMD DRB, is vice president of engineering at iHeartMedia in Los Angeles and a technical advisor to Radio World.

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

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NXP Semiconductors in collaboration with the Digital Radio Mondiale consortium hosted the first annual NXP Cockpit & Infotainment Forum in New Delhi on Oct. 22.

Pictured from left to right are Ron Schiffelers, NXP; Ashok Chandak, NXP; Ruxandra Obreja, DRM; Alexander Zink, Fraunhofer IIS; SK Singhal, advisor TRAI; and Yogendra Pal, DRM India Platform.

The newly created one-day event featured presentations and demonstrations of the latest trends and solutions surrounding infotainment — from radio and audio to processing and connectivity. It also provided attendees with insight into the development of DRM and the inclusion of DRM receivers in many of the new models on the roads in India.

[Read: Air Highlights DRM Ahead of Cricket Matches]

DRM says participants also received updates on the All India Radio rollout as well as information on how NXP’s latest generation of software defined radio can facilitate DRM digital radio for infotainment system architectures.

The broadcasting and manufacturing industry as well as representatives from government bodies like the Indian regulator TRAI participated in the forum, sharing their information and experience. They, in turn, received information on the latest developments in the infotainment sector.

“The NXP-DRM car event in New Delhi was a great moment where our message was that DRM, whether in AM or FM, is just one standard with the same features and benefits,” said DRM Chairman Ruxandra Obreja. The demonstrqtions of DRM for FM showed how DRM can also enhance the performance of the many cars that an increasing number of Indians will own.”

 

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Times have changed since 1945, and the FCC wants to make sure that it is keeping up with those changes, seeking to update many of its media rules that may no longer be relevant. The latest such attempt comes with rules dealing with who has access to antenna sites.

The commission announced a Notice of Proposed Rulemaking on Oct. 25, seeking comment on whether current rules originally crafted in 1945 should be eliminated or revised. Specifically, the rules prohibit the grant, or renewal, of a license for a TV or FM station if the applicant or licensee controls an antenna site that is suitable for broadcasting in the area and does not make the site available for use by other similar licensees.

The FCC says that since the rules were introduced, there has been an increase in antenna sites suitable for broadcasting, a majority of which it says are owned by non-broadcast entities. Calling them “rarely invoked,” the FCC seeks comment on whether the rules are necessary in today’s environment to promote competition and a variety of broadcast sources.

All five commissioners approved of the NPRM.

“These rules date back to 1945,” said FCC Chairman Ajit Pai. “At the time, there was a freeze on broadcast station construction in order to conserve equipment and material needed for World War II. The commission was also concerned about developing the still-nascent FM radio and TV services at a time when broadcasters were still the predominant antenna site owners. But that was a long, long time ago; today there are abundant FM and TV stations, the tower site market is flourishing and commission staff has been unable to find a single instance where these rules were successfully invoked. What they have found are parties citing these rules without a factual basis for doing so, resulting in unnecessary delay of commission proceedings.”

“We must keep up the effort to free traditional, regulated industries from regulatory burdens where appropriate; otherwise, they will continue to fight with one, or both, of their proverbial hands tied behind their backs,” wrote commissioner Michael O’Rielly in his statement.

No deadline for comments has been given at this time.

 

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