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AlmaVision Radio in Miami is a “Franken FM” station, and hopes to remain one.

The nickname Franken FM refers to the two dozen or so licensed low-power TV stations on analog Channel 6 in the United States that target radio listeners with audio on 87.7 MHz, just below the standard FM dial. These unique operations will disappear once analog service is eliminated; the digital audio portion of TV6 stations will no longer be received by standard FM receivers, according to the FCC’s public notice.

(A decade or more ago, the term Franken FM — evocative of an unnatural stitching together — appeared on a technical listserv and was picked up by Radio World in our coverage. RW’s use of the term goes back at least to 2009. Some in the LPTV community consider the term pejorative. The FCC calls them “Analog Radio Services operated by Digital LPTV Stations as Ancillary or Supplementary Services.)

The commission has set a deadline of July 13, 2021, for all LPTVs to terminate their analog services. But it is also taking comments from around the industry about the Channel 6 audio service issue.

[Related: “Is There an Afterlife for ‘Franken FMs’?” Oct. 2019]

AlmaVision Hispanic Network, licensee of WEYS(LP), VHF TV 6, in Miami, Fla., operates AlmaVision Radio on 87.7 MHz. It told the FCC in filed comments that WEYS provides ethnic programming using the station’s 87.7 MHz signal to reach a potential 2.2 million Spanish-language audience within the station’s coverage area.

“AlmaVision Hispanic Network supports the grandfathering of analog 87.7 FM LPTV stations such as WEYS(LP) so that they may continue to provide their valuable and unique local programming. It is unquestionably in the public interest that the FCC permit these ongoing successful programming ventures to continue to serve their communities with their local programming,” according to the broadcaster.

The commission in December asked stakeholders and interested parties for fresh feedback on whether LPTV stations should be allowed to continue to operate this FM-type service. Specifically, it asked if digital LPTV stations should be allowed to operate analog radio services as ancillary or supplementary services.

The FCC acknowledges that some Channel 6 LPTV stations have operated with “very limited visual programming and an audio signal programmed as if it were a radio station.”

In addition to providing Spanish-language programming and music on 87.7 FM, the Miami broadcaster said in its comments it provides emergency alerts in Spanish and has considerable local support from sponsors of content and local events, as well as advertisers.

“The station is a vital religious, educational and civic component of the Spanish-speaking community in the Miami metro area,” according to AlmaVision Hispanic Network.

Juan Bruno Caamano, president of AlmaVision Hispanic Network, said AVHN supports expanding into a digital TV6 service with an analog carve out for its 87.7 FM signal. This would allow the broadcaster to greatly expand into multiple video streams in support of the Spanish-language community in the Miami market, and to keep its successful and well supported radio service.

“AVHN supports technical testing of a combination digital LPTV station and an 87.7 FM signal, to ensure that all current and potential future operations do not cause interference to other radio, LPFM and TV operations,” Caamano commented.

The commission first asked the question in 2014 of whether the Franken FM audio services should be allowed to continue past the analog LPTV deadline and what that audio service would look like. It sought to update the record in December. Reply comments in MB Docket No. 03-185 are due on or before Feb. 6.

 

The post Miami “Franken FM” Makes Its Case for Survival appeared first on Radio World.

iHeartMedia is doubling down on the newly legalized sports betting action. 

In 2019, the media company launched its first gambling-themed format: Philadephia’s “Fox Sports 1350 AM, The Gambler.” iHeart is now taking its churn to Ohio, where it’s launching the same brand in Cleveland on the same frequency. 

The station plans to air information from Vegas Stats and Information hourly, as well as “programming offering betting guides, handicapping and betting strategies,” according to the press release. In addition to BetR Network’s “My Guys in the Desert,” traditional Fox Sports Radio shows are in the lineup. A Cleveland-specific show, “The Lombardi Line,” anchors the Gambler to its new town, since the program is hosted by former Browns GM Mike Lombardi.

However, in a recent RW article about the emerging format, Barrett Sports Media President Jason Barrett said of the original Philly Gambler: “They’re going to need more than a catchy name, one afternoon show and one national sports betting show if they want to own that identity. The path they’re taking won’t likely produce big ratings, but it should serve them well from a revenue standpoint,” 

Apparently iHeartMedia’s programmers either disagree with Barrett or aren’t shooting for ratings success in Cleveland. The second Gambler’s mode appears identical to the original’s: take a sports talk format and add some additional competitive flair. 

[Radio Gambles on Sports Betting]

iHeart handicappers must have a hot tip that the Buckeye State will soon approve the gambling bill currently at work in the state legislature. 

In the announcement, iHeartMedia North Ohio Region President Keith Hotchkiss said, “The Gambler is the future of sports radio. We are thrilled to bring this hot new format to the market, helping Clevelanders navigate the ever-growing world of sports wagering.”

Ohio Gov. Mike DeWine signalled his desire to approve sports betting in late 2019, but the legislature is still debating which agencies would have oversight and other regulatory details.

The Supreme Court legalized sports betting in 2018, and many states have taken steps to regulate and mainstream the practice. According to a November 2019 Axios article, 13 states already OKed placing money on a favorite team, and six others have passed a bill that is awaiting further action. 

The implications of both the legal and formats remain to be seen, but neither trend is likely to burn out soon.

Read more about radio’s efforts to capitalize on sports betting here.

The post Sports Betting Station Takes Air in Cleveland Ahead of Expected Legalization appeared first on Radio World.

Former Eagles player David Akers and Sean Brace, host of “Daily Ticket,” during a pregame show at Xfinity Live. iHeartMedia promotes it as Philly’s first daily sports gambling show.

Who would have thought that a Supreme Court decision would spur the growth of a new talk radio format? But that’s what appears to be happening since May 2018 when the Supreme Court ended the federal ban on sports betting. 

Today, sports betting is legal in 11 U.S. states, according to BusinessInsider.com, while 24 more states have legalization legislation pending. In line with this trend, iHeartMedia station WDAS(AM) in Philadelphia relaunched as “Fox Sports Radio — The Gambler” in August 2019. The station now features a mix of sports talk and betting content. (Previously WDAS was “Breakthrough Radio,” in partnership with the Children’s Hospital of Philadelphia offering variety hits and health features.) 

“The legalization of sports gambling is happening all over the country and the numbers are only increasing. Folks want to have fun, throw a couple dollars on a game and be entertained,” said Sean Brace, program director/afternoon host at The Gambler, and former host on local sports station 97.5 The Fanatic.

“Our goal at the Gambler is to give the right information — the stuff that is important to a gambler — all while be entertaining.”

The Gambler isn’t the first U.S.radio station to adopt the sports betting format. That honor goes to Longport Media’s WBSS(AM) in Atlantic City, which relaunched as “AM 1490, Sports Betting Radio” earlier in August. Unlike The Gambler, Sports Betting Radio is hardcore: It offers around-the-clock sports betting talk.

“We are very proud that our AM 1490 Sports Betting Radio is the nation’s very first terrestrial radio station devoted to sports betting 24 hours a day,” said Paul Kelly, Longport Media’s president/general manager. 

“It’s exciting to see more stations beginning to follow suit with people realizing just how big sports betting is around the country, even in markets where it’s not legalized.” (Note: Sports betting is legal in Pennsylvania and New Jersey, ensuring that both stations are operating within the law.)

WHAT’S ON AIR?

Although The Gambler does offer sports betting information, its format is still anchored on the sports talk format. And given that the station is branded as “Fox Sports Radio” first, it does rely on that network’s talent.

“The Gambler” airs “It’s a Hard Rock Life” on Friday evenings from the Hard Rock Cafe in Atlantic City. Shown is Hard Rock President Joe Lupo with host Jerrold Colton.

“Right now, our content is a solid mix of national voices — Dan Patrick and Colin Cowherd from Fox Sports — and my show ‘Daily Ticket with Sean Brace,’ from 3 to 6 p.m., Monday to Friday,” said Brace, whose show mixes betting information with sports talk.

“RJ Bell’s ‘Straight Outta Vegas’ is on right after my show, so for four straight hours you get the latest line movement, odds and pertinent information at the perfect time. Most games go off at 7 p.m. on the East Coast, so we have you covered right up until kickoff.” 

At AM 1490 Sports Betting Radio, it’s all betting talk; all the time. 

“Our station partners with Gow Media’s new BetR Network that launched in August, and their programming is unmatched in terms of the knowledge and sports betting acumen of the hosts,” said Kelly. “I believe our product is better not only for sports bettors but for sports fans in general, because our hosts actually talk about the games and the players and what’s happening on the field, instead of the nonsense you hear on typical sports talk stations these days.”

When Sports Betting Radio launched, all of its content came from the BetR Network, with plans to expand its own content.

“We’re now beginning to add local programming as well so we can put more of a focus on the local teams and have more local listener interaction,” Kelly said earlier this fall. “It also allows us to get out and take the station to the people with live on-location broadcasts.” 

REVENUE OVER RATINGS?

Jason Barrett is president of Barrett Sports Media, a sports radio consultancy in New York. “I think The Gambler chose a great lane to establish itself because WIP and The Fanatic are already well-established successful sports talk brands in this market,” said Barrett.  

“However, they’re going to need more than a catchy name, one afternoon show and one national sports betting show if they want to own that identity. The path they’re taking won’t likely produce big ratings, but it should serve them well from a revenue standpoint.”

Barrett’s assessment was echoed by Don Kollins, president/CEO of DK Media, a radio consulting firm in San Francisco. “I like the idea of a sports format such as The Gambler: I see a real opportunity to stand out in the mix of others,” he said. “Of course, the station will need to be entertaining and engaging; giving the listeners the ‘goods,’ so to speak, and celebrating the wins. But all in all I salute the company for thinking out of the box.” 

Jason Barrett is bullish about the sports betting radio format in general. In fact, a large number of groups are in a rush to own a strong position in the space because there’s a feeling of it being an area where brands will be able to reap the rewards financially through advertising, events and direct-to-consumer subscriptions, he said. 

Meanwhile, although the sports betting radio format is new, betting information on radio is not.

Brent Musberger is host with the Vegas Stats & Information Network (VSiN), a streaming network founded by his nephew Brian. VSiN content is carried on the BetR Network.

“Currently, Fox Sports, NBC Sports, ESPN, VSiN, The Action Network, RADIO.com, Bleacher Report, The Ringer, SiriusXM and Barstool Sports offer content that focuses on sports gambling,” said Barrett. “It may be a niche space that won’t appeal to the entire audience, but those who do listen are people who potentially are more valuable because of their willingness to part ways with dollars.”

This last point is echoed by Longport Media’s Paul Kelly. “The sports betting format makes a lot of sense for pretty much any business looking to target men with disposable income,” he said. “You don’t need to be a sports betting business to advertise on this format any more than you need to be a music shop to advertise on top 40 radio.” 

According to Kelly, roughly 70% of sports bettors are men, and the overwhelming majority of them are in the “money” 25−54 demographic. 

“Sports bettors are also twice as likely to make more than $100,000 per year than the average person, so this is a very sellable demographic for radio,” he said. “According to the American Gaming Association, nearly 40% of adult Americans, about 100 million people, are either current or potential future sports bettors. That’s 40% of a market’s cume that’s potentially interested in this format.”

RESULTS TO DATE

These are early days for sports betting content on U.S. radio but early results appear promising.

At AM 1490 Sports Betting Radio, “so far, so good.” said Paul Kelly. “The product is entertaining and very informative at the same time and people seem to be genuinely enjoying it. We’ve been able to generate instant results for those advertisers in the sports betting industry since our format is so targeted to exactly the people they’re trying to reach.”

Over at the Fox Sports Radio — The Gambler, “It’s way too early to look at any data or numbers but the show is going really well,” said Sean Brace. “Our pregame show, ‘Live with Eagles Hall of Famer David Akers,’ was amazing. We are also live on remote at the Hard Rock Hotel and Casino in Atlantic City every Friday.” At the first remote, he said, “the energy inside the sportsbook/casino was off the charts.”

As for the future of the concept? “The sustainability is going to depend on the appetite in local markets towards gambling,” said Jason Barrett. This said, “Revenue is projected to increase in this category, and to not be active in it when radio is fighting for every last penny would be foolish.

The post Radio Gambles on Sports Betting appeared first on Radio World.

With AM improvement on the radars of broadcasters and the FCC, there has been renewed talk in recent years about the subject of AM “boosters,” the carrier frequency synchronization of multiple transmitters. The commission opened a comment period on AM boosters in 2017.

A graphic in the April 1931 issue of Popular Science explained the concept.

It wasn’t the first time the FCC has explored this topic and failed to act on it. In fact, AM boosters have been proposed and tested dozens of times since the early days of radio. But even though the technology has repeatedly been proven effective, the commission consistently has declined to allow the operation of AM boosters on anything more than an experimental basis, for a variety of reasons.

Let’s take a moment to look back at the history of this beleaguered technology.

BOSTON REPEATER

In 1930, crystal control of transmitter frequencies was still an emerging technology, and the allowable frequency tolerance of a broadcast transmitter was +/- 500 Hz. Two stations operating on the same channel, even if widely geographically separated, could generate a heterodyne beat note of up to 1 kHz, a disconcerting annoyance to listeners.

Consequently, only a few stations were allowed to operate nationwide evenings on any one channel at the same time. Further, there were 40 clear-channel stations, each one having exclusive nationwide use of its frequency.  As most of these clear-channel stations were network affiliates, many channels were wastefully duplicating the same programs.

In 1929, the respected radio engineer Frederick Terman proposed that, if all stations of the two networks (NBC and CBS) could synchronize their carrier frequencies within +/- 0.1 Hz to eliminate the heterodyne beat notes, they could all coexist on a single channel per network, freeing up dozens of channels for new stations.

Synchronization was first proved successful by the Westinghouse station WBZ in Springfield, Mass. Broadcasting from the roof of the Westinghouse factory, WBZ failed to cover Boston, so WBZA was opened as a Boston repeater. The two stations were synchronized on the same frequency beginning in 1926, using a tuning fork as a frequency reference.

WBZ in Boston synchronized its frequency with booster station WBZA in Springfield, Mass., beginning in 1926. The dual station operation — first on 900 kHz, then 990 and finally on 1030 — lasted until 1962, when Westinghouse was forced to shut down WBZA in order to purchase WINS in New York.

Synchronization improved coverage in some areas, but also created interference zones with distortion and fading wherever the two signals were roughly equal in strength. After a year of experimentation, a successful technology was found: a master crystal oscillator in Springfield set the frequency for both transmitters. Its output was divided down to the audio range and sent by phone line to Boston, where it was multiplied back upward to drive the WBZ transmitter.

Meanwhile, pressure was building on the networks to test synchronization, and in October, 1930, the Federal Radio Commission administered an overnight test on a single clear-channel frequency, 660 kHz. Three NBC 50 kW stations, WEAF, KDKA and WGY, broadcast the same program on the channel. It worked remarkably well. Long-distance skywave reception was greatly improved; fading was virtually eliminated. Whenever one station’s signal faded, the others continued to provide clear reception.

Although NBC couldn’t deny that the technology had worked well, it resisted. Its true reasons were not technical, but economic. It had become common practice to feed different network programs to different parts of the country to serve advertisers who only wanted regional coverage. With synchronization, such “split network” operation would no longer be possible. Also, NBC feared that giving up its clear channels would lead to the creation of competitive networks using the same system.

Nonetheless, NBC encouraged synchronization in the cases of several affiliate stations that shared time on clear-channel frequencies, thus allowing them to operate full time.

In 1931, NBC synchronized its New York flagship station WEAF with WTIC in Hartford. However, the stations were too close together, causing objectionable interference. Attempts at synchronizing WJZ in New York with WBAL in Baltimore had better results, and that operation continued until 1937.

Another successful synchronization experiment involved WHO in Des Moines and WOC in Davenport, Iowa, starting in 1930. B. J. Palmer owned both stations and operated them on 1000 kHz under the dual call sign WHO-WOC. Synchronization was accomplished using a new Bell Labs technology: An operator at a monitoring station halfway between the two transmitters monitored the beat note between the stations and remotely adjusted WOC’s crystal oscillator every 10 minutes.

Although the system was successful, the operation ended in 1933 when WHO raised its power to 50 kW.

A similar technology developed by Western Electric synchronized WBBM in Chicago with KFAB in Lincoln, Neb. The two CBS stations had been time-sharing their 770 kHz frequency since 1928. In January 1934, they synchronized their carriers, broadcasting separate programs during the daytime and the same CBS program at night.  A highly-accurate 4 kHz signal was delivered to both stations by phone line, multiplied up to the carrier frequency and compared with the transmitter, where a motor-driven variable capacitor adjusted its crystal oscillator. A unique part of this system was an audio delay line that retarded WBBM’s programs by 20 milliseconds to compensate for the phone line delay between Chicago and Lincoln.

WBBM in Chicago and KFAB in Lincoln, Neb. (later Omaha) synchronized operations on the 770 kHz clear channel frequency from 1934 to 1941. This map showed their respective groundwave coverage areas. At nighttime, both stations broadcast the same CBS network programs, generating what was essentially a single received skywave signal.

The combined nighttime coverage of these two stations was excellent, with almost no fading, and it continued in operation until KFAB changed frequencies in 1944.

Synchronization experiments were not limited to high-powered stations. In 1936, WLLH in Lowell, Mass., received permission to operate a booster nine miles away in the city of Lawrence. This was the first time synchronization was authorized on a local channel, using 250 watts in Lowell and 100 watts in Lawrence. WLLH’s special temporary authority became permanent when a license was issued for the booster in 1941, and it continues in operation today.

EVOLVING ATTITUDES

The FCC’s attitude towards boosters began to change in 1939, apparently for political rather than technical reasons.

That year, during an FCC oversight hearing, Rep. William Connery of Massachusetts declared his opposition to booster stations. He felt they represented new stations in new communities, and claimed they diverted advertising from local newspapers while providing no local employment. He named several boosters operating in his own district.

After that, the FCC began opposing boosters that added coverage in a new community instead of filling holes in a station’s existing coverage. About a dozen applications were denied for this reason.

In 1941, necessity created an exception to this policy for WBT in Charlotte, N.C. When the NARBA Treaty frequency shifts caused KFAB to move onto its frequency, WBT was forced to operate with a nighttime directional antenna to protect KFAB. To mitigate its loss of coverage, the commission allowed WBT to build a 1,000-watt nighttime booster in Shelby, N.C.

The cover of a 1940s promotional booklet for WLLH in Lowell, Mass. The station began operating a synchronous booster in neighboring Lawrence in 1937. The booster received a license from the FCC in 1941, the only known case of a booster receiving anything more than experimental authorization. WLLH continues to operate with two 1 kW transmitters on 1400 kHz today.
Author’s collection

During and after World War II, the FCC’s attitude towards boosters was inconsistent. Powel Crosley’s WSAI in Cincinnati was allowed to feed a 100-watt downtown booster from 1942 to 1945, but only during daytime hours. In 1944, a new booster was authorized to WRBL in Columbus, Ga., to cover Fort Benning. Then in 1944, the FCC approved two boosters in its own city of Washington. WWDC was allowed to install a 50-watt booster in Silver Spring, Md., and WINX was granted a 250-watt booster in Arlington, Va.

However, many other booster applications were rejected during this same time period.

By the 1950s, the FCC seemed to have set an internal goal of eliminating AM boosters, and it consistently pursued policies that resulted in the elimination of existing installations. This, plus the changing economics of AM radio in the face of competition from television, caused the shutdown of most of the boosters still in existence.

In 1954, the FCC ruled that Class IV (local) stations could not use boosters to extend their coverage areas because it was against the purpose of a local station license. WWDC’s booster renewal was set for hearing in 1954 and subsequently abandoned by the station. And when WINX proposed to move its booster to a new site, the application was denied “since commission rules do not provide for such operation.”

Yet another factor in the elimination of boosters was the FCC’s “7-7-7” rule, adopted in 1953. It prohibited any station group from owning more than seven AM, FM or TV stations in the country, and the commission was counting booster transmitters as one of the seven stations.

Thus, in 1953, CBS was forced to shut down its booster at WBT Charlotte to comply with the FCC’s ownership limits. And in 1962, when Westinghouse wanted to purchase WINS in New York, it was forced to close WBZA in Springfield, even though it had operated successfully for nearly 40 years.

REVITALIZATION BOOST?

The FCC’s Jekyll-and-Hyde attitude towards boosters hasn’t changed in more recent times.

In 1987, the FCC showed renewed interest in the technology, accepting comments under Docket 87-6. Several stations built and operated successful boosters at that time.

One of these was KKOB in Albuquerque, N.M., whose new 50 kW nighttime array placed a major null squarely over the state capitol in Santa Fe. As KKOB was the primary emergency station serving the capitol, the FCC allowed construction of a 230 watt nighttime-only booster in Santa Fe, which continues to operate to this day. Another was KLSQ in Laughlin, Nev., who operated a Las Vegas booster from 1986 to 1995.

This is a view of the WLLH two-transmitter operation in the 1940s. At left was the station’s main antenna in Lowell. At right was the 150-foot tubular steel tower on the roof of the Cregg Building in Lawrence.

But in the end the FCC opted to continue its policy of authorizing boosters on a case-by-case experimental basis.

Beginning in about 2000, WISO in Ponce, Puerto Rico, was allowed to operate synchronized boosters in Aguaduilla and Mayaguez under experimental authority. But in 2011, the FCC denied WISO’s request for an additional booster station in Guayama, and in 2017 it abruptly cancelled all of WISO’s experimental permits, without a clearly-stated reason and despite letters of protest from government authorities in Puerto Rico.

In 2017 the FCC once again opened a rulemaking proceeding to consider permitting AM boosters, part of its AM Improvement initiative, under Docket RM 11779. As of this writing, the FCC again has failed to take further action.  Will this be the time that the commission finally takes positive action on AM boosters, or will Lucy once again pull the football away from Charlie Brown in the final seconds?

John Schneider is a lifetime radio historian; author of two books and dozens of articles on the subject; and a Fellow of the California Historical Radio Society.

REFERENCES:

For more on this topic, readers may be interested in sources used in preparation of this article:

• Broadcasting Magazine:

1-15-32, “Synchronization status considered at hearing”
5-1-36, “WLLH Granted Right to Test Booster Station”
5-1-37, “WLLH Operating Booster Station”
5-1-39, “Sentiment for FCC Legislation”
1-1-41, “More Boosters are Granted”
2-15-44, “New Grants under FCC”
10-1-45, “Boosters for All AM Stations Possible”
1-7-46, “Seven League Boosts”
3-3-47, “FCC to Study Booster Pleas”
7-28-47, “WBT Extends Coverage With Booster Station”
5-17-48, “WINX Operates Two Boosters”
8-6-51, “WINX Transmitter Move Granted”
7-12-54, “FCC Rules Against Booster Bids”
5-7-62, “Westinghouse Buys WINS”

• Wikipedia, WBZ History
• Federal Radio Commission Annual Report, 1930: “Synchronization of Broadcast Stations”
• “Popular Science Monthly,” April 1931, “Chain Broadcasts On One Wave”
• Proceedings, Institute of Radio Engineers, March 1936: “Present Practice in the Synchronous Operation of Broadcast Stations, as Exemplified by WBBM and KFAB,”
by L. McC. Young, Columbia Broadcasting System
• Radio World, 1-14-2017, “Rackley on Synchronous AM Boosters”
• “A Wavelength for Every Network” by Michael J. Socolow, University of Maine, 2007
• Federal Communications Commission, MM Docket 87-6, 3-3-87, “Amendment of Part 73 to Authorize the Use of Multiple Synchronous Transmitters by AM Broadcast Stations”
• “KOB and Decades of Conflict,” by Mark Durenberger, 2017

The post Synchronous AM’s Long and Tortuous History appeared first on Radio World.

Mark Fowler

If the FCC does allow AM stations in the United States to switch to all-digital transmission, former commission Chairman Mark Fowler says they should be allowed to consider a system other than HD Radio.

But it seems a true longshot that another system could be taken up at this juncture, given that Xperi’s technology has long been established as the U.S. system for digital radio, and that the platform has two decades behind it of station implementation and receiver penetration. Indeed in its most recent NPRM, the FCC explicitly stated in a footnote that it declined to reconsider the selection of HD Radio as the U.S. standard. 

However, Digital Radio Mondiale has raised its hand requesting just that, as RW recently reported. And there have been occasional other inquiries from U.S. broadcasters about whether DRM should be considered.

Fowler — who chaired the FCC in the 1980s under Ronald Reagan and is credited with leading repeal of the Fairness Doctrine — wrote to Radio World last week in response to that filing by DRM. Fowler has a history of activity in digital radio technology; he is former managing member of startup company DigitalPower Radio, working at the time with principal scientist Brana Vojcic. DPR had counted Beasley Broadcast as an investor and has its own history with HD Radio.

Fowler wrote this week:

“Putting aside the merits of a flash-cut switch to digital, it can’t be a bad development in public policy to provide a choice of digital systems to broadcasters. Xperi obtained the digital franchise by default, given that there was no other viable player the FCC could also authorize. The result was and has been a monopoly.

“Xperi has made some major strides in improving digital radio reception,” Fowler continued. “They have stuck with it for decades. But nothing concentrates the mind of an Xperi like competition. Whether DRM can make a go of it in the marketplace will be decided by Mr. Market. For sure, it might make the folks at Xperi more customer-friendly than their early history of customer treatment.

“It might also serve to speed up getting AM viable and back in the game. May the best electrons win.”

[Related: “WLOH Would Have a Compelling Reason to Promote Its Signal Again”]

Fowler has commented before about other AM regulations, including a 2017 opinion piece in RW about Class A protections; read that here.

Others have expressed interest in DRM. Last year station owner Larry Tighe in New Jersey petitioned the commission to allow AM band stations to use the DRM+ standard on another part of the spectrum if they wanted.

But the FCC has shown no inclination to pick up on the idea, and its footnote declining to reconsider the selection of HD Radio as the standard was issued after Tighe’s petition was filed.

Industry observers have told Radio World that it seems very unlikely the FCC would countenance a switch at this juncture.

The above article is part of RW’s ongoing coverage of debate over the use of all-digital on the AM band. You can watch a free webcast about this topic in February; register here.

The post Fowler: Let “Mr. Market” Decide Best AM Digital System appeared first on Radio World.

Catching and prosecuting illegal radio operators may become easier now that the PIRATE Act is law.

Having finally passed both houses of Congress, the bill was forwarded to President Trump in mid-January; he signed it Friday, thereby giving the Federal Communications Commission broader authority to deter and fight pirate operations.

Broadcasters have long wanted the federal government to take more muscular action against such operators, and FCC Commissioner Michael O’Rielly has been an ardent supporter of stronger enforcement in recent years.

Reps. Paul Tonko (D-N.Y.) and Gus Bilirakis (R-FL) reintroduced the bill early in 2019 after it failed to be voted on in a previous legislative session.

The teeth of the PIRATE Act is in the details. The act gives the commission the authority to levy fines of up to $100,000 per violation and $2 million in total. The act also streamlines the enforcement process; requires the FCC to conduct mandatory pirate radio enforcement sweeps in cities with the highest concentration of pirate radio use; and seeks to ensure more coordination among federal, state and local law enforcement.

[Background: “O’Rielly Tells MBA ‘We Are Playing a Long Game’ Against Pirates]

Other provisions include creation of a yearly report by the FCC summarizing the implementation of the legislation and related enforcement activities; and giving the FCC the authority to skip the step known as a Notice of Unlicensed Operation and go straight to issuing a Notice of Apparent Liability.

The legislation also will lead to creation of a publicly accessible online database that lists all U.S. stations as well as all entities that have received notice that they are operating a broadcast radio station without authority.

“[This act] has been an NAB legislative priority for many years,” said Dennis Wharton, executive vice president of communications for the National Association of Broadcasters, when news broke about the signing of the act into law. “Pirate operators interfere with licensed, legal radio stations. On a number of occasions, the FCC has found that pirate radio operators interfered with communications between airline pilots and air traffic controllers, creating a public safety hazard.”

Details are still forthcoming on when various aspects of the law will be implemented.

[From March 2019: “Justice Department Steps in to Stop Alleged Pirate Operation”]

In late 2019, Commissioner O’Rielly told a state broadcast association audience that the PIRATE Acts fines are meant not only to punish offenders, but to make sure these cases get on the radar of the Department of Justice. He also said the pending list of licensed radio operators could be used by citizens and advertisers to distinguish between legitimate stations and savvy pirates.

The post It’s Official: PIRATE Act Signed Into Law appeared first on Radio World.

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The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

You say you want to run a radio station? Do you think you know what it takes to make incredible programming and community service? Your chance to prove it may be here.

This week, the Federal Communications Commission released its tutorial for a forthcoming auction for new full- and low-power FM channels, which will start in April. It represents an exciting moment for community media, a rare window for new full-and low-power community radio to flower in new places around the United States.

Community Broadcaster: Community Radio Relevant as Ever

In December, the FCC issued a memorandum outlining the bidding process for the upcoming auction, as well as the deadlines for pre-auction filings needed, should you wish to participate in the auction. There are a number of records you will need to have in place, and systems you must be entered into to join in.

The auction makes 130 FM channels available. You can see the full list of cities where signals will be auctioned, and auction starting prices, here.

For some of you, landing your very own radio station sounds like a dream come true. I’ve personally lost count of the number of community radio folks I have met over the years who think, if only they had a license, they could run a station better than others could. It is never clear how many people are actually committed to acquiring a community radio station, however.

Here are a few issues to consider, if you’re serious about the auction and wish to make a play for one of the available signals.

As you might guess, running a station in a community will require you to be in that community of broadcast. This means you cannot just scoop up a station in a small town in Alaska for $750 and just run it from the comfort of your contiguous 48 states or Hawaii home. You guessed it. If you win an auction, you will need to pack your bags and get ready for the adventure of a lifetime.

In addition, running a radio station is not an inexpensive enterprise. There is equipment, a big list of tools and studio space you will need to pay for. Then, there are myriad licensing and insurance requirements your new station will have to cover on a monthly or annual basis. These are the costs of doing business.

Outgoing folks will love the fundraising part, because it entails talking to people and persuading them to donate to get the station going. However, in very small communities, the number of people available to financially support a station may not be equivalent to your annual operating budget. Clever and innovative development programs beyond individual giving will thus be the order of the day.

If you are open to a new city and have the resources to make a run this auction, times like this do not come around often. Few media experiences are as rewarding as launching a community radio station. Empowering local residents to be part of our media and democracy can be the signature of a career and a life. Best of luck, ambitious community media friends. All of community radio is rooting for you.

 

The post Community Broadcaster: Plant a Seed appeared first on Radio World.

About one quarter of the U.S. population — 60 million adults 18 and older — now own a smart speaker. That’s according to the winter 2019 edition of The Smart Audio Report from NPR and Edison Research, released this month.

Consumers also appear to be doubling down on the technology, quite literally: as of December 2019, there are more than 157 million smart speakers in the U.S., representing a 135% increase from last year’s accounting and more than double the number found just two years prior. U.S. households now average more than two of these devices. 

As the devices proliferate, smart speakers are more entrenched in daily life. Smart speaker owners 13 years old and up now say they choose smart speakers for a lot of their listening. Mobile devices remain the most popular (31%), followed by traditional radio receivers (19%), with smart speakers closely on their heels (17%). Smart speaker owners also tend to be power users, deploying it multiple times daily. 

Voice commands are also becoming a common activity. More than half of U.S. adults have told their devices to do something (how many have succeeded may be another matter), and 24% say they use voice commands on a daily basis.  

CONTENT SOURCES AND CHOICES

And when consumers choose smart speakers for their audio, streaming audio dominates nearly half of listening time. It’s worth noting that Amazon accounts for 15% of the audio sourcing — likely due to its association with the Alexa smart device. On the other hand, Google’s own audio offerings don’t track with the popularity of its Google Home. 

However, AM/FM radio is also actually the most popular audio source for smart speakers at 24%. It’s chosen at more than twice the rate consumers play Pandora, Spotify or owned music. That’s also up significantly from the prior year, when AM/FM only clocked in 18% of listening on smart speakers.

Podcasts remain a minority in this space, but spoken word content generally is on the upswing for smart speaker listeners. It’s up 20% since 2014, while music listening has dropped by 5% during the same period. (It’s unclear whether the report separated podcasts played via Spotify, a popular platform for that content, or if it double-counted it.)

The post Smart Speakers Continue Home Invasion appeared first on Radio World.

The authors are production directors at Broadcasting Experts.

RALEIGH, N.C. — Broadcasting Experts is a production house. We work with financial advisors, lawyers and other professionals who are interested in sharing their knowledge over the radio. We produce their programming and guide them through the process of recording and creating their shows. Most of our clients are not professional broadcasters, so it’s up to us to help them understand the equipment and the steps to making great-sounding radio.

Our programming is “flash frozen,” as we like to say. Our clients connect with us from wherever they’re located and we record live; then we edit after the fact. We had been using Comrex BRIC-Link units for this, because they’re ubiquitous at radio stations, and many of our clients could go to those locations to do their shows. We had also developed a BRIC-Link kit that we sent out to clients; they would set it up at their location and broadcast from there. But we’re working with folks who are often on Wi-Fi, or who are in conference rooms in hotels, so it can get fairly complicated.

Then we learned about Opal. It is an IP audio gateway that enables guests to connect to the studio by simply clicking a link. It provides HD-quality audio from consumer-grade equipment, like a cellphone or a computer with a microphone. It’s effectively a phone interface that uses an Opus codec through a web browser, as opposed to a traditional phone line.

We switched to Opal for ease of use. It’s amazing that now, when we work with guys who aren’t tech-savvy, they can just plug a USB headset into their computer, go to a website and click connect. It’s much easier than teaching them how to check the gain on their mixing board, or check mix minuses, etc. It makes that side much simpler.

We usually record a dozen shows per week, and we use Opal for 10 of them. In the past, we sometimes had to patch interviews into our system over the phone, but Opal has eliminated that. That terrible phone quality is a thing we no longer have to deal with. If our client is using a good microphone and the room is set up correctly, it really can sound like you’re sitting next to them.

Opal also helps our clients feel more comfortable. Because they’re not radio professionals, if there’s a minor technical glitch or if there’s some complication that needs to be ironed out, it can fluster them, and affect the ultimate product. Now, when we actually go to record the program, they’re not thinking about the technical elements — they can just focus on recording. They’re much more secure going into the show, and they perform better as a result.

Opal has resulted in several customers referring colleagues to us. We’ve picked up several new clients who choose our production house because it’s so easy for them to connect.

For information, contact Chris Crump at Comrex in Massachusetts at 1-978-784-1776 or visit www.comrex.com.

The post User Report: Broadcasting Experts Connect to Clients With Opal appeared first on Radio World.

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