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Radio World

Digital Radio Mondiale in Focus in India

Radio World
4 years 5 months ago

The author of this commentary is chair of the Digital Radio Mondiale consortium.

Right from the beginning of 2021, Prasar Bharati, the public radio and TV broadcaster of India, has put its cards on the table. First it clarified that no AIR station was being closed anywhere in any state, a rumor that had made the media rounds in India.

Prasar Bharati has further announced that it is moving ahead with its plans to strengthen All India Radio, expanding its network with more than 100 new FM radio transmitters across India.

Figure 1 (Click here to enlarge.)

The AIR Network already comprises a few hundred stations and several hundred radio transmitters in one of the world’s largest public service broadcasting networks that operates on multiple terrestrial, satellite and internet platforms.

Prasar Bharati is also moving ahead with its plans to introduce digital terrestrial radio in India. According to the Indian broadcaster, select AIR channels are already available through digital DRM technology to listeners in many cities/regions. They can experience the power of DRM through a choice of multiple radio channels available on a single radio frequency in digital mode. These include AIR News 24×7 dedicated to news and current affairs, AIR Raagam 24×7 dedicated to classical music, apart from local/regional radio services and Live Sports.

According to Prasar Bharati AIR is in an advanced stage of testing digital technology options for FM radio, and a standard will be announced soon to herald the rollout of digital FM radio in India.

Already in 2020 AIR had introduced nonstop pure DRM transmissions with three services or programs on one frequency in four key metros: Mumbai 100 kW (1044 kHz), Kolkata 100 kW (1008 kHz), Chennai 20 kW (783 kHz) and New Delhi 20 kW (1368 kHz).

More varied and exclusive audio programs with Journaline multimedia content were already added and progress was made on the national rollout of DRM’s Emergency Warning Functionality (EWF), and a program information guide enabled by Journaline.

All these activities follow from the activities of a Project Monitoring Unit (PMU) in AIR set up a year ago. It undertook to identify the technical configuration of the DRM infrastructure for the entire country, the creation of popular, attractive content, the strong promotion of DRM broadcasts and intensified interaction with the industry aimed at manufacturing mass-scale receivers.

AIR has extended its infrastructure, as seen in Figure 1.

Figure 2, a Journaline Score Card providing information on a cricket match.

As far as the program content is concerned, AIR has already come up with new initiatives, like the 24/7 news exclusively in DRM broadcasts.

The entertainment channel is transmitting live sports events as well, such as cricket, which is the most popular sport in India; AIR is exploring the possibility of providing a Score Card under Journaline advanced text together with live cricket commentary in pure DRM (see Figure 2).

There are already several receiver manufacturers in India and abroad planning and starting production of receivers.

One such manufacturer, Gospell from China, has formed a partnership with Antriksh Digital Solutions to become their representative and distributor in India.

AIR also plans to acquire soon several thousand receivers.

Going forward, a key element of success in India is the further adoption of the standard by the automotive industry. Currently there are more than 2.5 million Indian cars with line-fit DRM receivers at no extra cost to the consumer. More brands are considering the introduction of DRM radios in their vehicles to satisfy consumer demand.

During the second national Car Forum organized at the end of November by NXP, an AIR representative said that it is imperative that the government seriously consider mandating DRM digital radio in all vehicles in the country.

In addition to MW and SW in 2021, efforts are being made to include DRM in FM, as the broadcaster and ministry are coming close to mandating a digital radio standard for the FM band.

The more cars there are in India with DRM radios, the better promotion of their DRM programs AIR can make to the general public. And this cannot just include audio in mediumwave but other bands too. There is demand for all core features of the DRM standard, of which Journaline has already been introduced. This should be followed by the Emergency Warning Functionality (EWF), station logos, AFS, announcement, blending to AM/FM and others.

Activities in India have continued in 2020 despite the pandemic. Already in 2021 there are signs of accelerated activities linked to DRM in FM, DRM for education and getting receivers in numbers.

 

The post Digital Radio Mondiale in Focus in India appeared first on Radio World.

Ruxandra Obreja

Broadcast Solutions Finland Changes Name

Radio World
4 years 5 months ago

Regional broadcast systems integrator Broadcast Solutions Finland Oy kicked off the new year with a new name, Broadcast Solutions Nordic Oy.

Initially focused on Finland, the company cited the change to a growth in clients in neighboring Nordic and Baltic countries. The company will remain headquartered in Helsinki.

Broadcast Solutions Nordic Oy Managing Director Antti Laurila said, “The Broadcast Solutions Group is a globally active company … And as an integral part Broadcast Solutions Nordic offers its services to broadcasters and customers in the Nordic countries, the Baltics and beyond.”

 

The post Broadcast Solutions Finland Changes Name appeared first on Radio World.

RW Staff

Tips for FMCommander Power Users

Radio World
4 years 5 months ago

The author is president of V-Soft Communications and Doug Vernier Telecommunications Consultants. This is one in a series of articles about how to get the most out of various popular broadcast products.

Lost the lease on your tower? Need to find a better channel? Can you increase power?

These are the common questions posed by FMCommander users. Here is how you can make the best of V-Soft Communications’ widely respected FM channel-study program.

Need a new tower site? Start the program and enter your station’s call sign, then click the “Compile” button to create your job file. (In this case we have used KAZY.) The program will access the V-Soft FCC database, updated daily, to find all the stations that must be protected by the reference station under the rules:

 

Within a few seconds the program will show you the minimum separations channel study:

 

 

Well, it looks like your station already fails the minimum separation required to KCWA. The user can see the situation graphically by opening the “Separations Mapping” screen.

 

 

The big plus mark reference site must not be inside another station’s separation circle. The radius of this circle is the Sec. 73.207 required minimum distance between stations based on their class. As you can see, the site is inside the separations circle for KCWA. This can happen if one or both stations use the Sec. 73.215 short space rules. But can the station be moved to a different tower that can satisfy the rules?

To look for usable existing towers click open the “Map Information“ window and click the bullseye icon to see the default coverage of the reference station. Any new tower location must satisfy the FCC requirement for the 70 dBu to cover at least 80 percent of the principal city to which the reference station is licensed (note that is barely the case for the now existing tower).

 

Click on any of the towers to move the reference station to the selected tower. For this example, we will click on the tower to the west of Cheyenne. The tower I.D. number and heights are listed immediately below the tower.

 

 

Looking at the updated main screen table, we find that that besides the overlap with KCWA, we now have another problem with KMAX-FM. Notice that, on the Main screen, KMAX-FM is now colored magenta (below). This means that the site fails to meet the minimum 73.215 short space distance to apply the required (U-to-D) contour-to-contour rules. As you can see by the maps, there are no other towers that are outside KCWA circle.

 

 

This likely means that a new tower must be built at a nearby site that would properly serve the principal city and that would not make the short space contour overlap worse. The application at such a site must show that, based on the protected and interference contours of two stations, there is no overlap that would cause interference. When the lightning bolt icon is clicked from the Map Information screen, the screen will show the contour relationship of the reference station and KCWA.

 

As one can see, there is no contour overlap and the site meets the 73.215 short spacing requirements. It appears that the current tower’s location is the only area that meets all the requirements.

Got a suggestion for a product you’d like to see in this series? Email radioworld@futurenet.com.

 

The post Tips for FMCommander Power Users appeared first on Radio World.

Doug Vernier

TASCAM Joins the Mic Rush

Radio World
4 years 5 months ago

Who knows why the last couple of months have seen an explosion in broadcast/podcast microphones but enjoy the bounty.

The latest is TASCAM’s TM-70, a supercardioid pattern microphone with a dynamic element “for live broadcasting, podcasting, film dialog, and audio streaming.”

[Check Out More Products at Radio World’s Products Section]

The company lists the frequency response at 30 Hz–20 kHz.

The company said, “the TM-70 was specifically engineered to capture what it is pointed at, effectively isolating sound sources such as directional dialog. The mic’s super cardioid directivity makes it resistant to ambient noise, thus enabling users to achieve a clean, clear audio signal that results in first class speech intelligibility.”

It ships with a shockmount, six-foot mic cable and a tabletop mic stand.

Info: www.tascam.com

 

The post TASCAM Joins the Mic Rush appeared first on Radio World.

RW Staff

Community Broadcaster: Off-Air

Radio World
4 years 5 months ago

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

This week, ethical breaches at the New York Times’ radio offerings came to a head. The lessons of how content and errors in judgment related to it can impact a station’s visibility in the community are matters worthy of reflection.

On Jan. 11, the Public Radio Program Directors association sent a letter to the New York Times, raising concerns from nearly 30 stations about ethical failures involving many parties. One of the Times’ recognized names, Michael Barbaro, host of “The Daily,” is at the center of the scandal.

[Read: Community Broadcaster: Making Sense of Chaos]

The Times lays out the criticisms, which include Barbaro allegedly pressuring reporters around coverage and failure to disclose his romantic relationship with Lisa Tobin, the executive producer of the now discredited “Caliphate” podcast. Andy Mills, implicated in past controversies at WNYC, is also among the names raised amid these issues.

At least one station, Houston Public Media, has dropped “The Daily,” which became a syndicated radio offering last year. Tobin, Mills and Barbaro have yet to issue their own statements, though the Times has noted Barbaro regrets some of his actions.

The signatories of PRPD’s letter take a very clear position on programming that should be instructive to every station. “[M]illions of Americans rely on our news organizations every day as one of their most trusted sources of information and we are accountable for all the programming that we provide to them,” they write. “That trust, and our responsibility in upholding that trust, is the very foundation on which we operate; it is the most important and sacred bond that ties us together. When that trust is called into question, we must respond. We must make our very best decisions about the programming we deliver and ensure it meets the high standards that our listeners expect and demand from us, while also staying committed to the standards by which our newsrooms operate.”

Photo: Jonathan Farber

In brief, when programming does not live up to the trust listeners put in it, such stumbles put the station in a position where its credibility and trust as a whole are put into question. In economically challenging times, no station can really afford to have audiences feel like the outlet can’t be trusted with its programming, because that cascades into every relationship including giving.

For many years, community radio stations took a laissez faire approach to programming, believing that individual statements of paid and volunteer producers on air were up to them. Sometimes this could result in creative radio, such as the freeform radio movement of the 1970s and 1980s. At other times, it could result in broadcasting random opinion and conspiracy theories. In the last 10 years or so, however, more stations realized what larger outlets did before — the listener generally believes that the medium is responsible for what it puts on the air.

Today, it is common for community radio to ensure producers get training about what language is legally and ethically permissible. Plenty of stations still adhere to an open-ended approach that relies on producers to handle the airwaves well. Yet no station is immune from weighing out the interests of an individual producer and the station’s status in the city.

Community radio has come a long way in appreciating the art of radio requires an audience to make it magical. Trust is key to such a bond.

The post Community Broadcaster: Off-Air appeared first on Radio World.

Ernesto Aguilar

FCC Confirms Cumulus Sponsor ID Penalty

Radio World
4 years 5 months ago

Cumulus has failed to convince the Federal Communications Commission to reduce a $233,000 fine for violating sponsorship identification rules. The FCC also scolded the company for violating terms of a consent decree.

Broadcasters are required to disclose information about sponsors of paid-for programming. The commission decided last summer that various arms of Cumulus had aired paid programming without sponsorship ID announcements 26 times, and failed to notify the FCC about 13 of them as required by a 2016 consent decree that resolved earlier violations.

[Read: Broadcaster to Pay $125,000 as Part of Civil Penalty and Consent Decree]

Cumulus didn’t contest the findings in August but wanted the penalty reduced to the base penalty of $104,000. It said that the higher fine is excessive and argued that earlier incidents should not be used to justify a higher penalty because Cumulus had subsequently been reorganized, went through a transfer of control and now had a different board.

But in this week’s order the FCC wrote, among other things: “The respondent’s implication that it is a drastically different organization post-transfer is belied by the fact that its core senior management remained unchanged by the transfer of control.” And it stated: “The commission expects parties to honor agreements made in consent decrees, and when parties fail to do so, it is a very serious matter.”

Cumulus also had argued that its overall record of rule compliance is “as good as or better than any other large broadcaster in the industry,” that it has a “stellar” reputation, that management has focused on adherence to FCC rules, and that out of approximately 135 million ads during the three-year period covered by the consent decree, there were only two occasions of sponsorship ID noncompliance.

The commission dismissed those arguments too, saying, among other things, that it doesn’t take a company’s overall size into account as a mitigating factor. “To the contrary, if a corporate entity chooses to acquire many stations, it must ensure that it scales up its compliance efforts accordingly.”

Read the order.

The post FCC Confirms Cumulus Sponsor ID Penalty appeared first on Radio World.

Paul McLane

Rosenworcel Poetic About Capitol

Radio World
4 years 5 months ago
Jessica Rosenworcel, lower left, speaks during the commission’s January meeting.

The violence at the U.S. Capitol prompted some poetic words from Commissioner Jessica Rosenworcel when the Federal Communications Commission met this week.

She made time in her remarks during the online meeting to talk about her feelings after the insurrection.

“The images of that day linger. They are hard to shake,” said Rosenworcel, who prior to the FCC was senior communications counsel for the Senate Committee on Commerce, Science and Transportation.

[Read: Newest Commissioner Urges Cooperation, Peaceful Transfer]

“I worked for many years in the Capitol. I know its towering heights, secluded corners and labyrinth hallways. But it’s not the loftiness of those spaces that I find most compelling. It’s what’s down below on the floors,” she said.

“I’ve traversed them too many times to count, heading back and forth, clicking on the tiles in less-than-sensible work shoes. I think the most beautiful floor tiles in the Capitol are the mid-19th century encaustic mosaics. The clay is inlaid, so the colors in the tiles are especially vibrant and diverse. It’s like the metaphor for our union is right there on the ground. Even where these mosaic floors are uneven and worn, what strikes you most is the durability. They have survived so much in our history.

“History, of course, is always being written. The violence done to the Capitol last week is an especially ugly chapter. To see those sacred spaces desecrated stings. To see those gorgeous floors smeared with feces and hate hurts. To see the Confederate flag paraded across those tiles sears and burns. And to watch those disowning the hatred that brought us here when for too long they walked too casually alongside it is difficult.”

“It was Martin Luther King Jr. who said: ‘Darkness cannot drive out darkness, only light can do that.’ Now we have an opportunity to lean into the light.”

Wednesday’s FCC meeting also was the last for Chairman Ajit Pai and the first for Commissioner Nathan Simington.

Rosenworcel, a Democrat considered to be in the running as the next FCC chair, thanked Pai, a Republican, “for his years of public service” and praised him “for the work he has done to help keep those who work here safe during this pandemic. He went above and beyond to keep the staff of this agency informed and engaged in a time of real crisis.”

 

The post Rosenworcel Poetic About Capitol appeared first on Radio World.

Paul McLane

PreSonus PD-70: A Little Different Flavor

Radio World
4 years 5 months ago

Any given enthusiast on any given subject has his or her favorite “make” and “model.” Fishermen can rattle off their preferred rod and reel combinations in an instant. The same is true with home theatre junkies. And bicyclists. And gardeners.

If, however, you want to engage in a fiery, passionate debate for the ages, get an engineer riled up about microphones!

Radio engineers have a well-established pallet of large-diaphragm studio microphones from which to choose. Over the years a few players have darted on and off the scene in their efforts to provide some sort of nuance or cost-effective solution.

One of the more recent contributions comes from PreSonus. Known mostly for their audio interfaces and mixing consoles, the Louisiana-based manufacturer does have a microphone selection. They offer drum kit mics, matched-pair condensers, an RTA mic, large-diaphragm side address, and very recently, a USB voiceover mic option.

Adding to that growing catalog, PreSonus entered the hardcore radio broadcaster arena with the new PD-70, which retails for $129.95.

What is it? Read on!

Bulletproof Ruggedness

A radio studio is the most unforgiving environment for a microphone. Energetic on-air talent are physical and loud, and the first recipient of that energy is the mic. It’s why studio microphones are heavy and robust. The PreSonus PD-70 holds its own in that regard.

It weighs 1.4 pounds and is nothing but steel. A built-in pop filter and outer foam windscreen foster a sleek design and more importantly, excellent plosive rejection. It has a hard-mount design, but handling noise is minimal due to the sheer weight and solid inner construction.

The most interesting rugged feature is the XLR jack construction. It is built firmly into the back end of the PD-70 and it’s not going anywhere. If ever a microphone could be called a “brick,” the PD-70 is it.

Tech Specs

The PD-70, from a performance perspective, wasn’t designed to reproduce or accentuate warmth and tone. Its sole purpose is to accentuate clarity.

The frequency response is a full 20 Hz to 20 kHz, but the HP rolloff happens at nearly 100 Hz and falls off fairly rapidly. The upper frequencies are accented beginning at 1 kHz, leveling off at +5 dB around 4 kHz and then rolling off at 11 kHz. This translates into a microphone that keeps voices out of the mud. It’s that simple.

When conducting A/B comparisons to other legacy “radio mics,” the PD-70 coloration lends itself to aiding in situations where vocal clarity and microphone technique are poor. The proximity effect is greatly reduced by the early 100 Hz high-pass rolloff. Additionally, the PD-70 exhibits some sort of magic as it pertains to the higher frequency response, in that “S” sounds are very detailed and clean.

The dynamic nature of the PD-70 and its aggressive off-axis rejection makes it very forgiving in less-than-perfect acoustic environments. Unlike some dynamic microphones, the PD-70 noise floor is virtually nonexistent. It has a very clean output and performs smoothly, using any preamp.

At Home

So where should the PD-70 go?

As the price of $129.95 suggests, PreSonus introduced it as an entry-level, budget-friendly studio mic solution. In testing and comparisons, however, it is competitive against long-standing industry stalwarts.

The PD-70 would stand out where novice voice talent is present. It is forgiving to poor mic technique, accommodating to untrained vocal talent (who generally don’t know how to project properly), friendly to bad acoustical environments and it can absorb physical abuse.

For voice talent who have deeper, warm voices and need a microphone that will reproduce that warmth, the PD-70 may not be what he or she is looking for. For everyone else, who needs clarity and accurate voice reproduction, the PD-70 is a top-notch, affordable choice.

Large-diaphragm dynamic microphones frequently are used on kick drums and guitar cabinets. The PD-70 may not necessarily be a kick drum mic. It would, however, perform well as a guitar microphone. Its frequency response rejects the “boomy” tones produced by guitar soundholes and accurately reproduces string sounds with clarity. When a soloist arrives in a studio to do a guitar performance, the PD-70 is an excellent choice.

As for me, my voice can be muddy for two reasons. It’s fairly deep, but also very asymmetrical. The asymmetry demonstrated itself using the PD-70, but it wasn’t as pronounced. Plus, the PD-70’s focus on clarity overcame the asymmetry effects very nicely.

Finally, for this review I asked a production director to spend some time with the PD-70. He conducted an A/B comparison against a very expensive industry standard. After the comparison, he immediately ordered a PD-70.

For information, contact PreSonus in Louisiana at +1-225-216-7887 or visit www.presonus.com.

The post PreSonus PD-70: A Little Different Flavor appeared first on Radio World.

Chris Wygal

Yamaha Unveils MSP3A Studio Monitor

Radio World
4 years 5 months ago

Yamaha has updated its MSP3 studio monitor with the introduction of the new MSP3A powered monitor speaker. Cosmetically, the new offering has a similar use of multiple input connectors, controls and compatibility with optional brackets, but Yamaha states the new monitor provides higher SPLs, lighter cabinet design and reportedly better audio quality — move intended to improve its appropriateness for users whose workflows include content from digital instruments and portable devices.

The MSP3A is the first Yamaha reference monitor to include the company’s Twisted Flare Port technology, intended to provide clearer and tighter low-end frequencies. The sound control technology applies aerodynamic sound analysis and flow visualization measurement to pinpoint and control noise-generating issues. Noise-generating air flow turbulence at both ends of the speaker port is reduced by changing how the port widens from input to output, adding a twist to it. According to Yamaha, suppressing turbulence reduces muddiness, lowering distortion in the low bass region, in turn aiding transition to the full range drivers.

[Check Out More Products at Radio World’s Products Section]

A built-in 22 W power amplifier is optimized for the speaker unit, comprising a 4-inch woofer and a 0.8-inch tweeter. The cabinet weighs just under 8 pounds, improving portability and making it easier to reposition the unit in different room configurations.

“Clear and natural sound are the keys to creating immersive and memorable experiences when creating music or video content,” said Preston Gray, marketing director, Pro Audio at Yamaha. “The expanded capabilities of this new reference monitor give audio engineers the right tool for accurately matching audio with video in a range of production applications.”

With an MSRP of $250, the MSP3A is currently street-priced at $199 per monitor.

Info: https://usa.yamaha.com/products/proaudio

 

The post Yamaha Unveils MSP3A Studio Monitor appeared first on Radio World.

ProSoundNetwork Editorial Staff

Reports Offer Insights on the Podcast Listener

Radio World
4 years 5 months ago

It’s clear from two recent reports that podcast listeners love audio and want to hear more.

That’s the consensus from the new Westwood One 2021 Audioscape report, which looked at podcast consumer trends using data from Q3 2020 Share of Ear report by Edison Research.

While AM/FM radio continues to dominate much of the audio landscape, podcasting is one area that continues to see significant growth. According to the Audioscape survey, podcast listeners are dedicated audiophiles. On a typical day podcast listeners spend 41% more time listening to audio during the day as compared to the average U.S. consumer, which spends a little more than three and a half hours with all forms of audio on a daily basis.

[Read: Share of Listening to Podcasting Hits All-Time High]

When people listen to podcasts, they remain a devoted bunch, the Westwood One report said. Among those that listen to the podcast format, podcasting becomes the listener’s number one platform. Once people become regular podcasts customers, nearly one-third of their daily total spent with audio is devoted to podcasts.

The surveys also found that the podcast audience is significantly younger than the listeners of other media. The median age of the podcast audience is 34. According to the Westwood One survey, the current median age of podcast listeners is 13 years younger than AM/FM radio and two decades younger than broadcast television network audiences.

The Edison survey also found that most podcast listening occurs at home throughout the day, with a 60% share as compared to podcast listening in the car (21%), at work (15%) or at some other locale (4%).

The Edison Research report also looked at how much time is spent with four audio content types: music, sports, news and talk/personality. The Edison survey found that podcast listeners are twice as likely to listen to news and three times as likely to listen to personalities and sports formats when compared to nonpodcast consumers. “It is not surprising to see podcasting’s share of time spent soaring over time among those who use spoken word formats such as talk/personality, news, and sports,” wrote Brittany Faison, the insights manager at Cumulus Media/Westwood One in a blog about the two surveys.

The post Reports Offer Insights on the Podcast Listener appeared first on Radio World.

Susan Ashworth

EMF Installs Custom Antenna in San Juan

Radio World
4 years 5 months ago

From our Who’s Buying What page: Dielectric reported the installation of an antenna for Educational Media Foundation in Puerto Rico, and pointed out some unusual aspects.

EMF installed a broadband model DCR-M antenna for noncommercial WJKL(FM) in San Juan, to serve WJKL on 105.7 MHz and a second station at 104.7 FM) in the future.

[See Our Who’s Buying What Page]

“The center-fed DCR-M accommodates both frequencies (with 1 MHz separation) through a special reduced bay-spacing design that eliminates the need for future field tuning,” the manufacturer stated in an announcement.

“EMF also added a new, specially designed two-station branch combiner to serve both transmission frequencies, and prevent intermodulation issues from signal mixing inside the transmitters.”

The antenna is side-mounted to a mountaintop tower with a center of radiation at 118 feet above ground level. Its design was developed with storms in mind, including hurricanes.

“The project was in fact delayed due to several harsh storms including Hurricane Maria in 2017, which caused widespread devastation to the island,” Dielectric stated. “The project was revived once power was returned to the remote site and the general infrastructure was restored.”

Dielectric worked with Sabre to develop a custom mounting system that could support the antenna’s unusual bay-spacing design.

“This included a standoff pole for the tapered tower architecture, and a bracket design that eliminated complex anti-rotation elements for the antenna bays,” it said. “Dielectric also added its ‘funky elbow’ design to reduce ground radiation from the DCR-M, through a robust inter-bay feed system that optimizes signal coverage without directing radiation downward from the tower.”

Send news for Who’s Buying What to radioworld@futurenet.com.

The post EMF Installs Custom Antenna in San Juan appeared first on Radio World.

RW Staff

Kojo Nnamdi Show to End in April

Radio World
4 years 5 months ago

“The Kojo Nnamdi Show” will end production on April 1, WAMU announced.

The magazine-style radio program is a Washington and regionally focused program well regarded in public radio circles. Nnamdi is a native of Guyana who immigrated to the United States in 1968. He joined WAMU in 1998 and hosted “Public Interest.” The show was renamed for its host in 2002.

Prior to WAMU Nnamdi had worked as a news editor and director, and hosted a TV public affairs show.

He’ll continue to host “The Politics Hour” on Fridays and “continue to serve as an ambassador for the station through his revamped ‘Kojo In Our Community’ event series,” the station announced.

Nnamdi thanked his producers and also mentioned colleagues Diane Rehm, Mark Plotkin and Steve Martin for helping him along the way.

He said his role “owed a great deal to WAMU’s commitments to understanding the Washington region across racial lines — the lines which too often divide us. That commitment continues.”

WAMU plans a new regionally focused show that is yet to be announced.

 

The post Kojo Nnamdi Show to End in April appeared first on Radio World.

RW Staff

Maintain Equipment for Long Life Spans  

Radio World
4 years 5 months ago
Fig. 1: This genset recently kept WNIS running for 38 hours.

David Morgan, CBRE, is the director of engineering for Sinclair TeleCable-Norfolk in Virginia. He enjoys the generator tips we share.

Inspect not only radiator hoses but also the belts on the engine pulleys.

He sent pictures of the emergency generator at WNIS(AM) 790 in Norfolk. It is a G.M. Diesel (from Detroit) Model 4-71. The gray electrical generator portion was replaced in 2003 after the old one self-destructed during Hurricane Isabel.

David reminds us of the importance of checking radiator hoses, seen at the upper end of Fig. 2, and to inspect the belts that interconnect the engine pulleys.

First disable the generator so it won’t start while you are inspecting it. Then gently squeeze the hoses. They should flex, and there should be no visible cracks in the rubber during flexing.

Before turning the generator back on, conduct a visual inspection of the belts. (A strong trouble light will help in this inspection.)

Locate the longest unsupported section of belt and inspect it for abnormal wear, such as glazing on the side of the belt or missing chunks of the belt. The latter can be caused by high temperatures from the heat of the engine or friction due to belt slippage.

Next, start the generator up and listen. Noise is the first indication of belt (and possibly pulley) problems. Belt squeal during start-up signifies slippage. Check for glazed sides of the belt. Also listen for squeals during a load test as the station’s electrical load is transferred to the generator. Under normal conditions, changes in RPM should not cause the belt to slip.

As the engine runs, watch for erratic movement or flutter in the belt as it turns. Either warrants further inspection by a generator technician.

As with a car tire, friction between the belt and pulleys will wear the belt away. The most common area of wear is on the tops and walls of the belt ribs. Eventually, this friction causes the grooves of the pulleys to bottom out on the grooves of the belt, with belt slippage as the result.

Poor alignment with the belt and pulleys is the biggest cause of noise. This condition can also cause belt fraying and premature wear.

The best way to inspect for this condition is to sight down the side of the belt to make sure the belt edge doesn’t make any bends away or toward the engine. Any deviation you can spot with your eye is excessive.

One other maintenance tip concerns care when adding oil or coolant to the generator engine. If either comes in contact with the belt, slippage can increase, and the slippage can cause even higher friction temperatures, resulting in more belt damage. Also inspect the seals around the water pump and the engine oil seals; leaks can contaminate the belt surface.

These tips about squealing belts also apply to air conditioning air handlers. If you hear a squeal, investigate!

Slow-leak finder

David wraps up his comments by noting that this generator recently powered the station for about 38 hours after Tropical Storm Isaias blew through the Norfolk area. Even older generators, when properly maintained, can provide long and reliable service.

David adds a comment about using soapy water to detect leaks in transmission lines and the associated manifolds and nitrogen tank fittings.

To spot difficult or very slow leaks, he has found it easier to use blue leak detector spray, such as Cal-Blue Plus brand from Nu-Calgon (www.nucalgon.com), which was developed for HVAC technicians to spot refrigerant leaks.

Fig. 3: Cal-Blue Plus stays really gooey for some time after spraying. This makes it easier to spot difficult or very slow leaks.

Unlike soapy bubble water, this spray stays really gooey for some time after spraying; the adhesion allows time for slow leaking nitrogen to bubble out. And because of its high viscosity, the bubbles are last a long time. The viscosity also enables the product to remain in contact with the applied surface for an extended period, making slow leaks easier to spot.

Cal-Blue Plus is non-corrosive to metal, meaning fittings and copper tubing will not be damaged by the compound.You can find it at places like Grainger and Home Depot, or via Amazon.

John Bisset has spent more than 50 years in the broadcasting industry and is in his 31st year writing Workbench. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award. Workbench submissions are encouraged, qualify for SBE Recertification, and can be emailed to johnpbisset@gmail.com.

The post Maintain Equipment for Long Life Spans   appeared first on Radio World.

John Bisset

These Companies Ran the Most Radio Spots in 2020

Radio World
4 years 5 months ago

Uncle Sam and Procter & Gamble were the two most frequent advertisers on U.S. radio in 2020.

Media Monitors issued rankings of the top advertisers for the year as measured by the number of spots they ran. (See charts at bottom; the first ranks the top parent companies, the second shows the top specific brands.)

It said the federal government ran about 5.9 million radio spots in measured markets, including ads promoting the census, while P+G ran about 5.3 million. Those two organizations also held the top spots last year.

But Progressive Insurance doubled its number of instances, airing about 2.7 million spots in 2020, rising from No. 9 to No. 3.

“Several new brands entered the top 10, including Babbel, which entered the top 100 at number five,” Media Monitors stated. “In September, the company reported its app had been downloaded more than 10 million times. Allstate jumped to number six from number 57, while Quicken Loans entered at number eight, up from number 18.”

Home Depot slipped in the rankings to No. 3 after being first last year; Lowe’s climbed to No. 4. Companies shooting way up the ranks from last year include T-Mobile and Allstate.

Falling out of the top 10 from last year’s parent rankings are former No.3 Live Nation Worldwide, which presumably reflects the loss of events during a pandemic, as well as Indeed Inc. and McDonalds.

 

 

The post These Companies Ran the Most Radio Spots in 2020 appeared first on Radio World.

Paul McLane

NAB Crystal Radio Entries Are Open

Radio World
4 years 5 months ago

The National Association of Broadcasters now is taking entries for its Crystal Radio Awards.

The awards honor community service efforts by radio stations in 2020.

Stations should submit entries via NAB’s new member platform, My NAB, describing their community service efforts for the past calendar year.

The deadline for submissions is Jan. 31; finalists will be announced in February.

Entry information is available here.

Last year’s recipients were AM station WSGW in Saginaw, Mich., and FM stations KRMG Tulsa, KUBL Salt Lake City, WDNS Bowling Green, WKRQ Cincinnati, KRWM Seattle, KVTY Lewiston, WHUR Washington, WREW Cincinnati and WSUN Tampa Bay.

The post NAB Crystal Radio Entries Are Open appeared first on Radio World.

Paul McLane

WMGG Has Turned on All-Digital AM

Radio World
4 years 5 months ago

A Florida AM radio station is now on the air full-time with all-digital transmission, committing its 1470 signal strictly to listeners who have digital receivers.

Neal Ardman told Radio World that WMGG switched on its new Nautel transmitter, purchased for this purpose, on Tuesday morning. The station has an FM translator that continues to serve analog listeners at 96.1. The station airs Spanish-language programming.

If all-digital HD Radio technology for AM takes off in the United States, WMGG’s move would be seen as an important milestone.

Until now — beyond various test projects involving the National Association of Broadcasters and others — only one AM station in the country, Hubbard’s WWFD outside of Washington, D.C., has been using the technology consistently. It did so under special temporary authority while expressing the intent to retain it permanently. A second in Indiana, WIOE, experimented with it for several months last year but then turned it off for the time being.

But WMGG is believed to be the first station to take the step since the Federal Communications Commission said it would allow AM owners to deploy all-digital under normal operational rules rather than under an STA.

WMGG is a Class B station in Egypt Lake, near Tampa, airing a directional signal via a diplexed array. It has 2.8 kW power by day and 800 watts at night.

Ardman said the station had been testing the all-digital mode at night until throwing the switch this morning full-time. He expressed excitement about the digital quality and the lack of noise in areas where the signal usually fights noise sources.

The station has changed its legal IDs but so far has not done additional marketing or branding.

Among reasons for making the switch, he said, is the receiver penetration of HD Radio in cars in the market, which he said was in the 30% range and growing. Ardman said he expects that over time, major broadcast groups in the country will come to embrace the all-digital format.

A Radio World interview with Ardman will be featured in a ebook later this month about what’s next with all-digital on AM in the United States.

Under the recent FCC order, all-digital operation is allowed both day and night. There’s a 30-day waiting period before converting to all-digital “so that transitioning AM stations can provide adequate notice to the commission, consumers and other potentially affected stations.”

Digital stations still must participate in the national Emergency Alert System.

[Read more “Takeaways From the Digital Radio Order,” October 2020]

 

The post WMGG Has Turned on All-Digital AM appeared first on Radio World.

Paul McLane

LAist Studios Gets $500K CPB Grant

Radio World
4 years 5 months ago

Southern California Public Radio has received a half-million-dollar boost for its LAist Studios division.

LAist Studios is SCPR’s podcast development and production arm. The money is a two-year grant from the Corporation for Public Broadcasting to advance the growth of the division and its “mission of addressing the content needs of young and underserved audiences.”

[Visit the Radio World Calendar]

LAist Studios launched in 2019 and aims to “go beyond the surface to reflect the rich cultural landscape of Los Angeles and embrace the diverse voices of the region’s community.” Its shows include “The Big One,” “Servant of Pod,” “Hollywood, the Sequel,” “California City,” “California Love,” and “Norco ’80.”

SCPR noted that “California Love” made Apple’s Favorite Podcasts of 2020 list, and Spotify named it one of the Top Podcasts of 2020. “California Love” has also garnered several awards from Adweek and Bello Collective.

CPB and SCPR said Latino audiences make up nearly half of the Southern California region. “The funding will support staffing and help LAist Studios empower up-and-coming content creators by giving them the tools to develop shows and engage diverse young audiences,” according to a press release.

The announcement was made by CPB Senior Vice President, Radio, Journalism and CSG Services Kathy Merritt and SCPR Chief Content Officer Kristen Muller.

The post LAist Studios Gets $500K CPB Grant appeared first on Radio World.

RW Staff

Best Practices for Reporters Covering Unrest

Radio World
4 years 5 months ago
Bullet holes on an entrance of the U.S. Capitol January 7, 2021 (Photo by Alex Wong/Getty Images)

For reporters and stations covering civil unrest, the Minnesota Broadcasters Association shared links to several helpful resources.

“It goes without saying that journalists and broadcasters are in the front line,” the association wrote in an email to members. “Tensions are expected to rise leading up to and through the inauguration.”

Most if not all of the resources below were published prior to the events of last week.

-Poynter published “23 guidelines for journalists to safely cover protests” last June as demonstrators protested police brutality and the death of George Floyd. Sample advice: Your attitude is crucial; clearly identify yourself; have a constantly updated escape route; and consider hiring your own security.

-Reporters Committee for Freedom of the Press offers tips for both before and during protests, including researching riot control tactics for the area ahead of time; having a plan in case you get “kettled” along with protestors; avoid breaking the law yourself; and how to handle police seizures of equipment.

-The RTDNA offers guidelines for journalistic best practices, such as being skeptical of crowd estimates and not using words like protester and rioter interchangeably. “Protest can be legal or not. Rioting is by definition a crime.”

-The National Association of Broadcasters said last summer that it was “gravely concerned about recent violence against journalists who are legally covering the protests taking place across the nation.” The NAB posted a lengthy list of relevant resources that touch on topics like best practices for covering crises on Twitter;  guidelines for journalist arrests; a protest curfew order tracker; and a verification handbook for covering user-generated content during emergencies.

[Related: “How WTOP Covered the Assault on the Capitol”]

 

The post Best Practices for Reporters Covering Unrest appeared first on Radio World.

Paul McLane

2021 Celebration of Service Nominations Open

Radio World
4 years 5 months ago

The National Association of Broadcasters Leadership Foundation has announced that it is now accepting entries for the 2021 Celebration of Service to America Awards, recognizing outstanding community service by local broadcasters.

Eight Service to Community Awards will be presented, with one radio and one television honoree in each of the following categories: Large/Major Market (TV DMAs 1–50, radio markets 1–50); Medium Market (TV DMAs 51–100, radio markets 51­150); and Small Market (TV DMAs 101­210, radio markets 151–300).

The event won’t be a traditional ceremony at a location but rather a produced one hour program with “celebrity guests, past honorees and D.C. policymakers commending local radio and television stations from across the country for their exceptional commitment to public service and the extraordinary measures taken throughout 2020 to keep communities informed, supported and safe.” Award winners and finalist will also be honored during the event, to be available in the summer.

NAB members and nonmembers are eligible to enter. Entries must be submitted by March 5, at 11:59 p.m. PST. More specific details can be found here.

 

The post 2021 Celebration of Service Nominations Open appeared first on Radio World.

RW Staff

How WTOP Covered the Assault on Congress

Radio World
4 years 5 months ago
The crowd overruns and adapts barriers at the U.S. Capitol in this photo by WTOP’s Alejandro Alvarez.

Even before pro-Trump protestors gathered at Washington’s Ellipse on Jan. 6, 2021, journalists at WTOP, Hubbard Radio’s highly rated all-news radio station, were aware that it would be no ordinary political rally.

“We knew that there were going to be a lot of people in attendance,” said Director of News and Programming Julia Ziegler. “We knew which groups had permits to be there — there were many of them — and we knew that the president would be speaking. So you had all the makings of a very large event.”

Still, it was shocking when the election protest and rally turned into violent attacks in and around the Capitol building. When it did, the three WTOP reporters on site and the entire WTOP news team kept Washington informed.

Ready for trouble

There were signs that the rally would be emotionally charged. The president had spent two months fanning political division with unfounded assertions about a rigged election. Even the name of the event, the “Save America Rally,” was designed to stoke fury as the joint houses of Congress were ratifying Joe Biden’s Electoral College victory down the street.

Still, there have been emotionally-charged political rallies in Washington over the last year. WTOP field reporters Alejandro Alvarez and Ken Duffy knew to keep a low profile by using their consumer smartphones to file reports and capture/file photos, audio and video back to the station.

“In these kind of tense situations, you always have to think about what makes you a target as a reporter,” said Ziegler.

“So if you’re a journalist out there recording on your phone, you can mix into the crowd where everyone else is using their phones.”

Given the subsequent events — with protestors painting “Murder the Media” and smashing an Associated Press camera position, and with subsequent videos emerging of crowd confrontations with other journalists — their caution seems prudent.

“We always tell our reporters to pull back as need to stay safe,” she added. “At certain points during that day, they had to.”

Getting news to the station

The downside of using smartphones at public events is that wireless networks are prone to slowing down due to traffic.

WTOP’s reporters relied on WhatsApp to get their audio and text messages back to the station. They have found WhatsApp to be pretty reliable even when cell service starts to fail. They also use Skype and Slack as well. For video, WTOP uses Slack or pulls videos from Twitter.

“The fact that WhatsApp sends out content as soon as you record it really helps,” said Ziegler. “You don’t have to upload or download it after recording: It just goes.”

Those incoming feeds turned up on a common channel that is shared among the WTOP newsroom staff so that everyone can see what’s coming in as it arrives.

Capitol Hill Correspondent Mitchell Miller was at his broadcast booth at the House of Representatives, keeping an eye on the joint session.

Equipped as it is with a suite of links back to WTOP, Miller was in place when doors and windows were smashed and people started breaking into the Capitol building. He provided a steady stream of reports about the invasion no matter what was going on.

“Mitch is fabulous. He’s been with WTOP for a very long time, and he’s just one of those reporters who gets it and understands what the audience needs to hear in that moment,” said Ziegler.

“Whether during the lockdown or afterwards when he was being evacuated along with the Capitol Hill staff, Mitch kept us fully informed with multiple reports per hour as the situation evolved.”

Miller wrote after the event: “When guns were drawn and furniture was moved to block an invasion of rioters from the U.S. House chamber, the danger here at the Capitol was very clear. My broadcast booth is located across the hall from the House chamber, and as the Capitol went into lockdown, the doors of the area where I work with other Capitol Hill reporters were locked for safety.

“Every door that shut loudly, along with the dull roar of people inside and outside of the Capitol, ratcheted up the tension.”

He continued: “When we found out that a woman had been shot inside the Capitol, concern for everyone’s safety continued to rise. I later learned that the shooting happened just a floor below us, in an area known as the Speaker’s Lobby, which is outside the House chamber. I was also alarmed when I saw all the protesters gathered on the steps of the east side of the Capitol. That never happens.”

Despite the danger around him, “I continued to report on the events in real time, all the while trying to remain fully aware of my surroundings, which were troubling, to say the least,” he wrote.

“Late Wednesday afternoon, we were told by the staff in the House Radio and TV Gallery that everyone in our area needed to evacuate … We quickly gathered up our broadcasting equipment and started moving through the maze of underground tunnels that connect the Capitol to the House and Senate buildings. We were escorted to a media room in the Rayburn Office Building. We were able to still report on what was happening as we essentially sheltered in place, as lawmakers and staff members were doing.”

WTOP field reporter Alejandro Alvarez was outside watching the angry crowd as the president’s incitements spurred the crowd to violence.

“There was one precise moment I can point to when I realized that something immeasurably terrible was underway,” wrote Alvarez afterwards.

“It was in the middle of President Donald Trump’s speech, shortly after he had urged his supporters to head for the Capitol … ‘Move forward, patriots, we’re taking the Capitol,’ was one of the first things I heard on arrival at the West Lawn, where the air stung from lingering mace … ‘We’ve been nice for too long,’ I heard someone yell. And another: ‘Where are the gallows?’”

Later in the day, Ziegler said, “There was one point where Ken Duffy was live when the police were repelling the protesters. He’s describing what’s happening to him in the moment and saying things like, ‘Stay with me, Shawn [WTOP anchor Shawn Anderson], give me just a second. I’m getting pushed back. I need to move over here.’ When you hear that, it’s just so captivating, and we had so many of those moments.”

Photo by Alejandro Alvarez of WTOP shows people on scaffolding intended for the upcoming inauguration. One sign reads, “We the people will bring DC to its knees. We have the power.” In the newsroom

As the afternoon’s chaotic events unfolded, news staff at the station’s broadcast facilities just across the District border in Chevy Chase, Md., worked to get the news to air.

The hub of the action took place in WTOP’s open newsroom, whose numbers had been depleted due to people working at home thanks to COVID-19.

“Normally we have everyone together in the same room — our broadcast, on-air, and web staff — so that there’s constant one-to-one yelling of information back-and-forth,” said Ziegler.

“To include at-home workers in this during the pandemic, we set up a open conference line and speakerphones so that everyone on shift can talk to and hear each other, whether they are in the newsroom or not.”

This open line of communications made it easy to share news from Capitol Hill as it came in. Meanwhile, whenever someone got swamped by the rush of information, other staff members stepped into help.

“It may sound corny, but we really work as a team,” said Ziegler. “It’s how we’re able to do what we do.”

During its wall-to-wall coverage of the insurrection, WTOP dropped commercial breaks from mid-afternoon Jan. 6 going into the next morning. “But we kept the other breaks built into the clock such as traffic and weather every 10 minutes, sports at :15 and :45, and business at :25 and :55,” Ziegler said.

“Maintaining the traffic reports was incredibly important, because the impact of the riot on traffic was a big part of the story. This said, the rest of the broadcast just flowed organically, as usually happens during a breaking news event.”

A couple of days after the assault, with additional images of Jan. 6 violence against both law enforcement and journalists emerging on social media, Alvarez wrote in a tweet, “I have plenty of colleagues on this beat who’ve been attacked or arrested. You know the risks but can’t help but wonder if your next assignment is the one you won’t get to walk away from safe and sound. It’s always at the back of my mind.”

More trouble to come?

Not long after the assault had ended and a curfew implemented, the building was protected by a seven-foot metal fence and the National Guard. Joe Biden had been confirmed as winner of the presidential election, and his inauguration was set to proceed on Jan. 20 — without President Trump in attendance.

The WTOP news team was pressing on to cover the aftermath, as the nation wondered how Trump’s last days in office would unfold, and reports surfaced of further threats against public officials and public buildings between now and the inauguration.

Ziegler expressed pride in WTOP’s team and how they have endured a year of crisis.

“We have gone through COVID, all the protests all throughout the summer/fall of 2020, and then the election. So we’ve been running a marathon and with the inauguration still to come, it’s still not over.

“Journalists are mission-driven people,” she said. “Our purpose is to help people, and our mission at WTOP News is to make sure that we are providing our community with everything they need to know about the biggest stories of the day. [Jan. 6] was huge from many different perspectives, but it’s not the only huge story we’ll be covering this year.”

 

The post How WTOP Covered the Assault on Congress appeared first on Radio World.

Paul McLane

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