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The author is owner of Kline Consulting Group LLC.

It’s time to build that new studio (or upgrade an existing one) and everyone on the team is excited. Whether you are constructing a brand new facility or simply renovating it, there are common considerations to keep in mind to ensure you are satisfied with the end result.

1. What’s ideal? From the outset of designing your new studio you need to ask what the meaning of “ideal” is. After all, there are many opinions on what the ideal studio looks like. Ask your colleagues, program directors, managers and do some online research. Chances are you will get a lot of feedback with varying responses. Write all of them down and prioritize what’s important.

This list will likely get filtered and organized based on your budget, timeline and resources. The important takeaway here is that you first think about what is ideal and then define it. Not in a vacuum, but with the meaningful input of your end-users, stakeholders, engineers, and thorough research. Be creative. Be different. But don’t forget an ideal studio should always include good engineering practice.

2. Organization and structure. Put a project management team in place from the onset. Your project may be just one small studio, or it may be a building full of content-generating technology. It may be limited in scope and budget or it may be very large with many moving parts. Regardless of the project extent, you should have a clearly defined decision-making structure in place.

This will help with prioritization and refinement of the myriad of design requirements that you will encounter. When you have several passionate individuals on a design team it takes leadership and structure to make balanced decisions. Studios rarely get built without outside help. Contractors and system integrators may occasionally need assistance navigating a problem or unexpected hiccup. The project leader should be empowered to coordinate and delegate as necessary to deal with such an event.

Good structure also helps to avoid budget issues and schedule delays. As the lead engineer and/or project manager, make sure you are in on the design phase early so you can incorporate critical requirements into the drawings. I’ve seen too many studio designs that were “backed into” because things such as HVAC, MEP, the lobby, the kitchen, or the office space had been designed (perhaps commissioned) before important broadcast technical design considerations were integrated.

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I’ve also seen leases signed before the technical design team was consulted. Roof rights (and access), satellite dish placement, telecom availability, floor load capacity, microwave path, generator availability and restrictive landlord regulations are just some of the critical issues a person who is not experienced in broadcast technical requirements may overlook.

3. Reflect on user experience and user interface. Build a modern, impressive and user-friendly studio. Examine every inch of the space you are designing very closely. Carefully consider every decision you make about the location and placement of objects in each individual room. Start with the furniture layout as this is crucial.

Credit: Gary Kline

Furniture design can improve the quality of the on-air content because the layout and look sets the mood (and interaction) in the room. Invest in the nicest looking and well-constructed studio furniture your budget will allow. Things such as video monitor placement, mic arm style and height, lighting, ergonomics, line-of-sight, windows, workspace, control surfaces, table and chair height and room size/layout will have an impact on the user (and guest) experience. Also, consider consolidating different software systems (playout, editing, contesting, call screening, social media, etc.) into one or two screens. This eliminates the wall of monitors many studios have. It also allows for a better and more efficient user interface, while improving line of sight to the other talent or guests in the room. There are different opinions about what constitutes a good interface and experience for the user. Some people want lots of buttons and flashy lights. Some take a minimalist approach with very little “tech” in the room. Some studios incorporate glass screens for the mixing desk, bypassing the traditional tactile faders and knobs often used. Some people want to sit down, some want stand up and some studios have motorized adjustable furniture height, etc.

Design your UI/UX so that it makes the most sense for your needs. This may require considerable research, time and a team effort to produce a good plan. Organize meetings and interviews with the end users and listen to them. Their input is valuable, as they will use the studio every day. Additionally, your architect, interior designer, studio furniture vendor and even Google can help you with creative ideas.

4. Acoustics. Stellar room acoustics probably has more to do with the quality of how the announcer or live performance sounds than the fancy electronics you just purchased. Do not underestimate the significance of this. In most radio studio environments, you don’t want a “live” sounding room because that will take away from the intimacy and intelligibility of the air talent.

We’ve all heard the hollow or echo effect in a poorly built studio when one or more mics are open. Instituting proper isolation so that there is no sound leakage outward and no external noise inward is imperative. There are ways to quantify isolation such using an STC rating. There are different STC ratings for materials such as sound panels, doors, windows, and external walls. Budget and design requirements will dictate your choice for a minimum STC rating. Each room has its own set of design criteria. Take a newsroom for example. That space may not require isolation, hoping that the inherent background room noise adds additional credibility over the air.

This topic is too large to cover everything here. Just keep in mind that acoustical design involves specialized construction techniques and materials, something your architect, interior designer, or acoustical consulting engineer can help you with. If you don’t have the budget to hire a consultant, there are many acoustic design examples online in addition to books and articles. Reach out to your engineering buddies or a mentor and ask them for advice.

5. Future growth and expansion. It helps to group this subject into categories: Physical growth inside the existing space, growth into an external location, technology upgrades of existing infrastructure, and expansion into new technologies. As you think about the future, here are just a few things to deliberate. Will you need additional studios later? How many? To serve what purpose? Is a particular studio that you are constructing firmly dedicated to a purpose that could change later? Did you leave enough expansion space for additional studios, offices, technology, or a surprise request?

Can you add new studios, streams, metadata, storage, and production capability, etc. quickly and cost-effectively? Did you box yourself in with a tech platform that won’t scale as you grow? Did you choose an audio protocol that is too proprietary?

Did the business office review your key suppliers’ finances to ensure they will be in business long-term? Have you studied broadcast technology trends to understand what the world might look like in three to five years? Does your physical plant and technology platform lend itself toward those future trends? Again, these are just a few things to think about. So remember to consider the future and its potential impact on what you are building today.

6. Speaking of technology. What technology will you use? Is there an organized approach to defining and selecting the technologies, which will be the cornerstone of your build out? Almost everyone builds his or her new radio studio using a digital platform. Which AoIP platform and protocol(s) will you use? Is it compatible with other popular formats and equipment?

If your facility will be producing video such as visual radio, branded content, or podcasts, have you carefully researched what equipment is needed to do that? Do you understand the special requirements that a podcast creator might need as it relates to technology? Do you have a visual radio strategy and technical plan? (see Radio World ebook Trends in visual Radio 2019.

Do you have a media asset management system in your plans? Will you index your audio, so it is searchable? Metadata for audio content is a hot topic these days. Will your metadata content look consistent across HD Radio, DAB, and most importantly, hybrid radio/connected car?

Did you include the digital team in these discussions? Will you build a large legacy TOC (rack room) or will you make use of the cloud where possible? Have you considered using virtualization to aggregate and manage things such as console engines, audio processing, streaming, codecs, transmission, and many other functions?

Have you researched the latest trends in production software and workflow for audio and video? Are you building a live performance space? Does it incorporate the proper technology needed by musical acts? The list goes on but in short research as much as possible to ensure that you’ve made informed technology decisions in your design.

7. Social Media. Do you have a mediacentric IT fabric to support the specialized requirements of bandwidth-heavy digital audio and video? Is your facility optimized to communicate with your listeners given we live in the age of numerous voice and video apps and use them to engage with the audience? Can you put a Skype, Zoom, WhatsApp or mobile app on the air easily and reliably?

Do you support cellular HD voice calls? A simple POTS request line is no longer enough on its own to connect with the audience. Do you support real-time high-quality feeds to YouTube? FB Live? IGTV? Twitch? Do you plan to incorporate automatic speech-to-text intelligence so that some or all your content is searchable? Did you plan for a social media dashboard UI in the studio? You can track real-time audience sentiment using specialized software now — why not show that on that dashboard?

There are software and hardware products available to aggregate the relevant various social media platforms for broadcasters that are very powerful.

8. Security. Given the security breaches and ransomware attacks that have become reality, and considering how almost everything at the radio station connects to the internet, are you prepared? Do you have a security-aware culture in place? Your new studio and facility design should have an IT security framework, which would include redundancy, backups to the cloud, and a quick restoration plan. No studio design should ignore the potential for externally introduced malware. Do you have segregated networks and layers of security that surround them? Did you design each aspect of your studio and office technology with cybersecurity in mind? A simple firewall isn’t enough. Most experts agree it is not a matter of if, but when — so have a plan in place. (See Radio world ebook Cybersecurity and Studio Disaster Recovery.

9. Innovate. Don’t be afraid to innovate and think outside of the box. So many studios look similar — a desk, chairs, microphones, computer monitors, panels on the wall, fancy track lights, and a window. There is nothing wrong with that. However, some very modern facilities are being designed to look different from the typical studio layout. Avoid the typical console and chair cookie-cutter studio.

Design for the user experience and to enhance the on-air product. Design the workflow for the users so that it is easier and less time-consuming to do their job. Design a studio that can increase station revenue. Here’s an example of thinking outside the box: Do studios still need walls? There are examples of studios being built without walls nowadays or without physical consoles. There are also studios designed in the cloud, which allows for a less techy studio but more room for the talent. Sometimes, less is more.

10. Ask for help. It’s ok to ask for help. Every one of us has conferred with others to brainstorm or solve a problem at one point. Your architect, general contractor, electrician, mechanical engineer, and colleagues are there to help and share knowledge. Tour other stations.

Some of the best studios incorporate ideas from other creative designs. Dig into the thousands of photos online of cool radio and recording studios. Your studio furniture vendor has worked with many layouts across various projects. They will be another great resource for you and can, in many cases, share drawings and photos.

Build a well-thought out facility that achieves your team’s goals using all of the resources and expertise available to you.

The post Ten Tips to Help You Build Your Best Studio appeared first on Radio World.

FCC denies the Petition for Reconsideration filed by Chehalis Valley Educational Foundation seeking review of the Commission's denial of the licensee's Application for Review conerning its request for a change in community of license

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Commission adopts an Order making revisions to parts 73 and 76 of the Commission's rules to eliminate obsolete transitional public file requirement language

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Diversity Advisory Committee to Meet Electronically on April 28, 2020

Radio is evolving, engaging and also enduring! Radio World is proud to note the upcoming 100th anniversary of the famous “first commercial broadcast” with a series of articles all year long celebrating the many historical and modern faces of radio. Look for three special stories in this issue.

Read it online here.

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

SPECTRUM
C-Band Plan Aims to Limit Broadcast Disruption

The FCC’s package includes reimbursement to displaced stations — if they registered earlier.

NEW PRODUCTS
Buyer’s Guide: Transmitters

Learn why your industry colleagues chose the particular brands and models they did.

 

HISTORY SPECIAL

• Proof of Performance, 1970s Style
• Brave New Radio Airs Live From Marconi’s Home
• 3XN: When a Dairy Farm Became a Radio Blaster

The post Inside the March 18 Issue of Radio World appeared first on Radio World.

Radio professionals and audio companies are beginning to heed the call for “social distancing” while continuing to do their jobs as first informers during this critical time, as of Wednesday morning.

The Society of Broadcast Engineers asked its chapter chairs to refrain from holding in-person meetings for the next two months. Instead, SBE encouraged them to “meet virtually through any capabilities you may have available to you,” according to an email shared by Chapter One Chair Paul Kaminski.

Westwood One‘s blog explored how the coronavirus situation has “shifted the American workforce and altered habits,” including percentages of people working from home. Ipsos did a national study for Cumulus and Westwood One. Read the findings. 

Artificial intelligence company Veritone says its three main AI offerings — Veritone Essentials, Attribute and Digital Media Hub — will be free for the next two months. The company hopes its cloud-based software will mitigate “business disruption” from coronavirus and the sudden shift to remote work. 

Alan Peterson’s temporary basement studio

Radio World friend and national production director for Radio America Al Peterson wrote in to share how he’s handling his new work from home situation. He’s quick on his feet: “Within two hours of the notification, I had this mess assembled and patched together from old idled components stored in my basement and garage. One dual-core computer was set up as a DAW using Reaper software and FTP’ing show files back and forth to the network. A second underpowered PC handled VoIP duties, with everything mixed through a 1997 Mackie 1202 connected to long-retired M-Audio Delta audio interfaces. Talkback was via an MXL ribbon mic and, with no landlines coming into my house anymore, the ‘call-in’ line was my cellphone jerry-rigged to the Aux I/Os of the mixer.” 

Peterson told RW he plans to improve his setup over the weekend — “I’ll be ‘prettying up’ the cabling for safety, adding to my VoIP capabilities and mounting everything to make sense and not topple down on me.” 

He also pointed out that Cockos Inc. is offering a temporary gratis license for the Reaper audio production software to help those social distancing.

Beasley’s WMMR uses metadata to urge listeners to practice social distancing, wash their hands and communicate other coronavirus advice.

Streamer TuneIn has introduced a Coronavirus News channel populated by local stations and national networks, as well as relevant podcasts. Importantly, listeners can search by state to ensure they’re up to date on the situation in their area. 

Radiodays Europe announced the 2020 event has been rescheduled for Dec. 13–15. It will still be held at Portugal’s Centro de Congresses de Lisbon. All tickets purchased for the original March dates will be honored.

In Philly, radio engineer Benjamin Woodring posted this photo on social media noting the use of metadata by radio station WMMR to send public health messaging.

The New Jersey Broadcasters Association sent out an email to members with information about COVID-19 and urging them to follow protocol to prevent the spread of the disease.

To learn more about broadcasters’ efforts earlier in the week, check out our industry updates from Monday and Tuesday. 

The post Radio Pros Social Distance, Companies Offer Software Trials and More appeared first on Radio World.

GettyImages/ jaroszpilewski

FCC Chairman Ajit Pai’s aggressive timeline to reallocate part of the C-Band for advanced wireless services, including 5G, is now on full display. Radio entities are starting to look ahead to the possible infrastructure implications and costs.

The C-Band is a 500-megahertz segment of spectrum now used by satellite companies to distribute audio and video content to broadcasters and cable systems. Pai’s plan, which he detailed in February in draft form and which was approved in late February, would make the lower 280 megahertz of the C-Band (3.7–3.98 GHz) available for flexible use, including 5G, through a public auction, which the chairman wants to begin in December.

Incumbent satellite services are to be repacked from that 500 MHz to the upper 200 megahertz of the band (4.0–4.2 GHz). The FCC’s goal is for incumbent earth station operators to be adequately transitioned and able to continue operations without interruption. 

In addition, there will be a 20 megahertz guard band (3.98–4 GHz) cleared during the process to prevent interference. The fixed satellite services community agreed with the FCC that 200 megahertz of spectrum is sufficient to support current satellite services and even allow for some expansion of services.

Relocation costs of the band’s current users will be covered, according to the chairman’s plan. The FCC acknowledges new satellites will need to be launched and filters replaced on earth stations as part of the repack.

The Report and Order specifies “reasonable relocation costs of the C-Band’s current users will be covered through reimbursement by the winning bidders in the C-Band auction,” according to the FCC. 

STATION COSTS

There are provisions within the order that spell out reimbursements to incumbents, such as radio stations, that have C-Band earth stations that will be affected by the relocation of spectrum (see Reimbursement Considerations section ). There are approximately 20,000 receive-only dishes in the contiguous U.S., according to the FCC.

“There has been extensive discussion of the work and costs that could be incurred by incumbent earth stations, those who were properly registered with the commission. And the possible costs they’ll be reimbursed for, such as new filters, potentially labor costs to re-point antennas or installing of new antennas,” according to a senior FCC official.    

Details on eligibility requirements and how stations would submit for reimbursement are expected later in 2020.

At least one source believes that a substantial number of small rural radio and television stations and private networks that rely on C-Band programming failed to submit registration filings and so presumably will be ineligible for reimbursement funds. 

Groups like the NAB, SBE and Westwood One urged stations to register during the FCC’s 2018 window. But the source, who works in the satellite infrastructure part of the industry, believes that possibly thousands of earth stations used by radio stations may remain unregistered because the application fee and burdens of registration were cost-prohibitive for some providers. 

The FCC acknowledged such concerns in its draft but wrote that it will not open another window for the registration of earth stations. 

“I estimate at least 25% of radio stations did not register their C-Band downlinks before the deadline, and they will be cut off from reimbursement of their costs to upgrade dishes,” according to the source. “Their decision may have cost them each $1,000 to $5,000 because new equipment must be installed on their dish to block upcoming 5G cellular interference.”

The insider says the FCC’s reimbursement plan is “quite generous” and will protect the majority of radio broadcasters but that unregistered earth station owners will have to pay for the new gear out of their own pockets. 

“That might be a $500 dish filter and a few hundred dollars for labor to repoint it, but what happens if the dish has marginal reception already? It might become unusable, and then you need a new $4,000 dish and more money for a new pad,” he said. 

“EXTRAORDINARILY COMPLEX”

The National Association of Broadcasters called Pai’s plan “an important step toward ensuring a stable C-Band ecosystem following reallocation,” said NAB Executive Vice President of Communications Dennis Wharton. 

National Public Radio has been pressing the FCC for clarity about the financial ramifications of a massive C-Band migration of satellite earth-stations. NPR has a lot riding on the FCC’s decision since the Public Radio Satellite System depends on C-Band for distribution of programming to approximately 1,278 public radio stations.

“Because the process to clear the lower portion of the C-Band for 5G services and to repack incumbent C-Band users in the upper portion of the band will be extraordinarily complex, NPR has encouraged the commission to invite public comment at key points as satellite operators’ transition plans and activities progress, so that any deficiencies may be identified and resolved,” it wrote.

NPR, according to an ex parte notice about its communications with the FCC, proposed measures to ensure reimbursement of all transition-related costs incurred by current C-Band users and to mitigate interference from new 5G services.

The FCC, which says it has broad support for its C-Band plan across Capitol Hill, expects the cost for all incumbents to transition in a repack to range from $3 billion to $5 billion, which includes new satellites and filters on earth stations. Specifically, the FCC estimated earth station costs in the range of $1 billion to $2 billion for repacking transponders, filter installing, re-pointing earth station dishes and antenna feeding. 

Pai says the FCC is committed to covering all relocation costs incurred by satellite operators and broadcast networks. His draft Report and Order cautioned: “We recognize that incumbents may attempt to gold-plate their systems in a transition like this. Let us be clear: Incumbents will not receive more reimbursement than necessary, and we require that, to qualify for reimbursement, all relocation costs must be reasonable.

“We expect incumbents to obtain the lowest-cost equipment that most closely replaces their existing equipment or, as needed, provides the targeted technology upgrades necessary for clearing the lower 300 megahertz.”

In an ex parte notice of its own, the NAB said it understands the interest in “avoiding gold-plating of facilities during the transition,” but “the commission should not require or allow the clearinghouse to second-guess specific commitments already made by the satellite operators that are necessary to ensure continued service, or specific technology choices made by programmers. This is particularly important because there will not be one-size-fits-all solutions for the transition.”

Under an accelerated relocation incentive package, Pai’s plan will allow fixed satellite operators and other incumbents to tap a pool of another $9.7 billion if they meet the accelerated milestones. The FCC specifies it will offer incumbent space station operators the option to accelerate the repack process for the lower 120 megahertz during Phase I of the accelerated relocation, which needs to be completed by Dec. 5, 2021. To be eligible for Phase II payments, operators must clear the remaining 180 megahertz by Dec. 5, 2023. 

Pai’s plan requires the 280 megahertz of spectrum to be transitioned to flexible use in the United States by Dec. 5, 2025.  

“We find a mix of carrots and sticks best accommodates the need to clear FSS operations out of the lower 300 megahertz as quickly as possible to facilitate new terrestrial, flexible-use operations and the need to preserve the content distribution ecosystem now contained in the C-Band,” according to the proposal. 

The FCC for now will retain C-Band operation in areas outside the contiguous U.S. It excludes Alaska, Hawaii and Puerto Rico from being repurposed for terrestrial wireless use.  

The lower 280 megahertz of the C-Band will be made available for flexible use, including 5G, through a public auction (Auction 107), which the chairman wants to begin in December. Pai did not disclose how much the FCC hopes to generate from the spectrum auction to 5G service providers. 

The push for deploying advanced wireless services has been high on Pai’s agenda, observers said. The FCC’s 5G FAST plan is to free up more spectrum for wireless carriers and promote wireless infrastructure deployment, according to FCC filings.  

The Report and Order establishes a Relocation Payment Clearinghouse to manage the intake, payout and auditing of relocation funds for incumbents. It also establishes a Relocation Coordinator to oversee the technical aspect of the transition and develop timelines, according to a senior FCC official. The commission will require satellite operators to submit a transition plan by this summer describing the estimated costs and the necessary steps needed to clear the bottom 300 MHz of spectrum.

The NAB in February asked the commission to allow satellite customers to comment on each satellite operator’s transition plan before approving it.  

The C-Band Alliance, which included satellite operators Intelsat, SES and Telesat, had originally proposed a private sale of the spectrum, which was rejected by the FCC. The C-Band Alliance has since dissolved. 

SES and Telesat issued statements praising the FCC’s leadership on the issue following the release of the Report and Order in February. 

However, some industry observers still worry the FCC spectrum auction could face legal challenges and delays. Bloomberg Law reported in early March that Intelsat is considering a possible Chapter 11 bankruptcy filing if the FCC fails to boost the compensation levels paid to operators for vacating part of the C-Band spectrum. The FCC has said it won’t reconsider.

Intelsat is eligible to receive up to $4.87 billion in proceeds, according to the Report and Order, which is about half of the compensation pool. 

The FCC makes the argument that there is plenty of room for all of the lower C-Band to be repacked to the upper 200 MHz.  

“In March 2019, the most recent month of data collected, the combined FSS downlink capacity and usage of the 66 satellites was, respectively, 59,427 megahertz and 33,138 megahertz in total with 19,961 megahertz of usage providing service to the United States (i.e., 33.59% of the total capacity of the 66 satellites),” a senior FCC official wrote in an email to Radio World. 

The FCC adopted the C-Band Report and Order at its open meeting in late February, bypassing a notice of proposed rulemaking. The FCC expected to open a comment period on the auction procedures.

Chris Imlay, general counsel to the Society of Broadcast Engineers, said fairness in spectrum allocations decision-making is rare, because there is almost always a preferred outcome determined in advance. 

“In this case, the FCC’s only real priority was to roll out 5G, and try to keep up with the rest of the world in the process,” he said. “A more fair way to proceed, as I saw the matter, would have been for FCC to internationally harmonize the 5G mid-band spectrum allocation, and match the European plan to use 3.4-3.8 GHz instead of 3.7-4.2 GHz. Had FCC done this, the C-Band would have been left largely alone.”

REIMBURSEMENT CONSIDERATIONS 

Here’s what the FCC C-Band Report and Order says about reimbursements for operators of incumbent earth stations:  

For incumbent earth station operators, we expect the transition will require two types of system changes that may occur separately or simultaneously: earth station migration and earth station filtering. 

First, earth station migration includes any necessary changes that will allow the earth stations to receive C-Band services on new frequencies or from new satellites once satellite operators have relocated their services into the upper portion of the band. For example, in instances where satellite transmissions need to be moved to a new frequency or to a new satellite, earth stations currently receiving those transmissions may need to be retuned or repointed in order to receive on the new frequencies or from the new satellite. Such a transition requires a “dual illumination” period, during which the same programming is simultaneously downlinked over the original frequency or satellite and over the new frequency or satellite so that the receiving earth station can continue receiving transmissions from the original frequency or satellite until it retunes or repoints the antenna to receive on the new frequency or satellite. 

Earth station migration may also require the installation of new equipment or software at earth station uplink and/or downlink locations for customers identified for technology upgrades necessary to facilitate the repack, such as compression technology or modulation. 

Second, passband filters must be installed on all existing earth stations to block signals from adjacent channels and to prevent harmful interference from new flexible-use operations. Earth station filtering can occur either simultaneously with, or after, the earth station migration. All of these earth station migration actions must be coordinated with satellite transponder clearing in order for earth stations to continue receiving existing C-Band services during and after the transition. As such, we expect relocation costs to include the cost to migrate and filter earth stations, including costs to retune, repoint and install new antennas and install filters and compression software and hardware.

Some commenters request that the commission give incumbent earth station operators flexibility to replace existing earth stations with fiber in their transition planning. We agree that providing incumbent earth station operators flexibility may allow them to make efficient decisions that better accommodate their needs. But we also recognize that replacing existing C-Band operations with fiber or other terrestrial services may be, for some earth stations, more expensive by an order of magnitude. 

As such, incumbent earth stations operators will have a choice: They may either accept reimbursement for the reasonable relocation costs by maintaining satellite reception or they may accept a lump sum reimbursement for all of their incumbent earth stations based on the average, estimated costs of relocating all of their incumbent earth stations. We require incumbent earth station operators (including any affiliates) to elect one of these two options, which must apply to all of each earth station operator’s earth stations, in order to prevent any improper cost shifting. And we require the decision to accept a lump sum reimbursement to be irrevocable — by accepting the lump sum, the incumbent takes on the risk that the lump sum will be insufficient to cover all its relocation costs — to ensure that incumbents have the appropriate incentive to accept the lump sum only if doing so is truly the more efficient option. We direct the Wireless Telecommunications Bureau to release a Public Notice announcing the lump sum that will be available per incumbent earth station as well as the process for electing lump sum payments by September 30, 2020. 

The commission will allow reimbursement of some soft costs — legitimate and prudent transaction expenses incurred by incumbents that are directly attributable to relocation. We define soft costs as transactional expenses such as engineering, consulting and attorney fees. We find it reasonable to establish rebuttal resumption that soft costs should not exceed 2% of relocation hard costs.

The post C-Band Plan Aims to Limit Broadcast Disruption appeared first on Radio World.

On Oct. 6, 1924 regular radio broadcasts in Italy began with the following announcement: “Uri, Italian Radio Union, 1 RO, Rome station, wavelength 425 meters…”.

Almost 100 years after that radio broadcast, the country’s national and local radio stations are joining forces on the airwaves in an unprecedented broadcasting initiative — “La Radio per l’Italia.”

As an instrument of companionship and comfort, on Friday March 20 at 11 a.m., many of the nation’s stations will simultaneously air Italy’s national anthem and three songs that embody the country’s heritage.

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The unified broadcast will be diffused on available platforms, including FM, DAB, terrestrial television (audio only and visual channels) and streaming through stations’ websites and apps. The project aims to give strength to all Italians in this time of the coronavirus health crisis.

National radio broadcasters participating in the event include Rai Radio 1, Rai Radio 2, Rai Radio 3, Rai Isoradio, M2O, R101, Radio 105, Radio 24, Radio Capital, Radio Deejay, Radio Freccia, Radio Italia Solomusicaitaliana, Radio Kiss Kiss, Radio Maria, Radio Monte Carlo, Radio Radical, Radio Zeta, RDS 100% big hits, RTL 102.5 and Virgin Radio.

Local radio stations members of the Aeranti-Corallo Association and the local radio consortium FRT, Confindustria Radio Tv, will also take part in this initiative.

Organizers are calling for the entire nation to tune into their favorite station, turn up the volume, open the windows or go out on the balcony to sing together, waving the Italian flag or showing a symbol of Italy.

This, they said, will offer a moment of reflection, unification, and hope for all.

The post Italy: Radio Stations Unite Broadcasts in Call For Hope appeared first on Radio World.

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Pai Asks Broadcasters to Air Public Service Announcements Promoting Social Distancing

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