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The FCC in January reminded U.S. broadcasters and other EAS participants of their obligations to comply with the Emergency Alert System rules.

“In reporting on the most recent national level test of the EAS, the FCC’s Public Safety and Homeland Security Bureau noted improvements in key areas, but identified several issues that impair dissemination of EAS messages,” the Enforcement Bureau stated in a five-page advisory.

“The 2019 Nationwide EAS Test Report noted, for instance, that EAS participants must ensure that messages comply with the FCC’s requirements designed to make the message accessible to individuals with hearing and vision disabilities.”

After briefly summarizing how the system works, the FCC provided the following information:

What steps can EAS participants take to improve their participation in EAS and ensure compliance with the FCC’s rules?

The EAS rules are in sections 11.1 through 11.61 of the commission’s rules. Key requirements include:

EAS participants must ensure that their EAS equipment’s monitoring and transmitting functions are available whenever the stations and systems are operating. An EAS participant’s failure to receive or transmit an EAS message during a national test or actual emergency because of an equipment failure may subject the EAS Participant to enforcement.

• To ensure the availability of these functions, EAS participants should take steps to secure their EAS equipment. For example, EAS participants should upgrade EAS equipment software and firmware to the most recent version recommended by the equipment manufacturer and update with current security patches. Participants should also change default passwords, secure EAS equipment behind properly configured firewalls, and take other protective measures. 
• EAS participants should synchronize EAS equipment clocks to the official time provided by the National Institute of Standards and Technology if the equipment does not automatically synchronize to an Internet time source.

EAS participants must transmit national level EAS messages, required monthly tests, and required weekly tests. An EAS participant’s failure to transmit an EAS message during a national test or actual emergency, e.g., based on the configuration of its equipment, lack of redundant monitoring sources, or an accurate understanding of its role as an EAS participant, may subject the EAS participant to enforcement

• EAS participants must understand and identify their role (or “designation”) in the broadcast-based distribution architecture of the EAS. Most EAS participants have only the “participating national” designation. Section 11.18(a)-(g) contains a list of designations and state EAS plans that participants can use to confirm whether any other designations are applicable. Participants must know a facility’s EAS designation to accurately complete the Reporting System’s Form One.
• EAS participants must monitor multiple sources to ensure redundancy and reduce the possibility of message receipt failures. EAS participants should ensure that monitoring sources are independent and do not rely on each other to receive or transmit an EAS message.
• EAS participants should follow up with monitored sources when an EAS message is not received to determine the cause. For example, such issues could be caused by a transmission or reception issue that can be readily corrected. An EAS participant is required to determine the cause of its failure to receive an EAS message during a national test or emergency

EAS participants must ensure that an EAS message is accessible.

For the visual portion of the message, the text must be displayed:

• At the top of the television screen or where it will not interfere with other visual messages (e.g., closed captioning); 
• In a manner (i.e., font size, color, contrast, location, and speed) that is readily readable and understandable; 
• Without overlapping lines or extending beyond the viewable display (except for video crawls that intentionally scroll on and off the screen); and 
• In full at least once during any EAS message.

-For the audio portion of the message, broadcast stations, cable systems, and direct broadcast satellite services must play the audio portion of an EAS message in full at least once to ensure it is accessible to viewers who are blind or have low vision

EAS participants must submit their national test results to the FCC in the Reporting System. An EAS participant may be subject to enforcement if it fails to participate in a national test or submits incomplete or inaccurate information to the Commission in its Reporting System filings.

• EAS participants must update their Reporting System Form One submissions yearly. Because the Form One will auto-populate with information from the EAS Participant’s previous Form One filing, EAS Participants should review the Form before submission to be sure it is current and accurate. 
• EAS participants are required to participate in national tests and required to file information related to national tests in the Reporting System. 
• The accuracy of Reporting System filings is critical. If an EAS Participant receives or retransmits a partial EAS message, e.g., if the audio is missing in the data received and/or retransmitted, the EAS Participant is responsible for ensuring that its Report ting System filing reflects this issue and the reason it failed to receive the full message.

The FCC document also discusses national tests and station reporting requirements. Read the full notice.

The commission said questions about EAS Participant obligations should be directed to Maureen Bizhko of the Public Safety and Homeland Security Bureau at (202) 418-0011 or email Maureen.Bizhko@fcc.gov.

The post More on the FCC’s EAS Advisory appeared first on Radio World.

From our Who’s Buying What page: Broadcast Solutions GmbH and WDR (Westdeutscher Rundfunk Köln) designed and built two radio trucks for the German public broadcaster.

“The two vehicles are part of an overall package that includes a third video OB van,” the supplier stated in a press release, adding that they are now in use in Cologne.

[See Our Who’s Buying What Page]

“During larger productions, it could be possible that the audio control in the video OB van is no longer sufficient. In these cases, the audio control can be fully outsourced to one of the radio OB vans, with the audio control in the video OB truck being controlled in the radio OB. Both vehicles are connected via one fiber-optic cable, to exchange data and audio and video signals.”

Broadcast Solutions said WDR wanted two smaller radio vans that offer the same functionalities and acoustic values as larger vehicles. The company said its main challenges were the acoustic insulation and providing sufficient storage space that had to accommodate equipment as well as a UPS.

“The audio control uses a Lawo console (mc²56 MKIII with 48 faders) with Lawo Nova 73 Core. A Riedel MicroN system is used to connect to the video truck and as a video router,” it stated.

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

The post WDR Gets Two New Remote Trucks appeared first on Radio World.

By Thomas Urban
Fletcher Heald & Hildreth

WASHINGTON, D.C. — For nearly a year, the world has battled a pandemic defined as Coronavirus-19 or COVID-19. This virus has caused enormous damage worldwide in terms of human life, health, and economic devastation. This destruction has been acutely felt here in the United States, with the death of hundreds of thousands of Americans and the long-term illness of millions, as well as severe economic loss due to factors beyond the control of those who have been affected.

The COVID-19 pandemic also has had a significant effect on the U.S. legal system.

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On February 12, 2020, a Seattle FM will officially kickoff a yearlong celebration of its 50 years serving the Pacific Northwest’s biggest metropolis with rock ‘n’ roll music — and a little talk, too.

Today an Entercom Communications station, KISW-FM 99.9 is celebrating its longevity in Seattle with “The 50th Anniversary Weekend.”

Special programming will pay tribute to the station’s legacy with stories and memories from KISW alumni; local civic, sports and business leaders; and bands and artists from both Seattle and around the world.

KISW debuted as an Album-Oriented Rock station on February 14, 1971.

Guests are set to include bands Metallica, Guns N’ Roses, Soundgarden, Pearl Jam, Foo Fighters, Nirvana, Greta Van Fleet, Heart, Alice In Chains, Disturbed, Judas Priest, athletes from Seattle Mariners, Seahawks, Kraken and Sounders, Mayor of Seattle Jenny Durkin​, singer-songwriter Sammy Hagar, and actors Joel McHale and Rainn Wilson​.

“There are only a handful of radio stations that can brag about thriving for 50 years in a particular format, and KISW is one of them,” said Jack Hutchison, SVP and Market Manager for Entercom/Seattle. “KISW is synonymous with Seattle. We’d like to extend our heartfelt thanks to the many talented people who have been and still are part of this journey. They know the secret to our success has been to – first and foremost – recognize and immerse ourselves within the community. We’re not done, so stay tuned for the next 50 years. They are going to be fun.”

Dave Richards, Entercom’s Rock Format Captain, added, “To be able to celebrate a milestone like this is a rarity, and we don’t take that lightly. We celebrate this golden anniversary with everyone who has been along for the ride.”

Back in 1971, KISW was owned by Kaye-Smith, with Frank Sinatra a minority owner. Like many rockers, it started out with a progressive rock feel before evolving.

Over the years, personalities and shows like “Robin and Maynard,” “Langan and West,” “Crowe and West,” “Bob Rivers Twisted Radio,” Howard Stern, “BJ and Migs” and “The Mens Room” have helped KISW attract listeners.

Now, it is looking back as it sets to enter its sixth decade of service.

Amid the COVID-19 Pandemic, Home is Where the Connectivity Is 

It’s a trend Nielsen believes is important for brands and advertisers looking to stay in touch with consumers as their habits—and their habitats—shift.

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Comcast Advertising’s Agency Leadership Council (ALC) recently commissioned Advertiser Perceptions to find out how more than 300 cross-screen TV advertisers and marketers are approaching measurement in 2021.

The results are now here, and they examine advertisers’ and marketers’ openness to new providers, and what may be holding them back from moving more quickly on new measurement currencies.

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EUREKA, CALIF. — For local television viewers that wish to watch the local NBC and CBS affiliates, it’s been a difficult start to 2020. First, Altice USA-owned Suddenlink, the dominant cable TV services provider across Humboldt County, blocked its customers from viewing them in the absence of a retransmission consent agreement.

Then, as soon as that “blackout” ended, another one transpired, with AT&T-owned DirecTV preventing its subscribers from seeing the stations — owned by Cox Media Group.

The local Member of Congress is irate. And, he’s going so far as to seek the elimination of the so-called “UHF discount” in legislation he’s set to introduce — a new wrinkle to Rep. Jared Huffman‘s efforts in Washington to end retrans impasses such as these.

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WASHINGTON, D.C. — One of the world’s best-known audio equipment manufacturers has asked the FCC to reverse a decision made by the Pai Commission by reconsidering the merits it believes a dedicated UHF television channel for wireless microphone use would bring to its users.

Under former Chairman Ajit Pai the FCC declined to provide at least one “vacant” 6MHz UHF channel in each market for its exclusive use by wireless microphones.

It was tied to the FCC’s termination of a “vacant channels” rulemaking opened during its 600 MHz incentive auction.

Shure Incorporated disagrees with the FCC’s conclusions and rationale for terminating the proceeding. Now, with acting Chairwoman Jessica Rosenworcel at the helm, it believes a change from Republican to Democratic leadership may be ripe for a relook.

In a petition filed the Commission, Shure argues that the wireless microphone community needs clear spectrum now more than ever. That’s because, it says, the 600MHz band has been reallocated to mobile phone use. Add to that the post-spectrum auction “repack” of broadcast TV stations, which moved many TV stations to the 500MHz spectrum.

“At the same time, broadcast, performance, and sporting productions continue to demand more channels of wireless microphones than ever before,” Shure said.

It added that the “alternative” frequencies identified by the FCC in 2017 for wireless microphone use at 900MHz, 1.4GHz, and 7GHz “fall far short of addressing the needs of wireless microphone users. These bands do not have the same characteristics and operational flexibility as UHF frequencies. Because these bands are occupied by licensed users in other industries, access to these bands for wireless microphone use is conditioned on sharing requests, which can be lengthy and ultimately denied.”

Further, Shure argued that the 600MHz duplex gap and VHF frequencies offer interference and other considerations that constrain use. “Together, these other spectrum resources are helpful but are not practical alternatives to UHF, and the certainty of having access to at least one vacant UHF channel is important to meet demand for wireless microphone use. The designated UHF channel would also be important for applications that include intercom, IFB and others.”

Ahren Hartman, Vice President of Corporate Quality, commented, “With the loss of 700MHz, 600MHz, and the DTV repack into 500MHz, we are at an all-time low for access to UHF spectrum. However, the need for open and clear wireless microphone spectrum is higher than ever before.”

RBR+TVBR Washington Bureau

Marketing company Veritonic wants to raise awareness of effective audio advertising. So it has introduced a monthly feature identifying advertisers that are producing the most effective spots for radio, podcasting and other audio platforms.

Its first “Audio Ad Index” gives high honors to AutoZone, “driven by their spot that focuses on helping people get ready for the cold weather ahead by ensuring they don’t add battery problems to their list of troubles. The brand punctuates the ad with practical offers — a free battery test, a free charge — to support the message.”

Veritonic’s Scott Klass wrote, “AutoZone’s sonic decisions for this ad match the content well. The spot is very upbeat, leveraging music that the brand uses consistently across its ads.”

Ads were rated for their ability to drive listeners to buy the product being advertised, a “purchase intent score.”

Other advertisers on the list include Indeed and Home Depot. Veritonic said spots with cultural relevance, “uplifting tone” and “practical help” resonate with listeners.

The blog post features samples of the best ads and a description of the company’s technology used in making the determinations. Below is its top 10 list for January:

The post “Hope and Help” Audio Ads Resonate appeared first on Radio World.

Tru Optik, which offers “identity resolution” in the streaming media world for marketers and advertisers, has struck a new partnership with WideOrbit, the sell-side processor of premium digital and linear advertising.

To learn how this can benefit Radio as it grows its podcasting and streaming audio delivery business, RBR+TVBR spoke exclusively with John Morris, VP of Streaming & On-Demand at WideOrbit. He’s Adam R Jacobson’s guest in this fresh InFOCUS Podcast, presented by DOT.FM.

Listen to “The InFOCUS Podcast: John Morris, WideOrbit” on Spreaker.