Industry News

KJR founder Vincent Kraft’s first microphone was a “Wonderphone,” originally developed for the Dubilier Wireless Telephone. From the collection of Sonny Clutter.

The question of which station was the first broadcaster in the United States has been debated for most of the past century. KDKA in Pittsburgh historically has received this honor, due principally to the untiring early efforts of the Westinghouse promotions department. But there is overwhelming evidence that a handful of other broadcasters in fact preceded KDKA.

One reason for the controversy has been disagreement on the criteria that should determine who was “first.”  Additionally, we must distinguish between the “oldest” and “first” station. Evidence of rudimentary broadcasting exists as far back as far as 1912, but all these activities came to a halt during World War I when all non-government broadcast stations were ordered off the air. After the order was finally lifted by the Navy on April 15, 1919, broadcasting gradually resumed in several cities, but these operations were sparse and sporadic until the big “radio boom” of 1922 when hundreds of new stations debuted almost overnight. Most of these early broadcasters did not survive radio’s first decade. 

Additionally, it took some time for the Department of Commerce, which regulated radio activity in those days, to recognize broadcasting as a separate class of station and create a specific license for it.

[2020 Radio History Calendar Available Now]

It wasn’t until Dec. 1, 1921 that regulations were created to define broadcasting as a distinct class of radio station, and by that time there were already dozens of stations on the air. Those first pioneer broadcasters operated under several classes of license: Amateur, Experimental or Limited Commercial. (The first station to receive an actual “Broadcast License” was WBZ in Boston late in 1921). Nonetheless, most of these early stations were broadcasting in the true sense of the word, as they were sending out voice programs of information and entertainment on a regular schedule to a public audience.

Another factor that has made it difficult to clearly identify who was first is that, although some well-known pioneer broadcasters such as KDKA and WWJ had clearly defined “start dates,” there were others that began as amateur or experimental stations with irregular schedules and then gradually transitioned into serious broadcasting activities. 

Such is the case of KJR in Seattle. Its exact starting date in 1919 is not recorded, and it appears to have made a gradual transition from a personal hobby station to a serious broadcast operation over the course of a two-year period.

7XC

The first entry for KJR in the Department of Commerce records is dated April 1, 1922: “KJR, Commercial Land Station, 360 and 485 meters, Vincent I. Kraft.” Although we can consider this to be the official starting date for the station, the pre-history of KJR was documented in a letter written by station founder Vincent Kraft in 1962. He wrote: 

Vincent I. Kraft was Seattle’s first broadcaster. He created a local sensation in 1919 by playing phonograph records over his station 7XC. In July, 1920, he broadcast the results of the Dempsey-Carpentier fight for the local audience. By 1922, Kraft’s station had become KJR.

Shortly after World War I, in late 1918 or early 1919, amateur stations closed during the war were allowed to re-open. These re-opened stations immediately reflected the advances made during the war, and installed equipment for transmitting voice and music, whereas prior to the war they had all been dot-and-dash code stations. Among these re-opened stations was my own, with the new call letters 7AC. There were several “wireless telephone” stations under amateur licenses. I received an experimental license with the call letters 7XC for developing this phone equipment. It was on the air with voice and music from 1919 on, as were several other amateur stations. 

In 1921, the Department of Commerce, then the sole licensing authority for the government, created a new class of stations and named them “Broadcast Stations.” I immediately applied for a new broadcast license for the equipment which had been operating for a couple of years under the call letters of 7XC. At the same time that these new broadcasting station licenses were created, a new regulation went into effect prohibiting amateur stations from transmitting music. 

[WTMA Celebrates 80 Years in Charleston] KJR began broadcasting as 7XC from this modest home in Seattle’s Ravenna neighborhood in 1919. Kraft broadcast phonograph concerts for 45 minutes each evening from his 10-watt transmitter.

At first, Kraft’s little 10-watt station broadcast from his home in the Ravenna District of Seattle, and later from his downtown radio parts store. But by 1924, KJR was broadcasting daily with 1,000 watts from the prestigious Terminal Sales Building in downtown Seattle.

Kraft then built three other prominent West Coast stations — KEX in Portland, KGA in Spokane and KYA in San Francisco — and tied all four stations together with telephone lines to create one of the country’s first radio networks.

In 1928, he sold his interests in his four stations and network, but he went on to build KXA in Seattle and several stations in Alaska. 

THE CENTURY MARK

As for KJR, it went on to have a colorful history. The station’s second owner built it into a huge operation before bankrupting the station and going to jail for embezzlement. It was then acquired by NBC, which later sold to the operators of KOMO, and the two stations operated together as the Seattle affiliates of the NBC Red and Blue networks until 1945. 

The station again gained prominence in the 1950s as one of the country’s premier top 40 stations, managed by Lester Smith with celebrity partners Danny Kaye and Frank Sinatra. Today, KJR is a 50 kW sport-formatted station operated on 950 kHz by iHeartMedia.

KJR’s 1,000 watt transmitter is shown in the Terminal Sales Building in 1924. The transmitter was custom built by Kraft’s Northwest Radio Service Company.

Next year, Radio World will celebrate broadcasting’s official centennial, recognizing the birth of WWJ, KDKA and other pioneer broadcast stations in 1920. Before then, during what can be considered to be broadcasting’s “pre-history,” there was a smattering of experimental activity in a few locations around the country. 

It is well documented that Charles Herrold in San Jose was making weekly voice and music broadcasts as early as 1912. Lee de Forest was broadcasting over his station 2XG in New York City both before and after the war, and 1XE, the AMRAD station near Boston, was also experimenting with voice and music during those same years. 9XM in Madison, Wis., a predecessor to WHA, had been broadcasting weather and market reports in Morse code as early as 1916, although it didn’t begin voice broadcasting until November, 1920. 

The custom-built 5,000 watt transmitter in Lake Forest Park, 1927. Chief Engineer Clarence Clark is at right in this photo.

So while KJR in Seattle was certainly not the first station to broadcast, it may be the oldest station to operate continuously from its amateur radio beginnings in 1919 up until the present day. 

[Read about Graham McNamee, radio’s first superstar announcer]

In future “Roots of Radio” articles, we plan to salute a number of pioneer broadcasters as each reaches its own centennial date. As has been often said: Stay tuned.

John Schneider is a lifetime radio historian, author of two books and dozens of articles on the subject, and is a Fellow of the California Historical Radio Society. Find more history articles at the Roots of Radio page.

The post The 100th Anniversary of KJR Seattle, 1919 to 2019 appeared first on Radio World.

Planning a new studio project? Whether upgrading a studio or building one from scratch, there are a number of points radio broadcasters should keep in mind — right from the planning phase — to ensure the successful execution of their project.

“Designing the Ideal Radio Studio” guides you on your journey toward your perfect radio facilities. It offers examples of different studio builds; provides tips from industry experts on how to meet your goals; where to begin; questions to consider; how to select the right gear for your needs; and more.

This latest ebook includes articles from Clark Novak, radio-marketing specialist for Lawo, who gives advice on what station managers need to know before building an IP studio and 2wcom Sales and Marketing Manager Anke Schneider, who shares insight on cross-media adoption.

In addition, Gary Kline of Kline Consulting discusses key points radio broadcasters should consider when designing or renovating a studio, and we offer an in-depth look at innovative radio complexes around the world.

Read it free here!

The post Designing the Ideal Radio Studio appeared first on Radio World.

Schematic for THAT Thing, a do-it-yourself preamp/electronics project by Curt Yengst, featured in the Jan. 8, 2020 issue of Radio World.

The post THAT Thing Supplemental Material appeared first on Radio World.

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

For much of community radio, the holiday period is a time for stations to do a bit of regrouping. Fall pledge drives are long gone. Giving Tuesday is over. And our year-end campaigns are already in flight. Our listeners and donors are occupied with the hustle of the holidays. Even some of our staff and volunteers are taking a needed and deserved break.

During the holidays, what is an earnest community radio person still at the station to do? The list is longer than we may care to recall!

[Read: Community Broadcaster: Generation Shift]

Studio maintenance is an excellent task to handle during this season. An engineer at my old station simply loved to use the holiday period to open up sound boards and dust, check loose wires, redo the tape that had worn down from people touching mixers, and recalibrate turntables and sundry equipment in master control. If your volunteers are gone, the Christmas and New Year breaks are perfect to flip on your automation system and roll up your sleeves to fix up the little things we neglected during the year.

Not to shame you, but how about cleaning up that desk, or other things around here? It is very easy to let clutter take over our spaces. I spent plenty of dead time during the holidays replacing light bulbs, vacuuming floors, filing papers, and taking down faded fliers from bulletin boards. If the calls are not coming in too much and email has slowed too, this is as wonderful a time as any to tackle the pickup you meant to do during the dog days of summer.

Oh, shoot! Did you forget to do that filing?! You would be surprised how often stations blank on doing their electronic submissions with the Federal Communications Commission, whether it was a quarterly issues report, a biennial ownership filing or — Uh, Oh — Form Two and Three from that Emergency Alert System test all those months ago.

Having conversed with many good folks at the FCC and other agencies, I can tell you the last thing they’re focused in on is dinging you with a hefty fine. However, they do need to ensure the public that you are meeting your obligations in using the airwaves and in service to the noncommercial educational mission to which you are devoted. This next two weeks is an excellent time to dig out the calendar and make sure your station has done its required filings this year. The last headache you ever want is to have your station’s license renewal period reveal missed filing dates.

Holidays make soaking in media a tempting proposition. Especially now, the news cycle could easily suck you in to reading impeachment analyses literally 24 hours a day. However, with the elections ramping up next year, fundraising is likely to be tougher come your spring campaign. How about using the holidays to craft your fundraising messages? Whether your station provided gavel-to-gavel coverage of the House of Representatives’ deliberations or just a welcome respite from the rancor in the public square, your station has a story to tell. Why are you relevant? How do you enhance your community? Why should people donate to your station over the scores of candidates, nonprofits and interest groups vying for funds in 2020? These are complicated questions that the holidays may give you a little head space to flesh out.

Earlier in the month, I suggested that enterprising people like you might consider creating your New Year’s resolutions. There are also lots of innovations to try out locally. One station formed a book club to engage listeners. And that’s only the beginning. We’re in an era of ambitious ideas. Now is the time to put some on your list for things to do at your community radio station in 2020.

Regardless of how you utilize these holiday weeks, we at Radio World, NFCB and beyond hope your break is restful and recharges you for a fabulous New Year.

The post Community Broadcaster: The Last 2019 To-Dos appeared first on Radio World.

Fig. 1: Damage to your tower fencing is a serious concern — and tower sections do not correct the safety violation.

So when a vandal cuts through your tower fence, Fig. 1 (at right) is an example of how not to prevent further break-ins or correct the safety issue.

Yep, those are tower sections placed along the cut fencing. No names here, to protect the contract engineer who found this; it was not his work.

The FCC takes a harsh view on safety violations like this. An unsecured fence is certainly a safety issue. This is a good reminder to inspect all your station towers and fencing periodically.

Fig. 2: Plastic muffin or mini-cupcake holders are useful in the shop. * * *

Brian Urban was in the audience for a recent episode of Kirk Harnack’s “This Week In Radio Tech” (TWIRT). I was a guest on the program, in which Kirk and I related a number of neat tips for engineers.

One of the tips was to use an aluminum muffin tin to hold small parts as you disassemble equipment. The depressions in the tin keeps parts organized, so they all get reinstalled in the proper order. 

Fig. 3: The small indentations hold parts; the hinged top keeps everything secure. (Co-workers also will enjoy the baked goods that come with the plastic container.)

Brian, who is the coordinator for the Television Studio Lab at Austin Community College, had another suggestion: Grab your phone and take pictures as you disassemble things. Those pictures can be invaluable in showing how a complex assembly goes back together.

Don’t have a muffin tin available? Before you raid your kitchen, treat your staff to some of those grocery store-prepared muffins or mini-cupcakes (Fig. 2). They are sold in flexible plastic containers, usually with a hinged lid. Store the parts in the indentations in the plastic as shown in Fig. 3 and save the muffin tin for baking.

* * * 

We so depend on the eagle-eyed readers of this column! 

An example is California’s Robert Lilley, who pointed out that in our discussion about Windows 7 “not genuine” in November, the correct address is www.itechfever.com (the letter “i” was missing!) However, Googling “How to Fix Windows 7 not genuine error” will get you to the itech site, along with hundreds of others. Bob notes that this obviously is a popular subject!  

Robert is still a consultant but these days he consults for radio-navigation systems. Still, he has collected a pretty good toolbox over the years, and it helps him keep the dishwasher running! 

Robert has put together a couple of pages showcasing his on-air career in the late 1950s in West Virginia. We’ve bookmarked them for you at https://tinyurl.com/rw-lilley and https://tinyurl.com/rw-lilley2. You’ll enjoy the sites, especially if you like pictures of vintage studios and equipment.

* * *  Fig. 4: Another example of an EAS receive loop antenna, using PVC tubing.

Lance Jackson is a technology engineer in the Communications Department of Southern Utah University in Cedar City, Utah. Lance enjoyed reading Ken Beckwith’s “how to” article on constructing a PVC EAS Receive Antenna in our Workbench column in late September. 

Lance writes that he built something similar, pictured in Fig. 4, for the university’s station KSUU. In Lance’s iteration, he used 3/4-inch PVC pipe to form a simple square, two feet on each side. Like Ken, he used Cat-5e cable for the wire, looping it through the PVC pipe three or four turns. Since Cat-5e has four pairs of wires, fewer turns were required. Plus, since the Cat-5e cable pairs are already jacketed, you don’t have the problem of trying to snake multiple individual cables through the PVC tubing.  

The wires were soldered the same way Ken did, and the antenna has been in service for 2 1/2 years now and works very well. Lance is one of many engineers who wrote and called, saying how useful these technical how-to articles are. We plan to bring you more (and we want your good ideas)!

See how easy it is to help other engineers? Where else can you earn recertification credit when you share a tip published in Workbench? Thank you for sharing your tips and high-resolution photos by sending them to johnpbisset@gmail.com.

John Bisset has spent 50 years in the broadcasting industry and is still learning. 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.

The post How NOT to Repair Tower Fencing appeared first on Radio World.

When approached about a media project, I start by jumping to the end: “How are we going to measure success?” One would think that as measurement has become more sophisticated, accurate and granular, the reply would simple and direct. Wrong! 

If anything, expected positive outcomes are rarely fully considered before an approach is selected. Once they’ve committed to it, advertising agencies, clients and even stations tend to focus on media efficiencies. Yes, there’s a lot to unpack here!

BAD “IMPRESSIONS”

Ever since ratings were conceived, cost per point (or per thousand) has been touted as the holy grail. Defining success as spending the least to deliver the largest possible audience is perhaps the most misleading way to prove to advertisers that the person placing the campaign is a brilliant champion, looking after the client’s best interests.

The appeal to everyone involved in this oversimplification is that it can be devised with little effort, described as the best use of investment and delivered as a sure means of success.

First off, it is natural to figure that media efficiencies improved with the arrival of digital media in the 1990s. 

In my view, it actually got worse, because the media industry expanded the use of the term “impression” and adopted it as a key metric. 

Advertising had used “impressions” prior to digital, but it was mostly a guess. With websites, the definition was expanded to measure every time a banner ad loaded on page. If there were five banner ads that loaded, that became five impressions. Holy moley — the ad industry could generate thousands, even millions of impressions!! Man, that’s gotta sound great to any client.

The obvious difficulty is that impressions are meaningless if nobody actually notices them or takes action. Even when a user clicks, they don’t spend more than a second or two looking at whatever they’re now viewing because it doesn’t match their expectations. 

In terms of broadcasting, I hope you will agree that not every listener hears every single advertisement. I know this can be painful to admit, but we must look in the mirror. 

[Promo Power: Set Expectations With Advertisers]

I am not advocating that we never use media efficiencies; but we must understand that this one-trick pony does not measure the most crucial component of advertising, which is effectiveness! If one of your salespeople devises a schedule solely based on efficiency and the client’s cash register doesn’t ka-ching, would you say that the campaign was a success?

Advertising — like content creation — is an art, not a science. We measure it because clients expect us to do so and it’s encouraging to have apparent evidence in front of us. However, we must always remember that advertising’s center should be about creativity, relevance and innovation. Advertising that’s written and produced with entertainment, facts and special offers has a much better chance of motivating purchase decisions. 

Haters of my rant against media efficiency dynamics may site the successful utilization of big data in driving results. While big data is beginning to produce results, it is not about media efficiencies, and I’ve yet to encounter anyone in broadcasting manipulating huge databases, so we’ll save that topic for another day.  

AGREE ON EXPECTATIONS

So how do we measure success? 

This starts by having an open discussion with the client to agree on expectations. For example, a client may express that they expect their sales will go up by a certain percentage during and directly after the campaign airs. It’s then up to you to find out how or why they believe this to be an achievable result so you can expand their understanding. If you’re dealing with a client’s agency and they pick a media efficiency goal, you likely have no choice but to comply. It would still be worth trying to dig deeper to understand what the true expected outcome is so you might be able to adjust the creative or scheduling. You might also remind them that nobody ever wins awards based on media efficiency.

Mark Lapidus is a multiplatform media, content and marketing executive, and longtime Radio World contributor. Email mark.lapidus1@gmail.com.

The post Media Efficiency Versus Effectiveness appeared first on Radio World.

Getty Images/Ponsulak.Kunsub

The article “Fires, Your Station and You” by Buc Fitch was a great reminder to take a look around and introduce some common sense into planning for something we hope never happens — a fire.

As the chief of a volunteer fire department, I see lots of foolish and sometimes even borderline criminal things. Our mantra, unfortunately, is “You can’t fix stupid.”

Here are a couple of quick items to add to the sensible fire safety suggestions in that article:

1. All of that wiring and plastic in your station gives off nasty gases when it burns; and though the smoke from plenum rated cable is supposed to be “less toxic,” they stop short of calling it “non-toxic.” Even if the smoke is not obscuring your vision, there’s a good chance you are breathing stuff that your life insurance carrier would prefer you do not. If you can’t knock down a fire quickly with a single extinguisher, consider backing out; and make sure you close the door to limit the oxygen supply to the fire. That last part is very important. As you plan your fire escape strategy with staff, make sure they understand that exiting the building and leaving every door wide open is a great way to provide all the oxygen that a fire needs to spread.
2. Call the fire department — not when your station is already on fire, but before anything happens. Most fire departments are happy to do a “pre-plan” walk-through with you, which may also buy you some good will when they point out that you have code violations. Keep in mind that should those violations be discovered after you have a fire and someone is seriously hurt, the consequences will be significantly more unpleasant than the embarrassment of discovering them as you walk through with the fire department.
3. A pre-plan will not only be informative for you and management but will also give the fire department an opportunity to see the layout of your facility and identify any hazards that might lurk there when they do respond with your building full of smoke and time is of the essence.
4. Fire extinguishers need to be checked and recharged. Since you are going to pay someone to do so, consider having your staff practice with them as part of your ongoing maintenance cycle. The time to learn how to use one correctly is NOT when you actually need to use one.

While on the subject of not learning things when you need to use them, consider bringing in a CPR instructor to do a class for your staff. One of your fellow employees might save your life, and they will certainly be grateful if they save a family member using training you forced them to take.

Ron Kumetz N1WT

Director of Engineering, Broadcast Devices Inc.

Alburgh, Vt.

The post You Can’t Fix Stoopid: Fire Safety Suggestions for Radio appeared first on Radio World.

The Federal Emergency Management Agency announced that IPAWS-OPEN release 3.10 went live on Dec. 18, offering several new enhancements, including support for 360-character alerts.

WEA, or Wireless Emergency Alerts, is used to send warnings about dangerous weather, missing children and other emergency situations to the public via their wireless phones and mobile devices.

The latest version of WEA also supports Spanish-language alerts, the ability to reach 100% of a targeted area without an overshoot of more than 1/10 of a mile as well as enhancements to the WEA test and public safety categories.

However, leveraging the enhancements requires more than an update to IPAWS, FEMA said. Wireless provides will need to update their networks nationwide, their customers’ phones and the software authorities rely upon to send alerts.

While the IPAWS Program Management Office (PMO) has tested and confirmed wireless providers can receive enhanced WEA messages from IPAWS, it will take time for wireless customers around the country to receive enhanced WEA on their phones, FEMA said.

IPAWS PMO also has confirmed that most of the software used by alerting authorities around the country has been upgraded and tested by FEMA; however, it is possible that not all of the alerting authorities are ready to write alerts taking advantage of the new WEA enhancements, FEMA said.

FCC Chairman Ajit Pai issued his own statement about the WEA update:

“One of my key public safety priorities has been to ensure that America’s emergency alerting system meets the needs of public safety officials and the communities they serve. With these improvements, Wireless Emergency Alerts are now an even more powerful tool for emergency managers to warn and protect the public. These improvements respond to input we’ve received from the public safety community and will help save lives.”

This is expansion of mobile services is part of the architecture for delivery information during emergencies that broadcasters also take part in.

More information is available by emailing FEMA IPAWS PMO.

 

The post Latest Enhancements For Wireless Emergency Alerts Go Live appeared first on Radio World.

An important note for all TV and radio broadcasters — if you aren’t keeping up your online public file, penalties may be headed your way.

In March 2018, radio and television stations were required to transition their public inspection files to an online public inspection file system, or OPIF. The Federal Communications Commission told the National Association of Broadcasters that not only have some broadcasters failed to keep their files up to date but some broadcasters have not even started the process by activating their online public file.

While the FCC has apparently emailed warning notices to some stations, the NAB is strongly advising stations to take action now by confirming that they are correctly complying with current public file rules, according to a blog post by the Alabama Broadcasters Association.

[Read: AM Station Hit with $15,000 Forfeiture After Public File Lapse]

According to the ABA, FCC staff are now in the process of reviewing the online public file system for those still lacking an online public file, checking for dormant online public files, and looking for required items that are missing or late-filed.

It’s important to note that materials entered into the OPIF system are time- and date-stamped, so timely filing is essential. According to ABA, those out of compliance should expect to incur a fine.

“Significantly, the license renewal cycle is well underway for radio stations, and failure to properly maintain the public file takes on additional importance because stations must certify that their public file has been complete and up-to-date at all times during the license term, or disclose violations,” the ABA said in a newsletter to its member stations. “The FCC considers a lack of candor in renewal applications an extremely serious violation.”

In addition to fines, an incomplete online public file can lead to delays in the license renewal process.

Broadcasters should also closely focus on uploading their Quarterly Issues/Program lists, which show exactly how a station has addressed the needs and interests of its community. These lists must track issues and programs starting with the very first year in a station’s typical eight-year license term. “Failure to comply can be extremely costly,” the ABA said.

Stations should also promptly upload other required materials including their annual EEO Public File Reports and children’s television reports.

Keep in mind too that attempting to avoid enforcement by uploading the lists after their due date — without disclosure this the FCC — may increase the enforcement liability. The public can track online which stations have most recently uploaded public files on the FCC’s database.

The first place to start if you don’t know where to begin? Talk to your station’s legal counsel.

 

The post Out-of-Date Online Files Being Investigated by FCC appeared first on Radio World.

Ft. Lauderdale, Fla.-based Synthax has hired Michael Descoteau to serve in the new broadcast sales manager position, effective Jan. 2. He will report to Managing Director Mathias von Heydekampf.

Prior to this role, Descoteau served as director of broadcast sales for Dale Pro Audio. He focused on developing and implementing IP networking, including Dante, AoIP and VoIP.

Von Heydekampf called Descoteau’s appointment “opportune” in a press release, as the company works to scale up its broadcast offerings. He said, “Michael brings an impressive set of capabilities and experience to his new role having worked in top sales capacities as well as alongside systems integrators and others in the broadcasting field.”

In the announcement, Descoteau said, “The broadcast market is already highly dependent on IP technology. Synthax’s diverse lineup of products are able to help companies accelerate their success in a range of broadcast verticals, including sports, entertainment, government and more.”

Synthax currently distributes RME, Ferrofish, myMix, Appsys Pro Audio and Digigram products.

 

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