Radio Survivor

My friend and award winning documentary film maker Alan Snitow wrote to me a couple of weeks ago with a good question. How come you rarely hear anyone at National Public Radio call it “National Public Radio” anymore, just “NPR”?

I went over to NPR’s web site to refresh my memory on this. By golly, I wrote back to Alan, it’s true. The only place you see the full name is up top where the meta title is.

<title>NPR : National Public Radio : News &amp;
Analysis, World, US, Music &amp; Arts : NPR</title>

Everywhere else it’s just the acronym.

So what’s with that? Alan wrote to NPR a couple of days ago. Was this inspired by Kentucky Fried Chicken going to “KFC”?

To which an NPR spokesdroid offered this reply.

“Thank you for your question about NPR’s branding efforts.

Over the past few years, we’ve been gradually transitioning from identifying ourselves by our full name, “National Public Radio,” to referring to ourselves as simply “NPR.” We’ve found that most listeners – and other news outlets – refer to us as “NPR,” and the acronym is now well known. That trend took place with other media outlets years ago, for example today people refer to the BBC rather than the British Broadcasting Company, or to CNN rather than the Cable News Network. (more…)

On Friday the FCC’s Media Bureau quietly announced that it adopted an order to allow FM stations broadcasting a digital HD signal to increase their power levels up a maximum of 10% of the power of their main analog signal. While the National Association of Broadcasting and iBiquity have been agitating for this change for quite some time, it’s the backing of National Public Radio and its engineering report on the matter that was the likely tipping point.

But, as radio researcher John Anderson points out, this change is also likely to produce more interference complaints from listeners trying to tune in weaker stations adjacent to these higher power digital signals. There have already been significant complaints and concerns about digital HD signals interfering with adjacent analog stations with the previous power limit set at 1% of a station’s analog power.

The Prometheus Radio Project, in particular, questioned NPR’s support for the increase based on NPR’s own engineering data (PDF). Prometheus noted that listeners asked by NPR Labs to rate HD interference to analog signals at the new power levels gave the quality of the resulting audio a score of 2.7 on a 5 point scale, which is below a rating on “fair” on that scale. Prometheus further argued that,

The NPR Labs Study represents a “best case scenario” test of interference to analog. … Although the NPR Labs Study showed troubling levels of interference, the decision to use a single, highly selective receiver dramatically limited the extent to which these results can be extrapolated.

For its part, NPR responded to Prometheus and other critics [PDF], contending that they “generally misapprehend or ignore the [HD] testing methodology, the test results, or the results of NPR Labs’ prior [HD] testing.”
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In the aftermath of the devastating January 12th earthquake in Haiti, radio has played an important role in terms of keeping lines of communication open. A fascinating radio story on All Things Considered yesterday profiles one Haitian radio station, Signal FM 90.5, that has continued to broadcast after the quake hit.

As way of background, a Reuters story points out that:

“Radio, a main channel of communication in Haiti, is even more crucial since the January 12 earthquake that killed up to 200,000 people, collapsed many parts of Port-au-Prince and left half a million people homeless or living in refugee camps scattered across the coastal capital…

Five radio stations were destroyed and at least two now operate in the open air, taking messages from victims and broadcasting aid relief details alongside news bulletins, debate programs and music slots.”

The radio story on All Things Considered tells a compelling tale about just how important Signal FM has been in helping find quake victims. According to the accompanying story: (more…)

August 13 of this year marked the fifth anniversary of podcasting. On that date in 2004 former MTV VJ Adam Curry began his Daily Source Code podcast, ushering the term into the popular consciousness.

Like so many innovative ideas, podcasting is quite simple. It’s not like there weren’t online radio programs prior to 2004. The A-Infos Radio Project has been providing free hosting for independent and grassroots radio programs since 1996. Live365 made live webcasting broadly available back in 1999. But what podcasting brought to the party was a way to make finding and downloading online programs easy and automatic.

Prior to 2005 if there was a online radio program you wanted to listen to you had to check its website on a regular basis to see if a new program was available. Or if it was a live program you had to make sure to tune in to the stream at the right time, just like conventional radio. If you didn’t check in with your program’s website, then you wouldn’t know if there was a new episode.

At its essence podcasting is just an extension to an earlier innovation known as RSS, which stands for Really Simple Syndication or Rich Site Summary, depending on who you ask. Developed in the late 1990s and finding popularity with the emergence of blogs in the early 2000s, RSS provides a site summary to a “feed reader” which allows you to know when blogs and other sites are updated, rather than having to check back.

Podcasting resulted from the simple addition of the “enclosure” tag which tells a feed reader or “podcatcher” to download an audio or video file. This little addition to the RSS specification meant that you could now use a piece of software to periodically check your favorite radio sites and download new programs as soon as they became available.
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As we’ve reported, National Public Radio has been filing comments with the Federal Communications Commission a lot these days, talking up its localism initiative, Android app, and new mobile site. NPR’s latest commentary to the FCC on its National Broadband Plan reiterates all these points. But here’s the paragraph in the filing that got our attention:

“Rights: Copyright laws, especially those relating to music, have become highly complex and confusing, causing significant difficulties for public media entities striving to expand and improve their public service offerings to a growing audience on multiple platforms. While it is widely recognized and accepted that content creators have undeniable rights, attention must be given to the use of content for public service by public media entities. In a general sense and for purposes of simplification, Congress needs to consider the creation of a common public media waiver enabling the use of music regardless of distribution platform.”

Doubtless you’re wondering what this “common public media waiver” would look like, detail-wise. Sorry folks. That’s all NPR has to say about the matter in this document. But it’s no surprise that NPR might have some issues here. As the service points out, radio listeners download NPR podcasts over 15 million times each month and its new mobile device site gets 4.5 million views a week. So we’re talking about a shifting array of royalty challenges on every conceivable platform—terrestrial, Internet, and mobile. That can’t be much fun. (more…)

June 12, 2009 is a day that will live on in broadcast history. That’s the day that the nation’s television broadcasters switched off their analog signals and went all-digital forever more. But does anyone remember January 7, 2003?

That was the date of the very first digital HD Radio broadcast, originating at Detroit FM station WDMK. However, it isn’t clear that there was anyone in Detroit who could hear the digital signal besides employees of Radio One, the station’s owner, or Ibquity, the developer of HD Radio. The first consumer HD Radio receiver was actually sold two days earlier in Cedar Rapids, Iowa, and there’s no indication that the buyer then drove to Detroit.

That this date isn’t so well remembered is indicative of the collective shrug HD Radio has received from the American listening public over it’s seven years on the air.

Renamed HD Radio from the technical name IBOC (standing for the method of its broadcast – In-Band On Channel), the digital radio broadcast system was launched with the promise of offering static-free digital sound with higher fidelity, along with added subchannels adding more feeds of news, talk or music. Unlike digital TV, HD Radio would accomplish right on the AM and FM bands, by squeezing in an additional digital signal alongside a station’s required analog program.

By all accounts HD Radio works, though many critical listeners question whether digital means better. In order to squeeze the digital signal into the analog station’s space on the band it has be highly compressed. While broadcasters like to call it “CD quality” the primary channels are often broadcast at pretty low bitrates, especially when they have to share bandwidth with extra subchannels.

Renaming the system HD Radio smacks of opportunism meant to latch onto the appeal of high-definition TV. For its part Ibquity claims that any resemblance to true high-definition is coincidental. In early whitepapers the HD was said to stand for “Hybrid Digital,” though that meaning has long been dropped.

The most significant criticisms leveled at HD radio result from interference concerns. (more…)

Today there are close to 1000 more noncommercial, locally-programmed community radio stations on the air in the US than a decade ago. The reason for this is the low-power FM radio service created by the Federal Communications Commission in 2000. While Congressional intervention cut the new service off at the knees at the end of that year, the creation of LPFM is an important event that provided crucial recognition for the value of hyper-local community radio.

By the end of the 1990s the FCC was feeling a lot of heat about radio. From one side were complaints about the steep decline in local service brought on by the great loosening of ownership restrictions in the 1996 Telecom Act. On the other side broadcasters were haranguing the Commission about the rise in unlicensed “pirate” broadcasters.

The unlicensed broadcasters–who often preferred the moniker “microbroadcasters”–justified their actions as civil disobedience. Using power levels well under the 100 minimum the FCC set for the lowest class of broadcast station, the microbroadcasters correctly cited the fact that the Commission refused to provide licenses for this class of stations.

A perfect storm for microbroadcasting was created by the availability of inexpensive transmitters and a unifying raison d’etre. Besieged by as many as a thousand unlicensed stations nationwide, the Commission’s Enforcement Bureau had no real hope of keeping up. Yet the Commission had to defend its own legitimacy in the face of critics upset about the spike in unlicensed activity. So the FCC kept up enforcement actions, with the apparent hope that some high profile busts would keep both critics and would-be pirates at bay.

That was the scene set for the emergence of LPFM. The idea for LPFM did not arise fully-formed from the mind of then-Chairman William Kennard. Rather, several proposals for an LPFM service had been floated to the FCC in the late 90s. Furthermore, a real movement had grown behind LPFM, with the Prometheus Radio Project leading that organizing effort.

For Chairman Kennard LPFM offered a ripe opportunity to release some of the pressure by offering would-be unlicensed community broadcasters a shot at a real license. LPFM also looked good politically. Who would oppose inexpensive low-power noncommercial stations intended to serve small, local communities? Well, the NAB and NPR, for starters, under the reasoning that any competition is bad for business.

Nevertheless Chairman Kennard’s FCC moved forward and emerged in January, 2000 with a full-fledged service. There were two real innovations with LPFM. The first was permitting low-power stations to be spaced closer on the dial than full-power stations. The second innovation–often overlooked–is that it created a simplified and expedited licensing process. Obtaining a full-power station license is often a long, laborious and expensive endeavor that requires pricey engineering surveys and legal assistance. With LPFM the Commission did the engineering work in advance, identifying every possible LPFM frequency nationwide. It then set licensing windows during which all applicants would submit their paperwork.

The hitch in the program came at the end of 2000 when the NAB finally succeeded in convincing Congress that close-spaced LPFM posed an interference threat to their full power stations. That resulted in a rider attached to an omnibus budget bill which forced LPFM stations to obey the same spacing as stations broadcasting at thousands of watts. But, importantly, the NAB did not succeed in killing LPFM altogether, and stations started going on the air by 2005 2002.

At the end of 2009 the House passed the Local Community Radio Act, intended to restore LPFM to the levels originally set by the FCC. Now we wait for action by the Senate. When passed, the shorter spacing allowances promise to add many more hundred LPFM stations, especially in the nation’s largest urban markets.

Although most of commercial radio is vaster wasteland than it was a decade ago, noncommercial stations continue to be a bright spot on the dial. Because of LPFM hundreds of communities that otherwise would never have a vibrant, locally-programmed noncommercial station enjoy the sort of community radio that was rarer commodity just ten years ago.

Two National Public Radio biggies met with the Federal Communications Commission on Tuesday to chat about subjects dear to the hearts of developers and policy wonks alike: local programming and mobile radio standards.

“The purpose of the meeting was to provide information to the Commission about actions by NPR and its public radio partner stations to more fully employ web and mobile platforms for distribution of NPR and other public radio system content,” concludes a summary of the ex parte meeting filed with the agency. “The outcome of these NPR initiatives will be a more informed, engaged population.”

NPR spoke to the FCC about its local journalism venture, a $1 million partnership with the Knight Fund awarded in September, and about  its Public Media Platform, “which is a common information architecture for all public broadcasting entities.” (more…)

Android users will now be able to access the full range of National Public Radio programming thanks to a new app – “NPR News.”  The feature for the open source smart phone was built for NPR by Google developer and public radio fan Michael Fredrick. In addition, NPR has launched a new site for mobile listeners to access: www.m.npr.org.

“We’ve seen a nearly ten-fold increase in our mobile traffic since the launch of our iPhone app earlier this year,” declared Kinsey Wilson, senior vice president and general manager, NPR Digital Media in a press release. “With the redesign of our mobile web site and the launch of the Android app we’re now able to bring that superior experience to a much wider audience.”

Doesn’t look like either of these services is actually available yet. NPR says the Android app will be downloadable “later this month.” We’re getting a 504 link to the mobile site on our BlackBerry at this point. But it all looks like it will be good stuff when up and running.

Here’s the list of features for both offerings, starting with the mobile site (source: NPR): (more…)

Far outside the view of the general public, the virtual cratediggers of the FCC’s electronic recesses like Matthew and myself are sometimes privy to the little slap-fights that go on between broadcasters. In this case things are getting a little heated over the far left end of the FM dial, with a prominent public radio station calling out LPTV broadcasters exploiting the channel 6 backdoor to the FM dial.

As I’ve been already reported, the FCC recently ended restrictions on the use of FM frequencies adjacent to TV channel 6– 87.9 to 88.5 FM–in markets where former analog channel 6 stations went digital and changed channels.  Now, National Public Radio has petitioned the FCC to open up these frequencies everywhere, even in markets where digital TV stations decided to stay on channel 6 or where there are grandfathered analog low-power TV stations.

NPR’s argument rests on a technical analysis concluding that digital TV signals are far more interference-resistant than analog, and that modern TV tuners are selective enough to make interference from FM negligible for even analog LPTV signals.

Predictably, fellow noncommercial FM broadcasters are lining up in support of NPR’s proposal, while the ABC network and the National Association of Broadcasters have filed comments in opposition, calling into question NPR’s engineering data. There’s a few sparks coming from these opposing comments, but the real fun is buried in comments from Chicago Public Radio.

Without naming names, CPR  pointedly complains,

LPTV stations have begun to invade FM radio, broadcasting audio signals that were licensed for TV broadcast as if they were commercial radio stations on 87. 7 MHz. Not only are these signals inappropriately being broadcast as radio, they are also bleeding 24·hour dance music, with commercial advertising, over into the noncommercial stations that are on the lower NCE FM channels. Like squatters moving into recently-vacated homes, these LPTV stations are, in effect, intentionally broadcasting commercial radio which spills over onto the reserved portion of the FM band, trespassing on the limited territory of their noncommercial neighbors. Before this phenomenon becomes entrenched, the Commission owes the public, as well as public radio stations, a reasoned consideration of this problem.

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