Engineering Radio – Page 179 – One Hundred percent Human Generated Content for your Reading Enjoyment

What is really wrong with EAS?

Aside from it hasn’t worked… Over the last several, the FCC has released no fewer than five proceedings regarding EAS. To date, few, if any meaningful changes have taken effect. The stated purpose of the Emergency Alert System (EAS) is to:

provide the communications capability to the President to address the American public during a national emergency.
may be used by state and local authorities to deliver important emergency information, such as AMBER alerts and weather information targeted to specific areas.

Seems pretty straightforward. Local weather emergencies would seem to be the most likely reason for EAS activation, followed by things like Amber Alerts, chemical spills, evacuations, etc. To meet those ends, the FCC mandates that radio (traditional and IBOC), television, cable, wireless cable, direct satellite TV, and satellite radio participate in some way or another. So far, it seems like a fair idea. Then comes the implementation, which is flawed. To start with, EAS still relies on a daisy chain relay system designed during the 1960s for CONELRAD. The over-the-air monitor assignments of other broadcast stations are the only mandatory information sources in the system. Other, more relative local sources such as the national weather service, local government, and so forth are optional. Next, the most used and most useful part of the EAS, local and state-level alerts are completely optional. Very little or no information is provided to local government agencies on how to access EAS in the event of an emergency. Then the issue becomes one of unmanned stations. The initial EAS message goes out over the airwaves, which takes about 2 minutes at most, then it’s back to the music. No amplifying information, check back for more information when it becomes available, etc. Nothing. It has occurred in several cases where a radio show is voice tracked, complete with a weather forecast, which is the opposite of real-time weather warnings. If one happens to miss the initial EAS broadcast because they were listening to another station or whatever, well, too bad. Finally, the National Weather Service itself over-activates. One line of summertime thunderstorms passing through the area can trigger 10 or even 20 EAS alerts. Over-activating, with the same digital tones (rrrrrrannk, rrrrrrank, rrrrrank) followed by the EBS tone than some computer-generated voice just gets annoying. To summarize:

The national EAS has never been tested, who knows if it will work
The EAS relies on unreliable over-the-air daisy chain relays for its mandatory monitor assignments
Local and State level EAS (including weather-related alerts, something that could be really useful) is optional
When connected to the NOAA weather radio system, the NWS overuses the EAS activations

Here is an idea: For at least ten years now, the idea of a CAP has been batted around. It seems like a good idea, let’s do that. Get rid of EAS, send emergency information to everyone’s cellphones or whatever, and stop fining broadcasters for missing a monthly test. The weak link in the EAS is the broadcaster’s themselves. History has shown (over and over again) that the current crop of radio station owners cannot be bothered to meet even the simplest of their public obligations. The FCC has shown it is only interested in collecting big fines for missed EAS tests, not actually making the system work. The system is broken. As terrestrial radio (and TV) goes terminal, the public will still need to receive emergency information, the CAP idea can fill this requirement. It is time to pull the plug on EAS once and for all.

Computer file manipulator

It just doesn’t have the same ring as Disk Jockey or DJ. However, that would be an apt description of the person who plays the hits on most radio stations these days.

It is mostly just drag and drop the next element into the play deck if anything needs to be done at all.

I remember when DJs actually jockeyed disks, it was a sight to behold. Back in the day when everything was on vinyl except the commercials, which were on the cart, the DJ had his or her hands full. Most of the songs were in the 2:30 to 3-minute range, so while the song was playing, the next song had to be cued up on the platter, the old song needed to be put back into its sleeve and shelved (most of the time), check the log to see what was on deck, pull the next commercial stop set, answer the phone and god forbid if the Program Director called on the hotline and it rang more than 3 times. And hopefully, the head wasn’t too far away, that coffee went somewhere, after all. While all that is going on, timing, audience interaction, hitting the post, and sounding fun. In spite of what Howard Stern says, it was not easy.

Today, of course, if there is even a person in the studio, they may glance up at the computer screen every now and then to see when the next time they need to talk. Otherwise, they would be engaged in talking on the phone with their girlfriend, texting, surfing the internet, or watching a baseball game on TV.

Copper theft and how to avoid it

One of the unfortunate signs of the times is the increased theft of valuable materials. Copper, while not as expensive as it once was, still fetches a fair amount at the scrap dealer. One local telephone company has been having a difficult time keeping its aerial cables intact in certain areas. For radio stations, the situation is compounded by remote transmitter sites with lots of copper transmission lines and buried ground radials around AM towers. Reduced staffing levels also mean that the weekly trip to the transmitter site is now every two weeks or perhaps once a month or even less.

Sites that are not visited or monitored very often are prime targets for copper theft. Forget asking the local constabulary to patrol more often, the few times I tried that I was met with a blank stare.

A few common sense type things that I have learned over the years may keep your site intact:

Keep up appearances. A neglected transmitter site is more likely to attract the wrong type of attention from the wrong type of people. Clean up any rubbish, dead equipment, keep the weeds and trees cut down, etc. If a site looks well tended and is often visited, a thief may think twice about lifting valuable metals.
Along with #1, keep things buttoned up. Secure all transmission lines to ice bridges, remove any deadlines, etc. If there are ground radials poking out bury them, same with ground screens, copper straps, etc. Out of sight, out of mind, leaving this stuff exposed is asking for somebody to come along and give a tug.
Fences and locks. Towers are required to be fenced and locked to prevent electric shock hazards. It is also a good idea to fence the building, generator, and fuel tank if possible.
Post all sorts of warning signs, RF warning, high voltage, no trespassing, under video surveillance, pretty much anything to deter trespassing and vandalism.
Add video cameras with a video recording device since most theft occurs during non-working hours. Last year, the company I used to work for traded a video surveillance system for the studio location.
Compensate a neighbor to keep an eye on the place and call you if they see any suspicious activity. It doesn’t even have to be money, I once worked out a deal with a neighbor for some T-shirts and CDs. That was the best alarm system we ever had.

In the long run, keeping all the copper parts where they belong is a great way to avoid those annoying “the station is off the air” phone calls not to mention the expense of replacing damaged transmission and ground systems.

The loudness wars are over, Apple has won!

Excuse me while I gag…

Okay, that’s a little better. I was just reading up on the newest, greatest, holy cow, gee whiz, gotta have that expensive box processor, also known as the Omnia 11. I have to hand it to Mr. Frank Foti and his marketing team. They have created one heck of a buzz about this thing, and it seems like folks are jumping on board to shell out $10 – $12 K for the box. But let us review a few things.

I will admit most freely that I tend to be an audio purest. I do believe that a limited amount of processing has its merits, especially for those listeners in high-noise environments like automobiles, work sites, etc. With sloppy DJs working the consoles, there is a minor need for some limiting, gain reduction, and so on, just to the air product levels aren’t all over the place. Those are real-world considerations.

Does an iPod have an air chain processor? No, if the iPod user wants more loudness, they turn up the volume. Since most Ipod users are normal people and not some burned-out DJs with bad hearing, the volume control on an Ipod has plenty of headroom to satisfy. Does a Droid or a Blackberry or whatever else people are listening to these days have an air chain processor? No. And most users/listeners of those devices are perfectly happy with the quality and quantity of audio.

Back in the day when loudness meant a bigger transmitter, more carrier power, bigger signal, was easier to tune manually with the non-digital dial readout, etc., perhaps a loudness war with the cross-town rival was part of the game. Nowadays, nobody cares except the program directors. I repeat NOBODY CARES. Ask anybody on the street what the loudest radio station is. They very likely won’t even understand what you are trying to ask and you likely could not explain it in terms that would make them understand, much less care about.

The average person doesn’t give a rat’s ass about loudness. Nor do they really care about how deep and full the DJ’s voice is, or how well the noise gate works, or the six-band EQ, or any of that crap. In fact, if the music sounded just like it does on the iPod, e.g. completely unprocessed, they probably wouldn’t even notice. The competition has changed and radio is being left behind because many people are stuck with old ideas about how things used to be. Times have changed, and what should be the driving force in radio, the listeners, want to hear the music that they like. That is what the program director should be worried about, finding and playing good music that the listeners want to hear. Or having the best talk show, the most interesting news, or whatever other programming the station carries.

If the programming content is good, compelling radio, they will listen. Never mind the air chain processor, the mic processor, the limiter, how loud the station is, what power the transmitter is running at, etc. That is for the Engineers to take care of.