NACB 1995 STATION HANDBOOK Nineteen Ninety Five

Station Handbook NACB 1995 STATION HANDBOOK Nineteen Ninety Five

NATIONAL ASSOCIATION OF COLLEGE BROADCASTERS

starting a station Radio Handbook Table of Contents NACB 1995 STATION HANDBOOK COVER 1 SECTION TWO: ENGINEERING 24

INTRODUCTIONGETTING 9 READY FOR A NEW YEAR 25

CREDITSPRESERVING 10 AUDIO QUALITY... STATION 27

ACTIVE8: MINDS • MESSAGES • MEDIASOME 11 IDEAS ON STUDIO WIRING: PART ONE 29

THE GROUND SYSTEM 29 LIGHTNING PROTECTION 29 SECTION ONE: STARTING A STATION 12 POWER FEEDS 29 SURGE PROTECTION 29 STARTING A STUDENT RADIO STATION 13 CARRIER CURRENTSOME 13 IDEAS ON STUDIO WIRING: PART TWO 31 CABLE FM 13 ON-THE-AIR LAMPS 31 LOW POWER BROADCAST 14 PATCH JACKS 31 FULL POWER BORADCAST 14 AUDIO CABLING 31 EQUIPMENT 14

NOTES ON CARRIER-CURRENT TRANSMISSION 33 RESOURCESC-C 15 IS TRICKY 33 C-C SYSTEM REPAIR CHECKLIST 33 PERSONNEL MANAGEMENT 16

MEETINGS CABLE16 FM: HOW IT WORKS 35 PREPARING THE MANAGEMENT TO MANAGE 16 BASIC STATION SECURITY 37

MANAGERS & MANAGEMENTINTRODUCTION 18 37 MAKE YOUR MANAGERS FEEL LIKE MANAGERSDOOR 18 LOCKS 37 CONTROLLING LOCKPICKING 37 TRAINING PROGRAMS FOR COLLEGE RADIOALARMS, 19 PORTABLE EQUIPMENT 38 AVOID “REINVENTING THE WHEEL” 19 TRAINING PROGRAM COMPONENTS 19 OPEN HOUSE PRESERVING20 OPEN SPACE 39 SUBSEQUENT MEETINGSSAWING 20 RACK PANELS 39 BEING AT THE STATIONCERAMIC 20 CAPACITORS FAILING 39 TESTING LIGHTNING21 AND PCS 39 ONGOING TRAININGLIGHTNING 21 — PHASE TWO 40 OTHER COMPONENTSFUSES 22 40 SPECIAL TRAINING PROGRAM HIGHLIGHTSLIQUIDS 22 IN THE CONSOLE 40 WHAT TRAINING CAN’T DOAUDIO 22 OSCILLATOR 40 “N” CONNECTOR TRICK 40 A WARNING ON DO-IT-YOURSELF POWER WIRINGSECTION 40 THREE: LEGAL 62 TECHNICAL CHARACTERISTICS... PROGRAM LINES 41 LEGAL Q&A 63 GETTING GOOD ACOUSTICS... STUDIOS“COMMERCIALS 43 ON CABLE ACCESS?” 63 “COMPENSATION FOR PUBLIC AFFAIRS PROGRAMMING” 63 ISOLATION “HANDS43 OFF STATION FUNDS” 63 CONTROLLING ROOM “LIVENESS”“ILLEGAL 44 CREATIVITY” 64 MEMBERSHIP CLUBS 64 PLEDGE DRIVES 64 FLEA-MARKET BROADCAST PARTS“SLOGANS 45 IN MODERATION” 64 ORDERING THE FCC RULES“SYNDICATED 45 RADIO PROGRAMS” 64 THE TECH LIBRARY: KEEP SOME “OLDIE” CATALOGSTRANSLATOR 45 RULES CHANGES 65 TOUCHING UP THE CONSOLE“TV 46 UNDERWRITING SPOTS” 65 “UNDERWRITING BEDS” 65 “UNDERWRITING VIOLATIONS” 65 NOTES ON EBS“ANNOUNCEMENT 47 LENGTH” 66 “COMMERCIALS ON CABLE ACCESS?” 66 ENGINEERING Q&A“COMMERCIALS 48 FOR NON-PROFITS” 66 “COMMISSIONS ON UNDERWRITING ANNOUNCEMENTS” 67 MUTUALLY EXCLUSIVE APPLICATIONS“COMPENSATION 48 FOR PUBLIC AFFAIRS PROGRAMMING” 67 UPGRADE POSSIBILITIES“DEPOSITING 48 UNDERWRITING FUNDS” 67 ANSI COMPLIANCE“HIRING 49 UNDERWRITING STAFF” 67 NEW NCE-FM CHANNEL SEARCH“ILLEGAL 49 CREATIVITY” 67 MUTUALLY EXCLUSIVE APPLICATIONS“MUSIC 49 BEDS” 68 UNLICENSED FM ON CAMPUS 50 IMPROVING SIGNAL STRENGTH 50

SETTING UP A TELECONFERENCE 52 EQUIPMENT LIST“DIGITAL 52 BROADCASTING” 69

STATION UPGRADESFINES 54 70 COSTS “FINING54 NOVICES” 70 THE POSSIBILITIES“NEW 54 FCC FINES” 70 STEPS AND STUDIES 54 COST ESTIMATES AM BROADCASTING (CARRIER CURRENT) SYSTEMS 55 THE FCC 71 COST ESTIMATES FM BROADCASTING SYSTEMS$35 56 DJ FEE 71 $35 DJ FEE CONTROVERSY 71 “BAD ADVICE” 72 “CABLE ACT 1992” 72 UPGRADE RECOMMENDATIONS... FM STATIONS“CABLE 57 ACT AND CAMPUS RADIO” 72 “CABLE COMPENSATION FOR CARRIAGE OF SCHOOL STATIONS” 73 LIMITED AREA BROADCASTING“CHANGING 59 CALL LETTERS” 73 “DJ PERMITS” 73 SUMMARY “EMERGENCY59 ANTENNA” 73 AM BROADCASTING 540 KHZ- 1700 KHZ“EQUAL 59 STATION TIME FOR CAMPUS CANDIDATES” 73 FM BROADCASTING 88 - 108 MHZ“EQUAL 60 STATION TIME FOR POLITICAL CANDIDATES” 74 L O W P O W E R U N L I C E N S E D F A C I L I T I E S“FINING 60 NOVICES” 74 APPENDIX I “FM61 TRANSLATORS” 74 “LICENSE RENEWAL”“TICKET 74 GIVEAWAYS” 88 “MINIMUM OPERATIONS SCHEDULES (MOS)” 75 “MOS & COMMUNITY COLLEGE STATIONS” 75 “MOS & COMPLAINTS”CATALOG 75 OF FCC PUBLICATIONS 89 “MOS & CABLE STATIONS” 76 “MUSIC FORMATS & EDUCATIONAL PROGRAMMING”INDECENCY 76 & EXPLICT CONTENT RULINGS 91 “NEW FCC FINES” 76 “PUBLIC FILE” EXPLICIT76 SAFE HARBOR RESTORED 91 “SPECIAL ARRANGEMENTS FOR SCHOOL BREAKS”INDECENCY 77 GUIDELINES 92 “STATION AUTOMATION” 77 “STATION INTERFERENCE” 77 “TICKET GIVEAWAYS”MEMORANDUM 78 94 “TOWER LIGHTING” 78 “TRANSLATOR RULES CHANGES”COMMUNITY 78 ISSUE PROGRAMMING... 94 “USER FEES” 78 “WHO CONTROLS THE LICENSE?”A. 79 THE NATURE OF ISSUES 94 B. HOW ISSUES ARE SELECTED 95 C. TREATMENT OF ISSUES 95 D. EXAMPLES OF PROGRAMMING 95 E. PREPARATION OF THE LIST 95 F. PERIOD OF RETENTION 95 G. SIGNIFICANCE OF THE LIST 96 MUSIC LICENSINGAPPENDIX 80 A 96 “BLANKET AGREEMENTS”APPENDIX 80 B 96 “BORROWING COPYRIGHTED SONGS”APPENDIX 80 C 96 “CONCERNS FOR STUDENT PRODUCTIONS” 80 “CREATING MUSIC VIDEOS” 81 “DIALOGUE CLIPS” 81 “ID BEDS” 81 “LICENSE TO APPROPRIATE”NONCOMMERCIAL 81 BROADCAST LICENSEE... 98 “MUSIC LICENSING” 81 “MUSIC LEGAL ON COLLEGE TV?”MEMORANDUM 81 98 “MUSIC VIDEOS” 82 “PERMISSION FROM AUTHOR”A. 82 MATERIALS REQUIRED TO BE PLACED IN THE PUBLIC FILE 98 “SOUND-ALIKE ADS”B. 82 F.O.B. INSPECTION CHECKLIST 99 “YOU’RE JINGLIN’, BABY”C. 82 RETENTION AND DISCLOSURE OF TRANSCRIPTS OF EDITORIAL AND PERSONAL ATTACKS 99 D. INSPECTION REQUEST PROCEDURES 99 E. FACILITIES FOR REPRODUCTION OF STATION RECORDS 99

PAYOLA 84 “VOLUNTEER DJ PAYOLA?”SECTION 84 FOUR: POLICY MANUALS 101

INDECENCY & OBSCENITY 85 WRITING A STATION POLICY MANUAL 102 “INDECENT PROGRAMMING” 85 INTRODUCTION 102 WHAT TO INCLUDE 102 PROGRAMMINGKEEPING 86 IT UP-TO-DATE 103 “ISSUES-PROGRAM OBLIGATIONS”DISTRIBUTION 86 103 THE FINAL DRAFT 103 CONCLUSION 103 SYNDICATION 87 “SYNDICATING LOCAL SHOWS” 87

GIVEAWAYS 88 WHAT IT’S ALL ABOUT 135 SECTION FIVE: OPERATIONS HANDBOOKS 104 THE NEW ROCK FORMAT 135 VITAL STATISTICS 136 THE BOTTOM LINE 136 STATION OPERATIONSEXCLUSIVE 105 SPONSORSHIP 136 INTRODUCTIONPARTICIPATION 105 SPONSORSHIP 136 PURPOSE UNDERWRITING105 CONTRACT 137 SOME HISTORY 105 STATION PROFILE 106 AREA OF LICENSE 106 SAYING IT CORRECTLYSTATION 106 MANAGER HANDBOOK: KJHK 138 STATION POLICIES 107 WGLS CODE OF CONDUCTSTUDENT 108 STATION MANAGER 138 STATION ORGANIZATIONEXECUTIVE 108 MEETINGS 139 EXECUTIVE STAFF RESPONSIBILITIESPROGRESS 109 REPORTS 139 STUDIO OPERATIONSEXECUTIVE 109 RETREATS 139 THE BROADCAST CONSOLEBOARD 110 MEETINGS 139 MICROPHONESOTHER 111 MEETINGS 139 TURNTABLES GRIEVANCE111 PROCEDURE 139 COMPACT DISCSKAB 111 AWARDS 140 TAPING SYSTEMSNACB 112 AWARDS 140 AIR CHECKS RECRUITMENT113 140 DALET DIGITAL WORKSTATIONPUBLIC 114 RELATIONS 140 PATCH CORDS & PATCH BAYSFCC 115 LICENSES 140 EQUIPMENT UPKEEPTHREE-SEMESTER 115 RULE 141 THE REMOTE BROADCAST-ON LOCATION WITH RADIOPARTICIPATION 116 CONTRACTS 141 TRANSMITTER OPERATIONSOPENING/CLOSING 117 THE STATION 141 TRANSMITTER OUTPUT POWERSPINS 118 RENTAL 141 LEGAL OPERATIONSOFFICE 119 HOURS 141 LEGAL CHECKLISTHAVE 120 A GOOD EXPERIENCE 141 WGLS-FM OBSCENITY POLICY 121 FCC LICENSE REQUIREMENTS 121 OBTAINING YOUR FCC LICENSE 121 WGLS-FM FORMAT 122 GLOSSARY SECTION122 SEVEN: PROGRAMMING 142

PRODUCING A RADIO TALK SHOW 143 STAFFING 143 CONCEPTS 143 SELECTING A HOST 143 TOPIC 143 SECTION SIX: SAMPLE HANDBOOKS 125 GUEST COORDINATING 144 ADDED EFFECTS 144 A PRACTICAL EXAMPLE 144 DJ HANDBOOK: KTSBCLOSING 126 145 THANK YOU 126 IN THE CONTROL ROOM 126 II. KTSB RULES 128 ROTATING IN NEW MUSIC 146 WHAT TO DO WITH NEW MUSIC 146 QUESTIONS FOR OPERATOR PROFICIENCY TESTPROMOTING 132 NEW MUSIC WITHIN THE STATION 147 PROMOTING NEW MUSIC OVER THE AIR 147 SAMPLE UNDERWRITING MEDIA KIT: KNLU-FM 135 SPORTS: NOT JUST A GAME – A PRODUCTIONA GUIDE 148 TO MUSIC PUBLISHING TERMINOLOGY 167 PRE-GAME SHOW 148 GAME 148 HALFTIME/BETWEEN PERIODSSECTION 149 ELEVEN: FUNDRAISING 171 POSTGAME 149 OTHER NOTES 149 CONCLUSION GRANTS149 172 GREAT FUNDRAISING IDEAS 174

STARTING YOUR OWN AUDIO THEATER TROUPEKEEP 150 IN MIND THE BASICS 174 GOOD SOUND IS VISUALLEGAL 150 COMPLICATIONS 174 THE AUDITION ON-AIR151 FUNDRAISING 176 I’M TIRED... ARE WE DONE YET?TAPPING 151 THE STUDENT COUNCIL 176 THE BUZZERS AND WHISTLES ARE NICE, BUT... 151 A FEW RULES 152 EDITED TRANSCRIPT OF FUNDRAISING PANEL 177 THE CANADIAN PERSPECTIVE 177 STATION ACCESS TO CAMPUS CRIME REPORTSEXAMPLES 153 178 PROMOTIONS 179 GETTING TO THE STORYMOBILE 153 BROADCASTING 179 OPEN RECORDS LAWCLUBS 154 180 BEING PERSUASIVEMIXED 154 MEDIA 181 IMPROVING YOUR COVERAGE OF CAMPUS CRIMEDISCOUNT 155 CARDS 182 PUBLIC SERVUCE ANNOUNCEMENTS 182 UNDERWRITING 184 LAW PRESS UPDATESLOGANS 156 184 PROGRAMMING 184 SECTION EIGHT: U/X FORM 157 SALES 185

U/X: LISTING YOUR PROGRAM 158 SUBMISSION INFORMATIONUNDERWRITING 158 ANNOUNCEMENTS 186 GENERAL UNDERWRITING GUIDELINES 186 DO NOT’S 186 SECTION NINE: ETHICS 159 YES YOU CAN 186 COMMERCIAL EXCEPTIONS TO THE NONCOMMERCIAL RULES 186 ETHICS 160 THIS SECTION WILL CONSIDER:NACB/INTEREP 160 RADIO STORE... COOPERATIVE 188 THE NATURE OF ETHICS 160 NON-CONSEQUENTIALISM: PRO AND CONTHE 162 CO-OP 188 CONSEQUENTIALISM: PRO AND CONINTEREP 162 188 THE GOLDEN MEAN: PRO AND CONPARTICIPATION 162 188 ETHICS IN THE NEWSROOMSIGNING 163 UP FOR THE CO-OP 188 PRE-TEST 188 VOLUME I: DEVELOPING AN UNDERWRITING SCHEDULING SYSTEM 189 VOLUME II: ADVANCED UNDERWRITING SCHEDULING 191 SECTION TEN: MUSIC LICENSING 165 VOLUME III: COMPLETING THE AFFIDAVIT 193 POST-TEST 194 MUSIC LICENSING 166 MAY I SEE YOUR LICENSE? 166 LICENSING AND COLLEGE STATIONS 166 SECTION TWELVE: PROMOTIONS 195

PROMOTING A RADIO STATION (WITHOUT MONEY!)196SECTION SIXTEEN: NACB BY LAWS 217 INTRODUCTION 196 SELF-PROMOTIONNACB 196 EXECUTIVE BOARD 218 PIGGY-BACK 196 TIMING ARTICLE197 1 219 COMMERCIAL OPPORTUNITIES 198 DEFINITIONS 219 LEARNING EXPERIENCE REPORT FOR INTERNSHIP STUDENTS 215 STUDENT STATION PROMOTIONSARTICLE 199 2 220 INTRODUCTIONNAME 199 AND PURPOSE 220 WORKING TOGETHER 199 STAFF MOTIVATION 199 DETERMINING YOUR AUDIENCEARTICLE 199 3 221 CREATING A STATION IMAGEMEMBERS 200 221 PROMOTIONS DEPARTMENT BUDGET 200 PROMOTIONAL TOOLS 200 MERCHANDISINGARTICLE 201 4 222 GUIDELINES FOR A GREAT PROMOTIONMEETINGS 201 OF MEMBERS 222 SAMPLE PROMOTIONS 202 SPECIFIC EXAMPLES OF PROMOTIONS 202 PUBLIC RELATIONSARTICLE 202 5 224 PUBLICITY DIRECTORS202 224 MEDIA KITS 203 REMOTES 203 PROGRAM GUIDEARTICLE 203 6 227 EXECUTIVE COMMITTEE AND OTHER COMMITTEES 227

ARTICLE 7 228 OFFICERS 228

SECTION THIRTEEN: ALUMNI ASSOCIATIONS 205 ARTICLE 8 230 GRANTS, CONTRACTS, CHECKS, DRAFTS, BANK ACCOUNTS, ETC.230 ALUMNI ASSOCIATIONS 206

ALMUNI ASSOCIATIONSARTICLE 208 9 231 INDEMNIFICATION 231

SECTION FOURTEEN: NACB SURVEY 210 ARTICLE 10 232 FEES, DUES AND ASSESSMENTS 232 NACB SURVEY 211 INTRODUCTIONARTICLE 211 11 233 BOOKS AND RECORDS 233

SECTION FIFTEEN: INTERSHIPS 214 ARTICLE 12 234 SEAL 234 INTERNSHIP PROGRAMS 215 THE STUDENT APPLICATION FORMARTICLE 215 13 235 FISCAL YEAR 235

ARTICLE 14 236 VOTING OF SHARES HELD 236

ARTICLE 15 237 MICHIGAN 256 MINNESOTA 258 AMENDMENTS 237 MISSISSIPPI 258 MISSOURI 259 ARTICLE 16 238 MONTANA 259 NEBRASKA 259 CHAPTERS 238 NEVADA 260 NEW HAMPSHIRE 260 ARTICLE 17 239 NEW JERSEY 260 NEW MEXICO 261 DISSOLUTION 239 NEW YORK 261 NORTH CAROLINA 264 ARTICLE 18 240 NORTH DAKOTA 264 OHIO 264 ADOPTION 240 OKLAHOMA 266 OREGON 267 ARTICLE 19 241 PENNSYLVANIA 267 RHODE ISLAND 269 OTHER PROCEDURES 241 SOUTH CAROLINA 269 SOUTH DAKOTA 270 TENNESSEE 270 SECTION SEVENTEEN: MEMBERS 242 TEXAS 270 UTAH 272 VERMONT 272 RADIO MEMBERS TABLE OF CONTENTS 243 VIRGINIA 272 ALABAMA 244 WASHINGTON 273 ALASKA 244 WEST VIRGINIA 273 ARIZONA 245 WISCONSIN 274 ARKANSAS 245 CALIFORNIA 245 COLORADO 247 CONNECTICUT SECTION248 EIGHTEEN: FOREIGN MEMBERS 275 DISTRICT OF COLUMBIA 249 DELWARE 249 FLORIDA FOREIGN249 RADIO MEMBER STATIONS 275 GEORGIA CANADA249 275 HAWAII DENMARK250 275 ILLINOIS 250 INDIANA 251 IOWA 253 KANSAS SECTION253 NINTEEN: HANDBOOK SURVEY 276 KENTUCKY 254 LOUISIANA THE254 NACB STATION HANDBOOK SURVEY 277 MAINE 254 GENERAL 277 MARYLAND 255 EDITORIAL 277 MASSACHUSETTS 255 DESIGN 278 INTRODUCTION APRIL 1995

Dear NACB Member Station:

We are pleased to present you the 1995 NACB Station Handbook. Published annually, the Handbook is provided as a member benefit to station and department members.

Thanks to input from many of you, we have redesigned the 1995 edition. The most noticeable difference in the current version is that both Mac and IBM users will be able to use the Handbook electronically. The 1995 version uses Adobe Acrobat software, allowing us to provide the same Handbook for multiple PC users.

If you prefer a bound version of the NACB Station Handbook, we have desktop published the pages in such a way that the Handbook can be printed and easily placed in a three ring binder.

We would like to especially thank Gordon Kent, former NACB Communications Director, for designing the pages of the handbook as you see them.

Making these updates to 1995 NACB Station Handbook was a long task. But we think that our efforts make for a more user-friendly and interactive Handbook.

The NACB Station Handbook is the most comprehensive resource for student stations ever produced. Since college and school stations, TV and radio, have more in common than not, any station’s experience can benefit those at other campuses. NACB compiles that information on an ongoing basis, conducts its own research and adds material from outside sources, resulting in this Handbook.

We hope that each member of your station will read, re-read and refer to the Handbook as often as necessary. Publishing the Handbook on disk provides definite advantages: • The potential for “lost” copies is greatly reduced • Station staffers can make a copy of the Handbook for their own use • Contents can be exported for incorporation in individual station handbooks • Contents can be printed on demand • It’s an ingenious way to save the trees and money!

The 1995 NACB Station Handbook is a copyrighted publication. Therefore your station: • Is restricted from making copies of the Handbook for sale • Is restricted from distributing the Handbook to anyone outside of your station • Must credit NACB and the section writer (if noted) for any sections used in your station handbook

In the future, we hope to place timely updates on the Net. We’ll keep you posted.

The NACB Station Handbook is continually updated, so your ideas, suggestions and submissions are always welcome. To that end, we ask that you complete the survey at the very end of the handbook and return it to NACB. The next edition of the NACB Station Handbook will be published in early 1996. Enjoy!

Sincerely,

Mark, JoAnn, Kelley and Kristine NACB Directors CREDITS

Editor: JoAnn Forgit Design and Layout: Gordon Kent

The 1995 edition of the NACB Station Handbook is a composite of many articles and handbooks from other NACB members. NACB would especially like to thank the following individuals and stations for their contributions to this body of work:

Eloise Greene, Carl Hausman, Warren Kozierski, Frederick Levy, Bob Long, Greg Luft, Laura Mizrahi, Student Press Law Center, Cary Tepper, Chris Waldrip, Steve Warren, WMUC Alumni Association and Sue Zizza.

And stations: Cable 6, ICTV, KVRX-FM, KJHK-FM, KNLU-FM, WGLS-FM.

NACB 71 George St. Providence, RI 02912-1824 vox: 401-863-2225 fax: 401-863-2221 e-mail: [email protected]

DATES AND LOCATION Media Exhibition – the world’s largest trade show for student media – will be The NACB National – the world’s larg- open November 16 and 17. Past ex- est gathering of student-operated radio hibitors include radio and TV program- and TV stations – will be held Novem- mers, radio and TV equipment manu- ber 16-19, 1995 at the Rhode Island facturers and suppliers, computer Convention Center in Providence, R.I. hardware and software distributors in addition to book and PSA distributors. EVENTS AND SEMINAR TOPICS AWARDS The NACB National includes something for everyone involved in student NACB will host The Fifth Annual Na- radio and TV operations. Seminars will tional Student Radio Awards and The cover management and volunteer is- Fifth Annual National Student TV Pro- ACTIVE8: MINDSsues, engineering • and legal advice, and gramming Awards, which recognize MESSAGES • MEDIAjob and industry outlooks. Session student stations and student produc- tracks at the conference will include ers for outstanding programming, pro- hands-on radio and TV production/ motion and community service. critique workshops, newsgathering and ethics, and student station promotions. Entries for both awards programs are THE NATIONAL: SUMMARY due by June 15, 1995. Winners will be PAST SPEAKERS announced on Saturday night, Novem- Dates: November 16-19, 1995 ber 18, 1995 at an awards ceremony. Location: Rhode Island Convention Center, Providence, RI Past NACB National speakers include Registration rates for NACB members: To be announced Walter Cronkite, Ted Turner, Quincy REGISTRATION Deadline for Award entries: June 15, 1995 Jones, Laurie Anderson, Michael Fuchs, Morley Safer, Bob Pittman, Jack To register for The National, call NACB WHY YOU MUST ATTEND Clifford, Robert Morton, John Crigler, at 401-863-2225, or fax to 401-863-2221 Judy McGrath, Lee Abrams, and rep- with the following: Head delegate, The NACB National allows for direct interaction with hun- resentatives from ABC, ASCAP, BMI, additional name(s) of people register- dreds of students from across the U.S. (and from the world) CBS, The Discovery Channel, E! Enter- ing, school name and station/depart- working at their student radio or TV station. Nowhere else tainment Television, Fox, The Freedom ment, address and phone number. will you be able to compare notes on programming ideas, Forum, HBO, MTV, NBC, NFCB, Nick- fundraising strategies, news broadcasting and other topics elodeon, RAB, RTNDA, Showtime Net- ACCOMMODATIONS with your peers in an informative and exciting weekend. In works, Time Inc., Warner Bros. Televi- addition, over 100 professionals from a cross-section of me- sion, WBCN-FM/Boston, WFNX-FM/ Contact the Omni Biltmore Hotel (401- dia take time out for this one weekend to meet with stu- Boston, among others. 421-0700), The Holiday Inn (401-831- dents and discuss issues important to student and commer- 3900) and The Westin Hotel (401-598- cial media now, while being available for questions about EXHIBITOR T RADE SHOW 8000) for discount accommodations. future employment opportunities in the industry. The NACB National Student Electronic starting a station NACB 1995 STATION HANDBOOK

One 13 STARTING A STATION campus and drive to school. However, whole new set of radio stations besides it can be more expensive than the non- what is available over-the-air – includ- broadcast types in the short-run. ing your college station. If the cable operator doesn’t offer cable radio, you CARRIER CURRENT can convince them to offer the service as it can represent a new subscriber Carrier current radio utilizes special revenue stream for them. If that fails, low-power transmitter/coupler units, the station could serve as background typically installed in the basements of audio to one of their TV message chan- the dormitories or other buildings in a nels. coverage area. The signal is just strong enough to reach receivers in the de- A telco equalized program line for sired buildings without the station sig- mono (two lines for stereo) is all that nal straying off campus (in violation is required to bring the signal from STARTING A STUDENTof FCC field strength limits). The sta- your studio to the cable operator’s head RADIO STATIONtion frequency is usually placed on the end, plus an FM modulator to convert low end of the AM band. Note that the the signal into a usable form. This cost signal will be in mono, not stereo, and could run about $1,000, but the cable that certain elements of building archi- system to pay for the expenses in re- tecture (e.g., elevators, air condition- turn for providing station program- Be aware that building a station from idea to reality is a long ing units) can affect the quality of sig- ming free of charge to the system or process – on average, 2-3 years or more. Thus if the primary nal reception. Many problems can be promoting cable options to other stu- organizers are upperclassmen, enlist support from an en- avoided by having an engineering site dents. couraging faculty member and/or younger pro-station stu- survey done by one of the companies dents from the start. Do not ignore school administration specializing in this area (fee required). Cable FM can be offered in combina- (and the communications department, if there is one). The LPB publishes a free, handy pamphlet tion with carrier current or broadcast supervision and help from a faculty member or administra- on carrier current for potential custom- stations, too. If the campus lacks cable tor who supports the effort to start a college radio station is ers. Ask for it. feeds, use carrier current to reach the essential; the chances of success are far greater than if stu- dorm rooms, and just get the station dents alone undertake the effort. The long time frame in- CABLE FM feed to the cable operator. Though car volved and the political connections with university entities radio listenership won’t be available, essential are two key reasons for taking on a faculty advisor If the school buildings are wired (or the off-campus home cable subscrib- when beginning a station start-up project. soon will be) for cable TV, then cable ers can receive the station. Though it radio can be offered also. A low cost is not as important for a broadcast sta- Technically speaking, college radio stations come in one of splitter attached to the cable input al- tion, providing a feed to the cable op- four types: carrier current, cable FM, low-power (experi- lows one lead to go to the TV, while erator could generate extra exposure mental) broadcast or full-power (regular) broadcast. (To date, the other goes to the home stereo re- for the station as background to a TV digital audio broadcasting has not yet been implemented in ceiver. Depending on what the cable channel. the United States.) Because the station’s signal goes out over operator (the school’s media depart- the air, broadcast is best to reach a large audience, especially ment or the local cable company) of- An alternative cable FM system re- if the school has a high number of commuters who live off fers, cable subscribers can now get a cently gaining popularity is “radiating 14 STARTING A STATION cable.” A hybrid carrier current trans- better, in many markets this part of the for advertising revenue, but a non-com- constructed, a broadcast studio will be mission system with a cable that allows band is just as crowded as the commer- mercial educational station may be needed. Equipment for programming the signal to escape, thereby covers a cial band. And since a commercial li- more in line with the educational mis- and production is expensive. Used particular area. This is a less controlled cense allows advertising, the station sion of the school. Two of the many equipment is cheaper, but usually will system, however, and so may not be could pay for itself. prime considerations that will need not perform as well as new pieces, possible on urban campuses where consensus from all parties involved even if refurbished. Try to buy new non-school buildings are located close The broadcast license to operate a sta- before station signs on are the extent for the key components of the station, by. tion on a given frequency comes from to which the station will incorporate even if tight budgets force the purchase the FCC, and is granted only after ap- students and professionals, and the of used units for the rest of the equip- LOW POWER proval of an application. The most placement of the station in the school’s ment. Obtaining free equipment from BROADCAST common application pursued by a organizational hierarchy. area commercial stations is possible, fledging college station would be Class since donations to colleges are tax A low-power broadcast FM station may A station (the lowest category), which If time allows, contact a student-run, write-offs. Commercial stations up- be the most cost-effective solution if requires a minimum 100 watts of sta- professional public, or commercial ra- grade periodically; contact them the goal is to reach a limited geographic tion output. dio station in the area as a source of through the station engineer. However, area without the limitations of wires. advice. They have the advantage of if the donated pieces are over a few Note that the FCC-mandated minimum Significant fees are involved in apply- experience to help a new station avoid years old, breakdowns and repair costs station power output is 100 watts for ing for a broadcast station construction mistakes, both organizationally and might outweigh asking prices on new regular stations. As an alternative to permit (CP), both to the FCC for pro- technically. If the consulting engi- models. Harris/Allied, a major broad- carrier current AM, the FCC allows for cessing and to the consulting engineer neers they suggest fail necessary ex- cast equipment manufacturer, runs a analogous low-power FM transmitters who must be hired to: (1) do the re- pectations, however, NACB’s engineer- refurbished used equipment service, (but still with a very limited broadcast quired frequency search (to determine ing advisory firm, Communications with a lot of good deals. radius). According to FCC electronic if an open frequency exists in the mar- Technologies, Inc., has much experi- engineer John Reed, the maximum ket where a new station could go with- ence in assisting the start-up of stu- power for a non-licensed FM station is out causing interference to other ex- dent-run stations. 11 nanowatts, which should cover an isting stations); and (2) conduct the area with about a 200-foot radius. Com- transmitter/tower site survey and Of course, many other consultants ex- mercially sold FM transmitter kits with other requirements to complete the ist. Radio World, a free newspaper to higher power (e.g., 10 milliwatt) tend technical portions of the FCC applica- every broadcast radio station, has a to be illegal. tion. If there are no problems, the ap- large classified section in the back with plication approval process takes 6-12 consulting engineers listed. Ask for FULL POWER months on average. Add station con- references to check on their experience BORADCAST struction time and it could be two years in college station work. Also, talk to by the time the station is on the air. existing commercial stations in the Over-the-air college stations typically area for a recommendation of local reside on the FM band between 88.1 Hiring a communications lawyer engineering consultants. and 91.9. This spectrum of the radio (Washington, D.C. is full of such firms) dial is reserved for non-commercial, may also be worthwhile to avoid prob- EQUIPMENT educational stations, of which college lems later. NACB’s legal counsel is one radio is one type. Though the chances such firm: Meyer, Faller, Weisman & Expense is obviously a concern. Re- of a college getting a station here are Rosenberg. Going commercial allows gardless of the type of station to be 15 STARTING A STATION

RESOURCES

Communications Technologies, Inc. Meyer, Faller, Weisman & Rosenberg P.O. Box 1130 4400 Jenifer St. NW, Suite 380 Marlton, NJ 08053 Washington, DC 20015 609-985-0077 202-362-1100 Contact Laura Mizrahi for FCC application help or other engineering/tech- General questions about legal regulations should be directed to NACB. Should your station en- nical questions. counter unique situation or require the services of a communications lawyer, contact Cary Tepper with your questions.

Harris Allied Radio Systems, Inc. 317/962-1471 110 High Hill Rd. P. O. Box 458 LPB, Inc. Bridgeport, NJ 08014-0458 28 Bacton Hill Rd. 609-467-8000 Frazer, PA 19355 215/644-1123 For a free sample copy of Radio World, call 703/998-7600. 16 STARTING A STATION for input. The key is open communication. The more staff is treated like responsible, thinking individuals, the Start on time, end on time. It’s only courte- more motivated the staff will be to act ous to those attending. responsibly and think independently. Give public praise, never public criticism. Another tip: never ask the staff to do Keep personalities out of the discussion. something that you wouldn’t do your- When meetings get heated, they tend to self. lead nowhere. into a monologue that tangents all over the Avoid side conversations. Leave these for place. MEETINGS after the meeting. Be specific in what needs to be done. At To encourage staff input and commu- the end of each meeting summarize the nication regular meetings should take main points, decisions, assignments and place in addition to regular one-on-one deadlines discussed. Send follow-up memos and minutes within a week of the PERSONNELconsultation. Management should set meeting. MANAGEMENTaside at least two hours per week as posted office hours, when staff can stop by and discuss problems or express If attendance to meetings is a problem, concerns. try livening the meetings up with some of the following ideas: When individuals first approach the station, they are eager Some leadership tips to remember for to get involved and are very motivated to help. If that level your meetings: Include food and beverages obtained of motivation can not be maintained, their productivity will through trade out. Students are drawn to free food! decrease and staff members will begin to leave. Make the meeting’s purpose clear. Post this in front of the group on a blackboard to en- Start the session off with something fun. From the beginning a commitment to the station must be sure everyone knows the ultimate goal. Ice breaker games build acquaintances in large groups. established. Some ideas to accomplish this are: Work toward a common goal. When things begin to stray in a unproductive manner, re- Begin by giving updates on available intern- route the discussion towards the goal at involve new members in exciting projects ships and jobs available through the station. hand. build friendships with other staff members charge a training fee (To cover printing and binding costs for a stationStick with the agenda. To ensure training manual, time and labor for the initial and follow up training ses-everyone’s concerns, beyond the general PREPARING THE sions, a station T-shirt, bumper sticker) manager’s, operations manager’s, etc., are MANAGEMENT TO discussed, leave an agenda book available MANAGE to the staff. Or send out the agenda to each New members must be welcomed into the station and made staff member to which they can make ad- to feel important. Giving a specific job title and duties will ditions. Give everyone a fresh copy ofManagement the is not an easy task, thus make staff members feel that they are an integral part of the agenda at the beginning of the meeting.it would be beneficial to require any station. With these responsibilities must come welcomed individuals applying for management input. How a situation is approached can make a world of Keep to the point and be concise. Whenpositions with the station to have taken difference: being told to do something and how to do it is far discussing the item at hand, do not aenter basic organizational management different from being addressed with a problem and asked course. In addition, hold brush up ses- 17 STARTING A STATION sions that may either include having a professional Human Relations Direc- tor or other manager speak, showing informational videos obtained from the school’s business library or tutorials given by Academic Services or advisor. Additional reading materials can also be distributed containing articles from business periodicals as well as outlines and notes from any of the above activities. 18 STARTING A STATION

1. THE MANAGER’S with a local restaurant (set up by my NOTEBOOK Sales/Marketing Manager), we meet twice each month for either breakfast I start off each year presenting my top or dinner, then have our business level managers with a three-ring meeting right there at the table. I pre- binder. I get the kind that allows you pare an agenda a day or two ahead of to slip in a cover page. Then I draw up time. My managers slip this into their some sort of fancy cover on the com- notebooks and then bring their note- puter, personlize it with the managers’ books with them to the meeting for name and position and give it to them. appropriate note taking. It’s amazing Inside of the notebook is a planning what a serious hour of discussion can calendar for the school year. It con- do. tains vacations and school days off. I use Calendar Creator Plus® to put a 3. MANAGER’S STATIONARY MANAGERS master& together, then take it to the MANAGEMENTcopier. Other contents include: This is a cheap and easy way to make your mangers feel good. Create quar- a list of names, address, and telephoneter pieces of stationary. I scanned our numbers of all staff members (updatedstation as logo on the computer, added the needed throughout the year), mangers’s name and position , placed MAKE YOUR MANAGERS FEEL LIKE a copy of the station handbook, four copies on an 81/2" x 11" piece of MANAGERS a brochure of the station’s managementpaper, then sent it off to the school’s philosophy, central copying. When the bundle It happens at least once a year. You, the radio station Gen- other inserts appropriate to the manager’scame back, I dug out the paper cutter, eral Manager, call certain staff members into your office and area of expertise. chopped them up, and put them in anoint them with an administrative position—Operations each manager’s mailbox. Surprise! (If (Bob Long is Manager, Program Director, Music Director, Director of Sales The notebook is expected to be a work- you want to get fancy, you can bind General Manager of and Marketing. You congratulate them on their dedication ing notebook, not something to hide them. I don’t. I just leave them loose.) 91.5/V-ROCK [WSTB-FM] at to the radio station, urge them to keep up the good work, in a desk drawer or set on a shelf. Don’t forget to replenish the supply Streetsboro High present them with a list of responsibilities, then send them when it runs low. School in Ohio. He joined WSTB after on their way, hoping for the best in the year ahead. Some- 2. MANAGER BREAKFAST/ spending eight times it works, sometimes it doesn’t. Oftentimes we find LUNCH MEETINGS Having responsible, productive man- years in commercial the manager doing a respectable job, but for some reason, agers who feel like real managers sure radio in the Akron, Ohio market. During he or she just doesn’t have that professional attitude that Finding an uninterrupted period of makes my job easier. I’m certain that the summer, Bob we would like to see. Many of us just accept that fact, tell time to meet with managers is some- there are other good techniques out instructs a Manager Training program for ourselves that they are only high school or college kids, and times difficult. You’ve not doubt expe- there, but these work for me. The idea seasonal managers what do you expect, anyhow? Well, I won’t settle for that. I rienced it- the telephone rings, some- is to pattern the perks after those used at Geauga Lake Amusement Park in expect a bit more professionalism out of my managers and I body knocks on the door with a ques- in business and industry. And, why Aurora, Ohio.) get it with very little additional expense. Let me share with tion. I’ve found that the best way to not? Non- commercial radio is just as you some of the techniques that I use to boost their profes- get into serious discussion is to get out real as anything else. sionalism and level of responsibility: of the station. Through a barter deal 19 STARTING A STATION morale, which makes accomplishing staff position; FCC rules relevant to every station project easier. station operations; security/visitor policy; the policy on smoking, food, drink and drugs in the station, etc. TRAINING PROGRAM Mention why rules are important (e.g., COMPONENTS to create a consistent air sound, prepare people for the more restrictive Rarely do training programs succeed rules in commercial radio). without a Training Director. Though it can fall under the Program Director’s Explain the station’s purpose. What is domain, the fact is that there is so the music format philosophy? Will the much involved in the position (espe- station serve as an extracurricular ac- cially during the first month of each tivity for student participants, as a semester), that a separate coordinator training arm of the communications TRAINING PROGRAMSis warranted. An Assistant Training department, as a programming sup- FOR COLLEGE RADIODirector would be busy, too! plier to the listening community? If the station doesn’t have a clear “mis- Three major parts of any successful sion and goals” statement, this is a good training program are the: Training time to write one. Manual, Informational Meetings, and AVOID “REINVENTING THE WHEEL” Hands-On Labs. General descriptions Station policies should be stated explic- of each part are listed below; however, itly. Rules should cover everything A training program is vital to a college radio station’s suc- each station will need to adapt the com- relating to the station. It’s best to have cess because it provides semester-to-semester and year-to- ponents to meet particular station station policies in writing so no one can year continuity. This continuity is what lets a station build needs. claim later that s/he is being singled on the achievements of past years and actually progress, out for punishment about something rather than “starting from square one” as each new manage- • Training Manual : Also called the “Policies and that was never identified as a rule. ment team begins their term. Procedures Manual,” the Training Manual sum- Definite areas to cover are: on-air be- marizes in print what basic station policies that havior (in addition to FCC rules re- Without a strong training program, the “reinventing the are also discussed in meetings and labs. Just stricting editorializing, content of un- wheel” syndrome can hurt the station in many ways. as advertising is most effective when repeated derwriting spots, etc.); borrowing sta- Undertrained staff will be thrown onto the air, diminishing and exposed in various media, the station train- tion property (including records); station listenership outside the studios and unknowingly ing message will have a greater impact if also missed shifts or staff meetings; and “in- abusing equipment inside the studios. Personnel issues (e.g., distributed in printed form. decent” program content. Explain the personality clashes, destructive behavior) will be handled penalties for violations. A graduated poorly. The training manual should expand on scale of reprimands ranging from warn- certain subjects – things that don’t ings to temporary suspension to expul- With a solid training system, however, new staff will feel come up often or are very detailed and sion is most common. better about their performance and actually sound better. thus not easily remembered. For ex- They will have a greater appreciation of the station overall, ample, include: a listing of job respon- A copy of the station manual should not just of their department. That will also result in higher sibilities for each management and be made for each trainee to keep. If 20 STARTING A STATION the station cannot afford this, it is rea- departments and topics will be covered ees can reach department managers HANDS-ON LABS: sonable to charge each trainee a fee to in each of them. with individual questions, and encour- cover “training materials.” (This action age department heads to be open to At the same time meetings are run, will also weed out some individuals Make it clear that attendance at all occasional late trainee arrivals who promote sign-up for hands-on labora- who are less committed to radio; al- meetings is mandatory in order to re- “discovered” their department after the tories at the station. Though most though, in order to retain committed main in the training program, as well start. trainees will want to participate in the trainees who legitimately cannot afford as hands-on labs and task require- on-air DJ labs (run by the Program di- the fee, the station may offer fee waiv- ments. Though this may cause many BEING AT THE STATION rector or head on-air DJ), encourage ers on a case-by-case basis.) of the initially curious to leave, remem- people to sit in on production labs, ber that radio demands real time and It is vital to encourage trainees to spend news labs, and other labs that are re- • Informational Meetings: Usually held at the effort from its participants and that fact time at the station, even if it’s at a time ally just on-the-job work training: re- beginning of each semester, these meetings in- should be stated up front. In the long when there are no hands-on labs sched- mote broadcast assistance, underwrit- troduce new people to the station. Therefore, run, the station is better off because uled because that will let them get ing/fundraising tasks, promotions as- the meetings should present the best station committed people will remain at the comfortable with the people , the en- sistance, sports interviewing/research, image possible, while at the same time, give a station involved in a variety of areas, vironment and the equipment. (Re- traffic/logging, etc. realistic sense of what the radio station is about. instead of casual hangers-on who just member how big and impersonal the want to do their shift and leave (and place seemed to you in the begin- Hopefully, the station will have a sepa- OPEN HOUSE even miss shifts without giving no- ning?!) It is equally vital it is stressed rate production studio that can be com- tice!). to all current staff that they be espe- mandeered for training labs. Or use The “Open House” or “Organizational cially friendly and helpful to trainees the main studio during off-air hours. Meeting” should be promoted in as SUBSEQUENT (whoever looks like they’re wandering Block off independent practice time on varied a media mix as possible: col- MEETINGS around). Initial trepidation about the a sheet posted on the door of the lab lege newspaper ads, flyers in campus “Radio Station,” may cause some staff- studio. Let trainees fill in their desired mailboxes, over the airwaves, on the These later meetings, run by depart- ers to join some other extracurricular time(s). Possibly even require a mini- college TV announcements channel, ment heads with assistance from the activity where they feel more at ease. mum number of practice hours. Have by having current staff to spread the Training Director, will expose what photocopies of fake logs and actual news by word-of-mouth, etc. (Get a each department does to all of the Also, encourage trainees to accompany carts and copy available for trainees to local copy shop to print the flyers in trainees. This is important, because staff on remotes, promotions, etc. In- make the practice more realistic. exchange for underwriting spots and someone who originally planned just teraction with staff outside of the sta- offer an advertising trade to the other to become a DJ may end up getting tion will also make them more com- Many of the participants have never student media outlets if funds are lim- turned on by news, sports, promotions fortable and feel part of the station. seen a studio before. So take nothing ited.) or fundraising! Some stations utilize a “Buddy system” for granted. If there is a large crop of – assigning a trainee to sit in on a vet- trainees, labs may have to be done in During this first meeting, which is Devote each meeting (limit them to an eran DJ’s shifts. small groups. This is not necessarily more general in nature, have audio hour maximum) to two or three depart- bad, although individuals tend to be (and video) tapes produced about what ments, splitting the time among them. Last but not least, require that train- less inhibited and ask more questions the station does and what it’s like to be Encourage the department heads to ees to attend all regular meetings of in one-on-one sessions. Some areas of involved. Refreshments would be an- produce an audio presentation with the departments with which they wish on-air performance that should be cov- other plus to draw the initial crowd. supplementary written materials and to become involved. That’s where they ered are the abilities to: follow a struc- Pass out copies of a schedule which to allow time for questions. Remem- become a real part of the station. tured format; backtime content to meet lists subsequent meetings and what ber to list phone numbers so that train- a specific deadline (whether time must 21 STARTING A STATION be filled before a scheduled live satel- If there is not enough competent See how long it takes for the trainee to dent extracurricular interests mean lite feed or other broadcast or a live- people to supervise, for example, the recover and how they handle these that staff composition changes drasti- read needs to be timed for music beds); underwriting or logging training, that’s things. cally year to year. But it doesn’t have and communicate effectively with an not unusual: After all, if there was a to debilitate the station. If people are audience. Stress the need for sponta- solid training program, there would be CHECKLIST: ready to take over each management neity, ad-libbing and creativity. Jotting enough people managing each of these position, station operations should con- brief notes and pre-reading copy makes areas already! As an alternative (or in addition) to tinue with no perceivable losses. a big difference. testing as described above, some sta- TESTING tions use a “training checklist.” It is a To insure this, have assistant manag- Trainees need to have an understand- sheet which lists all the different ers under each management post. ing of where the sound is going when At the end of the training period, ad- knowledge areas and hands-on skills They work side-by-side with the man- in audition versus cue/utility versus minister a written examination cover- that a trainee must learn. Next to each ager, learning the ropes and, in the program modes. They should know ing FCC rules, station policies, and area/skill are two boxes. The first is process, learning to appreciate the why patch buses get wired in a particu- other key information in the Training checked off by the trainee when s/he importance of the job and building lar way. This knowledge helps them Manual. Additionally, a live hands-on feels the subject has been mastered, commitment to the work. They’re vir- to become better DJs and better able examination is recommended for on- and the second box is for the trainer. tual shoe-ins for each post when the to cope with technical problems if they air and production studio equipment As the trainee completes a group of previous manager graduates or takes arise. clearance, including transmitter skills (or maybe just one or two, if they another position. knowledge. Knowing how to do EBS are particularly complex), s/he ap- And don’t forget to cover the EBS sys- tests, log changes, and interpolating proaches the training director, who Ongoing training is just as important tem – the FCC requires it. Some sub- meter readings are essential skills. evaluates the trainee on that skill. If for DJs. It’s easy to slip into bad habits jects, however, like legitimate on-air Some stations also include a trouble- acceptable, the trainer then stamps when one’s on-air performance is not programming and promotions vs. pay- shooting component to this test, where that box (since a simple check mark monitored. Department heads and/or ola and plugola, may be too compli- the trainee must figure out how to fix could be falsely forged) to verify that PDs should require an aircheck from cated to expect each lab leader to ex- a messed-up control board configura- it has been mastered. each jocks every month. Design a stan- plain them well. It is best to have a tion. dard evaluation form that’s easy to fill separate meeting to cover these and/ Some areas may not lend themselves out, covering various areas of broad- or include them in the Training One way to run the on-air test is to pre- to this type of evaluation, or a class of cast performance, music selection, etc. Manual. pare a fake log, including promos, PSA, trainees may be too large to evaluate Offer “advanced labs” for veteran DJs etc. that are actually in the rack. The in this manner. For those situations, covering techniques like multi-track Speaking of basics, everyone should be test is doing everything in a condensed use the methods outlined in the previ- spot/promo production, backtiming, briefed on telephone etiquette. A ra- 30-minute shift. Evaluate segueing ously. scratching and master mixing. It dio station is a business, not a dorm skills, how close spots are run to log doesn’t hurt to offer an occasional room, and that impression must be times, running an EBS test, taking ONGOING TRAINING classroom-style presentation about conveyed whenever dealing with the meter readings, following the music important broadcast areas such as FCC outside world. Don’t assume everyone format (if there is one), etc. Purposely rule updates/refreshers. (Having the knows how to answer the phone, take mess up their shift by throwing on the Even after a new class of trainees is broadcast parts of the FCC rules on proper messages, when it’s OK to en- log a specially-prepared underwriting licensed and doing things, the training hand is beneficial for even non-FCC ter a live studio, etc. spot cart with indecent content on it is not finished. Let’s face it: the na- licensed stations.) and, later on, a promo that has a sell- ture of college radio is turnover. Gradu- ing pitch violating underwriting rules. ations, transfers and fluctuating stu- 22 STARTING A STATION

OTHER COMPONENTS builds commitment, which helps to re- media career, another nice extra to add Peer evaluation can give students an tain trainees as staff for the long term; to the training program. unforgettable experience, because it College managers disagree about the it exposes people to areas of the sta- shows them how to be managers and practicality and effectiveness of the tion that they had not considered work- Know what is expected of the speaker: evaluate people. The experience can following ideas in a student-volunteer ing in, which they may find interest- If people are invited just to talk, they’ll be tough for two students who are oth- station. However, different ones work ing and end up being managers for! probably cover generic pep-rally ma- erwise friends and equals. The man- in different situations. Whatever struc- terial with no substance. Ask them to ager says, “You’re not my friend right ture is chosen for a training program Have each department come up with cover specific subjects so the informa- now–I’m going to evaluate you.” should remain in effect for that semes- a bunch of options, both mundane and tion will be useful. And the contacts ter. Revise the program as necessary interesting. Add other tasks that need made through these events often pay The result can go in the student’s file for the next training class. getting done, which should make the off later when the station needs help at the station, which is maintained long One word of caution: If an idea being list quite meaty. Make sure that a during some crisis. after graduation and used for refer- considered is radically different from manager can at least loosely supervise ences if future potential employers what has been in place at the station, the trainees’ work and sign off on the SPECIAL TRAINING call. While it may seem to be devoting the idea will need to be sold to other time spent so that the Training Direc- PROGRAM HIGHLIGHTS a lot of valuable file space and a major managers first. After all, the greatest tor can verify that the commitment has administrative burden for the station, idea will never get implemented if the been fulfilled. At certain schools, students are it may be good to have on file for the people who are needed to make it work strongly advised to take the introduc- student for their future recommenda- are not supportive. GUEST SPEAKERS: tory production course before enroll- tions or it can serve as one way to track ing in the radio station’s practicum alums. COURSE REQUIREMENTS: This suggestion should be considered course – the latter is required for ev- an “if-there-is-time” thing, since the ery trainee. It includes discussion of WHAT TRAINING CAN’T If the school has broadcasting courses, training staff will probably be more the different studio components. If DO it can be required that students take than busy just coordinating all the in- successful with the practicum, stu- certain ones before they are eligible to house elements of the training pro- dents are invited to volunteer at the Though an effective training program do certain things at the station (e.g., gram. Nevertheless, consider inviting station or do work-study through the will make a big difference in the way a production). It’s possible that the occasional guest lecturers to the train- communications department. They station operates, don’t expect to pro- station’s training program could be ing meetings (or general staff meet- first must submit an application called duce miracles. There are certain things adopted as a registered course by the ings). Not only will they add a refresh- an audition package, which contains an that cannot be taught: dependability, school’s communications department, ing change of pace to meetings, but endorsement from their faculty advi- the ability to accept and act on con- adding legitimacy and credibility to they also can provide a more “worldly” sor, rewritten news stories, and a five- structive criticism, thinking before training efforts. perspective that student managers minute tape they have produced, speaking, the skills of listening and lack. Area commercial stations man- among other elements. reflecting, and asking questions. A key TASK REQUIREMENTS: agers, promotions directors, sales- component for any staffer is learning people, engineers, producers and air Individual skills can be evaluated and where one can be flexible. For ex- On a less formal level, trainees can be talent are usually flattered when asked used to weed out certain people who ample, at what point is a technical required to devote a certain number to give a talk to the local college sta- just want to ‘play radio.’ The key is to problem serious enough to call the of hours on particular station tasks. tion. Besides providing a professional allow time for students to develop Chief Engineer at home? Must com- This serves a few purposes: it insures station model that can help improve maturity – grooming students in their mercials, etc., air at precise times that the myriad number of chores that current operations, they can also dis- sophomore year so they’re ready for scheduled on logs? These vary station need doing at the station get done; it cuss preparing and searching for a management positions as seniors. to station and can only be learned over 23 STARTING A STATION time. Quite often, problems result from simple miscommunication – use of jargon, presumptions on the part of one person or the other, incomplete instructions, and so on. The more time that a person spends working at the station, the less of an issue this becomes. Focus on building camarade- rie and commitment at the station, the rest should take of itself. engineering NACB 1995 STATION HANDBOOK

Two 25 ENGINEERING orientation meetings, put recruitment der joints, test for scrambled wiring, signs up around the engineering build- and be sure the strain-relief clamps ings, or even make mini-presentations really work. This inspector then certi- to engineering classes at the beginning fies the quality of each connector by of the year. putting a dot of paint on one of the clamp screws. It’s surprising how many Once you have a few trainees, involve open shields, reversed pairs, etc., turn them early in building and fixing up this way. No more mysterious case things. If you only have one part-time of hum on mics either. None of this is paid engineer, coordinate a training “busy work”: its purpose is visible to session to coincide with his/her sched- the new member. ule. For those who seem skillful but just don’t know their way around the sta- Football season isn’t too far away, ei- tion, one good way to get them started ther. It’s time to put a new kid to work GETTING READY FORis to provide A kits: you provide the bag checking out the remote gear for de- NEW YEARof parts for, say, the new controller for fective headphone cords, lost cables, SEPTEMBER 1989 the “on-the-air” lights and turn the new intermittent troubles in the board, recruit loose with a basic circuit dia- missing tools, etc. It’s time to check out gram. Result: you get a controller that the campus remote lines for open cir- fits what’s needed, and the construc- cuits and ground faults – often caused This is a hectic but satisfying time around the typical col- tor gets the satisfaction of seeing a by telephone installers from the school lege station. In addition to hustling to register for classes, working product. One simple attitude or local Telco over the summer. Take This section is buying books, etc., there’s all the work of organizing the sta- to pass along to budding engineers is the new staff members out to the sta- comprised of questions, answers tion for another school year. There is a period of two or three to be fanatical about replacing light dium to familiarize them. Again, train- and tricks of the weeks before classes assign term papers and problem sets, bulbs in the equipment. The station ing is the theme: it is a lot more effec- trade as originally which is the time to train new engineers and DJs, help new may deliver great technical perfor- tive to teach the announcing staff how printed in issues of College Broad- department heads become comfortable with their positions, mance on the air, but one burned-out to set up remotes than to have to sup- caster. and fix the technical problems that somehow weren’t re- meter light in the console spoils the ply an engineer each time. Especially solved over the summer. DJ’s perception of how the station is for the sites where several events origi- Articles were written by Ludwell maintained. Guidance is important, but nate each year, it’s not that hard to get Sibley of WCVH-FM Hopefully the new DJs and other operating staff will pick it can be loose. If the project posed is remote crews trained. The engineers in Flemington, NJ unless otherwise up basic technical skills during the station’s training pro- beyond their skills, save it for the paid can then work on the real special- noted. gram so that the engineering department is left free to con- engineer. Like anyone, all they need events remotes where complex setups centrate on teaching the important craft of studio mainte- is an occasional pat-on-the-back that are needed. nance to those who show technical potential. There are al- says they are appreciated at the station. ways a few bright souls among the incoming freshmen who There’s no harm in having a new are comfortable with tools; if they can be convinced that Another good project: if the newcomer staffer do a close inspection of the there is satisfaction is checking styli, cleaning tape idlers seems able to handle cables and tools, station’s public file, either. Hand over and dusting out the CD player, there’s hope to make real have him/her go through each of the a copy of the FCC Rules (Section technicians as the year runs along. To boost your staff count station’s mic cables – open up all the 73.3527) and see what the trainee finds of “techies,” present engineering in a positive light at station connectors, re-terminate the flaky sol- missing. It may surprise you. (Can’t 26 ENGINEERING find a copy of the FCC broadcast rules? chief engineer’s main duty is to assure Call the Government Printing Office at that a knowledgeable replacement will 202/783-3238, ask for “Parts 70 to 79 of be ready in a couple of years. A sec- Title 47 of the Code of Federal Regula- ondary duty is spreading the routine tions,” give a credit card number, and workload so that nobody is stuck with the October 1988 paperback version running the station, to the detriment will come in the mail.) of the school. Those are the reasons for getting new members familiar with For a station with a remote transmit- the station as early as possible. ter, the best policy is to get the new members up to the site as early as possible. With a few people who know how to get there and understand how it’s put together, a transmitter failure during midterms won’t be as much of a disaster as if only one person under- stands the site. The new staffer may not be able to troubleshoot subtle problems in, say, the bowels of the stereo generator, but certainly can catch the blown fuses and such which are the most common problems.

The site tour should cover where to find the keys, the spare parts, the tech manuals, etc. And, of course, this is a good time to do an annual inspection. Little things count. For example, the air gauge on the feedline may read 6 PSI of pressure. In one case, the 6 PSI wasn’t from air pressure at all; it was from a column of rainwater standing 13 feet high in the line!

There’s a hidden meaning to all this: few organizations in the world see the kind of staff turnover that occurs in college broadcasting. The health and survival of stations – particularly in student-staffed ones – depend on rebuilding the staff each year. The student 27 ENGINEERING Do not make the mistake of keeping driven surfaces with solvent such an item locked up: it’s costly, but (trichloroethane, xylene, etc.) helps the constitutes a first-aid kit. Since the cen- sureness of the drive chain. On these tering and damping parts of a phono older turn-tables, backing off the drive stylus deteriorate faster than the tip tension a bit usually reduces rumble itself, it is poor economy to keep “good” and wear versus adjusting tightly to PRESERVING AUDIOused styli around. give 1/8-turn rock-jock starts. QUALITY AT A COLLEGEAlignment of cartridges is fairly criti- Cart machines used to be a sort of full- RADIO STATIONcal. In the absence of more specific time employment act for a radio engi- directions, the following guidelines neer. They’ve gotten better, or less bad, OCTOBER 1989 should help: First, tracking force but still require maintenance attention. should be on the high side of the car- It is surprising how fast the heads get tridge maker’s instructions, both for banged out of alignment with real op- safety against skips and for better erators using them. A realignment ev- sound. (Record wear is not the main ery six months is the bare minimum; consideration: disc damage is a lot quarterly would be better in an active more likely from casual handling than studio. If you don’t have an official from stylus force.) Second, the car- alignment tape, it’s reasonable to use tridge should be carefully mounted your newest cart recorder to make your There are two ways to ensure a good audio product that re- parallel to the head shell to avoid a own carts for head alignment and tains listeners: A strong DJ training program and quality systematic tracking error. The car- equalization adjustment. That way, at maintenance of audio equipment. Let’s talk about the latter. tridge must be aligned so that the sty- least, everything in the station will lus is truly vertical as viewed from the sound consistent. Speaking of consis- One of the constant temptations in the typical college sta- front; otherwise stereo separation will tency, use of one brand and type of tion is to downplay maintenance of good audio performance. fall off. The arm height should be such tape will give assurance that all ma- Keeping things tuned up, cleaned up, checked up is one of as to give a vertical tracking angle of chines are lined up for best quality. those unglamorous activities that can always be put off an- 20 degrees. other month. Mechanical maintenance for cart ma- Turntables themselves are pretty chines is an art poorly covered in the In the old days (five years ago), we had to get the station to straightforward if they are of the direct- manufacturer’s manual. The basic idea pass a yearly proof of performance. Even so, the proof didn’t drive type. With older types, such as is to keep everything clean (use a check the major sources of poor audio: turntables, cart ma- puck- or belt-driven turntables, care- vacuum cleaner and a 1/2” paintbrush chines and your studio’s other equipment. ful maintenance will hold down the to get dust out) and lightly oiled. To level of rumble to some degree. The lubricate, oil the bearings sparingly and Turntables are highly exposed to DJ error, not to mention rubber services of drive pucks tend to clean up the excess so it won’t catch gouged and dirty records. The first line of defense against glaze with age. They can often be dirt. Oiling a drop at a time by deliver- turntable problems is to keep a spare plug-in head in the brought back to life by sanding care- ing the oil on the end of a small screw- studio. When a over vigorous back-cue bends a stylus, a quick fully with fine (220- or 320-grit) sand- driver is a wise technique. Take tape replacement is then possible – not necessarily by the DJ, paper, which exposes a new surface, idlers off their spindles, clean out the but by the first technically-inclined person who is available. and cleaning with alcohol. Cleaning bearings with a cotton swab and sol- 28 ENGINEERING vent , then re-oil. If any oil gets on a CD players are a different story. Their rubber surface, clean it off immediately maintenance is more a matter for the with alcohol. The treatment of glazed manufacturer’s service station that the idlers was covered above. (Of course, college tech staff. One widely held there’s no harm in actual replacement theory is that it’s cheaper to scrap than either.) repair CD equipment when it fails.

Motors are usually of the non-oilable The maintenance techniques above (“lifetime”) type. That’s fine in theory. are admittedly labor-intensive and re- In practice, it means that you can of- quire a certain amount of dedication, ten rescue a dragging motor by disas- but they form the key to preserving the sembly, cleaning and relubing. At kind of on-air sound that will keep DJ WCVH, we have a triple cart deck staff happy and retain listeners. whose “no-oil” rotor started to rumble four years ago. We avoided buying a $300 part by prying off the bearing seals, oiling, letting the motor run while before cleaning up the excess oil, and resealing. The machine hasn’t had to be oiled since.

Cassette machines and reel-to-reel recorders need the same general treatment as cart decks. The quality of manufacturers’ instructions varies widely; fortunately, similar mechanical skills apply to all. The ultimate luxury tool for adjusting brakes on reel- to-reel machines is a torque wrench calibrated in inch-pounds, with an adapter to fit the reel hub that’s being measured. Failing that, the old spring- scale and fishline technique is the cheap alternative for setting reel torque. For poorly funded stations with skilled people, it is possible to rebuild noisy capstan motors by replacing the ball bearings if a precision machine parts dealer is in the area. 29 ENGINEERING ground point provides a reliable ground builder of the original station had bus for consoles, turntables and built- bonded the neutral wire of the incom- in rack brackets. ing power feed to local ground. Good initiative, bad judgement: the National LIGHTNING Electric Code requires only one ground PROTECTION on the neutral, back at the main switchboard. This is for safety reasons – to Both the old and new sites are one- keep power currents out of the ground story buildings with antennas (FM wiring in case the neutral should be- monitor, EBS receiver, satellite re- come open. ceiver) at modest heights above the roof. These cause an exposure to light- POWER FEEDS ning. The chance of a hit is slim, but if one did occur, we could expect 50,000 The distribution of AC power within SOME IDEAS ON STUDIOamps coming down the shields of the the studio can be a mess if not planned. WIRING: PART threeONE RG-59 feedlines. So, at the point In our case, there is a single master NOVEMBER 1989 where the cables enter the wall, bulk- switch – the kind that includes a neon head fittings are mounted to an alumi- lamp in the handle – to energize all num window frame solidly grounded equipment except the always-on items to the building steel. That steel is the such as the transmitter remote control At WCVH, we had to move the production and main studios same I-beam where the main ground and clock. Within the equipment rack into a new building three years ago. This was naturally a lot plate is attached; if it weren’t identi- and the studio furniture, generous of work, but it made possible the introduction of some tech- cal, it would have been necessary to lengths of Plugmold bring outlets close nical features missing from the old layout. A few of these run another No. 6 bond wire to tie the to the equipment. Within the rack in may be helpful in your next studio rebuild. two solidly together. These lighting the production area, a piece of this grounds are run without the sharp molding up each side of the rack, us- THE GROUND SYSTEM bends or metallic conduit, and are not ing the version having outlets on 6-inch encircled with steel clamps. With a centers, means you’ll have an outlet The old ground system, which had replaced our original 1974- lightning surge, the danger of a large on average for every three inches of vintage construction in a different room, was a satisfactory voltage drop comes mainly from the height. Thus power cords for the rack job. It involved one central point (a ground plate mounted inductance of the wire, not the resis- mounted gear go directly to the source just below the console in the main studio, with heavy lugs tance. Any of those installation meth- rather than suffering from piles of for the outgoing leads), connected by No. 6 wires radiating ods raises the inductance to a point tangled cord. out to the equipment rack in the same studio, to the rack in where the ground is almost an open the production room, and to a 3-inch power conduit. circuit. The result is that the whole sta- SURGE PROTECTION tion is tied together ground-wise, avoid- The new system duplicated this arrangement, except that ing circulating ground currents and Voltage surges on the power line are a the bus plate is actually bolted to an I-beam in the building insuring personnel safety. concern regarding the microprocessors structure above the hung ceiling. Within the wood studio in CD players and remote-control sys- furniture, a length of 3/8” tinned braid from the central Incidentally, in removing the 1974 in- tems. To avoid any mysterious misbe- stallation, it was discovered that the havior of these units, each studio has 30 ENGINEERING a three-wire surge suppressor. These suppressors are the permanently mounted kind used to protect the main power boxes in houses. It will bolt into a knockout in a junction box. These are $25 parts, but are much more rugged than the little varistors normally used to protect computers.

These techniques gave WCVH better and simpler new studios. When planning you next studio rebuild, they may save you some trouble as well. 31 ENGINEERING Fortunately, one doesn’t have to use from consoles. Each of the four outputs high-wattage OTA lights to attract at- from the box is individually fused to tention. The fixtures we salvaged from meet the limited-energy requirement the old location each used two 120-V of the wiring. This arrangement turns bulbs of the type having a double-con- OTA lamps from a messy kluge of ques- tact bayonet base. Here’s the key: tionable safety into a fairly tidy instal- those same sockets accept #1034 car lation. bulbs. Each fixture gets about 25 watts of lighting, which is sufficiently bright. PATCH JACKS At the same time, the wiring meets the requirements for “limited energy” Once part of every studio, these are (Class 2) wiring in the Electrical Code. considered a curse today. Setting up If fed from an energy-limited source, patches requires operating skills that it can use simple bell wire or the not all college station operators pos- SOME IDEAS ON STUDIOequivalent. This was vastly more con- sess. The 1974 main studio had an im- WIRING: PART TWOvenient to install than BX. The new pressive patch field – ten inches of rack JANUARY 1990 studios are located in a preexisting space – that was almost never used. building with a dropped ceiling. Space The interim one had a smaller field, above the ceiling forms an air plenum. again used only for troubleshooting. Thus the wiring for the OTA lamps had The current installation has just two Here are some additional ideas implemented at WCVH when to be in fir- and smoke-rated cable. The rows of “bantam” jacks representing we had to move the production and main studios into a new local electrical shop sold the two-wire only the minimum air-chain inputs building three years ago. Though some of these suggestions #18 “plenum cable” for about 30 cents and outputs to do testing of Telco lines. require hard work, they can be done cheaply. In addition, a foot. Though costly, it was far prefer- There seems to be no way to reduce it the benefits derived from your rebuilt studio’s greater con- able to doing a BX job. further. venience and variety of technical features should make effort worthwhile. To run all four OTA lamp fixtures in AUDIO CABLING the station (two per studio), a trans- ON-THE-AIR LAMPS former box supplies 12 volts. As shown As is normal practice today, audio ca- in the diagram, the current is switched bling comes via 22-ga foil-shielded These lights, a necessary evil, are clumsy to wire neatly and with packaged solid-state relays cables. Eighteen pairs run between safely. Our original 1974 studio had a relay box to control (Potter&Brumfield SSRT-120D25 or WCVH’s studios, and another 15 bring them. But the relays failed occasionally, and had barrier equivalent). They use a few milliam- in program lines from the Telco termi- strips with 120 volts exposed to the touch. Several runs of peres of DC current through an nal. The problem was how to provide BX cable were required to reach the lights above the doors. optoisolator to control a triac that a central cross connectfield for all these With the new studios, the OTA lamps would really have been switches the AC. These solid state repairs in the main studio. Limited space hard to wire: the fixtures are mounted on heavy-gauge steel lay boxes (complete with the internals) in the new studio complicated the frames that contain windows and walls. Running BX through list at $18 each but turn up at surplus problem. them would have been a miserable task. houses for as little as $3. They are maintenance-free, silent and compat- The solution was to use the kickplate ible with open-collector control outputs in the foot space of the operator’s posi- 32 ENGINEERING tion to mount four 50-position “crunch” These techniques improved and sim- blocks. A plywood false front on spac- plified WCVH’s studios. Consider these ers covers them, protecting them from areas when planning your next studio DJs’ feet. The crunch blocks are the rebuild. Not only might they save you usual telephone 66-type. They may be some trouble, but once implemented, brought from broadcast suppliers or your station’s producers will benefit salvaged from telephone key systems from studios enhanced with additional of the old 1A2 type. features that actually operate more simply than before. Three versions of crunch block exist, each usable in a different way. One gives a single six-slot terminal, with all slots multipled together – the usual type in telephone key systems. An- other version provides two three-slot terminals, suitable for bridging wires together but not of much other use. The third variant has three two-slot terminals. This version handles tip, ring and shield, all in one position, but does not allow bridging. (Do not try to “double crunch”: two wires on one terminal make an unreliable connection.) In our case, there were few multiple connections and limited space, so the tip-ring shield version worked out well.

Assuming you have the telephone six- slot type of crunch block, you can convert it to the tip-ring-shield version easily. Undo the holding screws or snaps from the rear of the block and pull out the six-way terminals. Break each into three pieces, grind off the broken surfaces to prevent short circuits and reassemble. Different terminal types can be mixed in the same block to accommodate bridging ... but mark the terminals carefully as to type! Where space is tight, a 50-position block can be cut to a smaller size. 33 ENGINEERING

C-C IS TRICKY cant relaxation of restrictions for c-c stations on large campuses and a sig- Technically, c-c radio is a bit tricky. It nificant burden on stations in down- is a specialized art, not widely under- town locations. (However, note the stood by professional radio engineers good news under the “Carrier Current” (who themselves are scarce) or by the item in this issue’s Government and student staffs of college stations. As a Industry News section.) result, the technical performance of c- c systems ranges from pretty good to C-C SYSTEM REPAIR pretty awful. The manufacturers of c- CHECKLIST c systems have great expertise in this area. However, their people are few, For station staffs who have inherited a are usually far away, and need a fair c-c system in less than perfect condi- wage to cover their expenses if you tion, the steps to take in fixing the sys- NOTES ON CARRIER-want them to inspect your system. tem up can be summarized as follows: CURRENT TRANSMISSIONHowever, one of them publishes a good (1) If an audio processor (limiter-com- FEBRUARY 1990 book on c-c engineering, of substantial pressor) is not used, add one. (2) Check value in planning or rehabilitating a and record the DC loop resistances of station. Beyond that, publicly available the audio lines that feed the transmit- literature is hard to find. I had the ters as a benchmark for future trouble- Carrier-current radio has been in use on college campuses school library run a database search for shooting. (3) A spare transmitter is not for a bit over 50 years. It has provided a valuable medium c-c publications a couple of years ago. a “dead” investment; it is a valuable aid for radio on campus – non-licensed, easy-entry – even while It turned up only one usable reference in quick restoration of service when a broad technical changes swept the broadcast industry. For (in the September, 1981 issue of Trans- technician’s availability is limited. (4) example, when the FCC made 10-watt FM available in the actions on Broadcasting by the Insti- Incidental damage and vandalism oc- late 1940s, its public expectation was that carrier-current tute of Electrical and Electronics Engi- cur to RF distribution systems, so a would become obsolete. To some degree, that was true: a neers). yearly inspection is a wise policy; (5) few stations gave up their c-c operations for low-power FM. Replacement of first-generation power- In the ‘70s, the Corporation for Public Broadcasting persuaded The FCC has recently made substan- line couplers (those lacking test the FCC in the Docket #14185 case to forbid new 10-watt FM tial changes in Part 15 of its Rules, the meters) is god policy in clustered RF stations. Today, low power FM is very scarce, new high-power section that limits the unwanted radia- distribution systems with multiple feed FMs are unknown in populous areas, yet c-c is not doing too tion from radio interference sources points on a single transmitter, but is badly. like computers and the desired radia- not particularly important in single- tion from a myriad of other devices feedpoint cases. (6) Where RF power Cable FM is the other “new” way to establish a station sim- such as c-c transmitters. The result is is fed to two or more RF lines, be sure ply and informally. It’s moving along nicely, but a great many a mixed blessing: carrier-current is the installer used a genuine power CAFM operations provide coverage only to off-campus resi- officially recognized and receives spe- splitter, not a simple splice in the coax dences served by the local cable company, relying on a cific rules. Those rules now govern the line. (7) Where a particular dormitory complementary c-c system to cover the campus. radiation level at the campus bound- experiences poor coverage or a noisy ary, not a distance from the power line. signal, the remedies are (in order of In effect, the rules represent a signifi- increasing effort): (a) to retune the 34 ENGINEERING couplers; (b) to check for an open fuse in the coupler or an AC phase wire that is not connected; (c) to try “neutral loading” by feeding the neutral wire against ground; (d) to reduce power, or (e) to move the RF feed point to a different location. (8) Reset the transmitters for 100% modulation with a given audio level from the studio and a known level of limiting.

Two other hints may be useful: When setting the equipment budget for the year, don’t spend it all on studio gear – reserve some funds for RF system upgrades (e.g., modern couplers, solid- state transmitters). For stations with old-style tube transmitters and limited budgets, tubes are still available at reasonable prices. 35 ENGINEERING the telephone company and feed au- Regular FM frequencies (88.1, 88.3, up dio up to the cable company’s head-end through 107.9 MHz) are recommended. sit. The cable company buys an “FM Split-channel operation (101.2, say) was modulator” (in effect, a micro-power common enough in the early days, but FM transmitter) chooses an FM chan- today there are too many digital tun- nel that is little used, and runs the col- ers that work only on the regular chan- lege station’s audio feed into the modu- nels. Operation above the FM band lator. The output of the modulator goes (108.1, for example) is not recom- into the cable, out to subscribers’ resi- mended: there are too many aircraft dences. To receive the CAFM stations, navigational aids that could be im- cable subscribers connect their FM re- paired by signals leaking from the ceivers to the cable, either by actual cable. College-based stations need not connection or by simply setting the remain in the reserved noncommercial radio on top of the TV set. band frequencies (88.1 through 91.9) CABLE FM: HOW IT when it comes to cable. However, WORKSOn its part, the cable station arranges broadcast stations looking for addi- MARCH 1990 for a cable tap into its studios, to feed tional carriage on CAFM may wish to an FM tuner. This makes it possible to keep the same dial position to avoid monitor the “air” sound, an indispens- listener confusion. able feature for reliable service. The first college cable radio station, then-KRUZ at the Uni- The callsign shouldn’t be an issue: versity of California at Santa Cruz, went on the “air” a gen- Quality-wise, the CAFM signal is usu- anything that is good taste and unlikely eration ago, in 1967 to be exact. Cable FM (CAFM) has grown ally quite good. There’s no problem of to cause confusion is in accordance to mightily since then, in step with the rise of the cable indus- multipath distortion or co-channel in- FCC rules. try. However, there are still too many potential broadcasters terference, so stereo quality is high. who are unaware of the capability that runs across town in The received signal is usually some- There are variations on the CAFM that shiny aluminum cable. what noisier than top-quality off-the- themes. One is to operate as the sound air FM, but it’s stable and consistent. channel of a weather or public an- We’re talking here about locally originated aural program- nouncement channel. This is a little ming on a cable system. “CAFM” as used here does not refer Why should cable companies be inter- strange: a TV set is needed to hear to pick-up of a licensed FM station and redistribution of the ested in radio? Being able to offer ra- radio. However, if the special channel signal through the cable. The cable system is usually a town- dio stations not available over the air is Channel 6, the station is audible on wide operation, although there are successful cable stations and broadcast signals otherwise hard radios (87.75 MHz) as well as televi- that feed the master antenna (MATV) system in campus dor- to pick-up is a feature that usually sells sion sets. In a few cases, the cable sys- mitories. In some cases the cable headends are intercon- a few more second taps in houses, tem operates two-watt, passing the ra- nected and the CAFM station covers a whole county. somewhat gains first-tap subscribers, dio signal up to the head-end on the and normally engenders good will in same cable that brings the combined The typical CAFM station begins with an on-campus car- the community. signal back down. This avoids the cost rier-current operation. Assuming your area’s cable system of the Telco program line. distributes FM radio with the TV signals, the problem is Choosing station frequencies on cable straight-forward electronically: rent an equalized line from is mainly up to the cable company. 36 ENGINEERING The one major long-time maker of FM which can be either a selling point or modulators is Catel (415/659-8988). a political curse. Their FMX-2100S mono model and newer FMS-2000 stereo unit each list There are pitfalls: some cables just at about $1000, but occasionally turn don’t carry FM, some cable operators up used in broadcast-equipment want aren’t interested, and some prospective ads. (Of the two, the stereo model is CAFM stations have been blocked by much more advanced. If mono opera- over-conservative school administration is necessary, it’s preferable to use tors. But there are an equal number of the stereo unit in mono mode.) The success stories, too. modulator is properly supplied and maintained by the cable company, since it forms part of the head-end equipment. Typically, the campus station pays for the telephone line.

Cable radio had great virtues but it is no panacea. Added to a carrier-current station, it extends coverage off campus. It makes stations feasible at community colleges where no dormitories exist. At the same time, it requires an ongoing educational campaign to show potential listeners how to pick up the signal. CAFM has brought college radio to areas where the regular FM spectrum is hopelessly overcrowded or overshadowed by a Channel 6 TV station. It best reaches fixed home stereos, but can never do a good job on por- tables outside the home or car sets.

For the commercial college station, CAFM makes it easier to sell spots to downtown merchants since they can now hear their advertising. It also lets off-campus station managers and other influential parties hear the station at home, providing a hint to the Raucous Rockjock to “keep it professional.” In sum, it brings town and school closer, 37 ENGINEERING or campus lock enthusiast, and to slow be continually reminded to use both down the real professional. keys when locking up.

These measures will reduce the Tough locks don’t help if the door it- chances of unwanted access to the sta- self isn’t secure – if it’s a weak hollow- tion and losses of equipment. Funny core style, or if the jamb is weak or flex- thing about a good security plan: if it ible. Exposed hinge pins are another works, you may never know it did! risk. These can be fixed by drilling and tapping for setscrews to lock the pins DOOR LOCKS in place, then hiding the set-screws under a thick coat of paint. The effectiveness of locks themselves varies greatly. Many older or simpler Outside doorways need fulltime illu- locks are easy to manipulate with a mination at night. The rear doors to BASIC STATION SECURITYpiece of wire or plastic. Specifically, the the station are (at least) as critical as APRIL-MAY 1990 key-in-the-knob style isn’t worth much the front door. Doors, of course, are if it lacks a trigger bolt, the small sec- only part of the problem. The writer’s ondary bolt which prevents opening station lost a $500 microphone a couple with a piece of plastic. “Heavy-duty” of years ago because a window had versions of the key-in-the-knob type been left ajar over a weekend. INTRODUCTION are only somewhat better. No lock will work if the door jamb is so loose that CONTROLLING In a student-operated station, the responsibility for keep- the trigger bolt can’t do its job. Most LOCKPICKING ing the premises safe from intrusion usually falls upon the ordinary locks, with their short bolts, engineering department. This is a natural assignment be- don’t reach far enough into the door While lockpicking is a minor threat cause most of the mechanical talent, and the tools and hard- jamb to resist a pry attack. Bolt-on compared to prying, it deserves some ware, are concentrated in the engineering staff. In this im- guard plates that cover the jamb in the attention. Four-pin padlocks are perfect world, even stations on relatively tranquil campuses area of the lock are ugly but effective. straightforward to pick. Five-, six- and are exposed to equipment loss. They are particularly desirable for seven-pin locks are progressively doors to remote transmitter sites. harder. The master-key arrangement Many college stations are located in older quarters where used in large building complexes (in- the original security arrangements (mainly door locks) were Much improved security comes from dividual-room key, floor master, build- adequate for a building having little appeal to thieves. How- changing to a “mortise” lock, a lock ing master, grand master) reduces se- ever, college radio and TV stations introduce a full collec- cylinder a few inches above the knob. curity by making all the locks easier tion of CD players, production equipment, switchers, cam- It inserts a good, heavy bolt a healthy to pick. Because of this, high-value lo- eras, and microphones of potential value for rock bands distance (up to an inch) into the door cations and FM transmitter rooms and music video producers, personal computers, and the jamb. Another possibility is to add a should be rekeyed so that only the in- like. These are high-pilferage items which the original locks vertical-bolt secondary lock elsewhere dividual-room key and the grand mas- cannot protect adequately. FM licensees, additionally, have on the door. These are quite secure ter can open them. A professional lock- an FCC-imposed obligations to control access to the pre- against simple physical assault. How- smith can provide valuable advice as mises. A realistic goal is to keep out the semiskilled burglar ever, with either of these, the staff must 38 ENGINEERING to security hazards that may not be ap- downstairs studios. When the silent parent to untrained people. alarm tripped one night, the patrolman searched the downstairs area in vain Unless the station is unusually small while an intruder made off with sev- or close-knit, security measures may eral microphones from the upstairs stu- be worthwhile even within the station. dio. Combination padlocks are generally ineffective: through basic human na- For securing rack-mounted equipment ture, the combination gets passed of high value (e.g., an Optimod), a around and becomes common knowl- prowler can be slowed down apprecia- edge. bly by using one hex-head or Allen- head screw along with the regular slot- Keyed padlocks are a better idea. One ted ones. Only a highly prepared thief stations controls access with seven-pin would bring the right tool to get the padlocks that can be keyed with the equipment loose. same blank as the door locks, and an organized mastering plan. The keys are Losses of records and CDs seem to be stamped “DO NOT DUPLICATE,” are as much a borrow-and-forget problem on a hard-to-get blank, and are signed as anything. Enforcing a no-borrowing out to the user upon receipt of a cash policy is probably the best defense deposit. Administering this plan takes against library shrinkage. Stenciling a fair amount of time, but the same sta- the station’s call letters boldly across tion had lost several thousand dollars’ the front and rear of the album or CD worth of recorders in a series of bur- case is always advisable. glaries previously. (Stamping warnings into the keys is not necessarily effec- Identifying portable equipment with tive: the local sports shop used to copy spray paint is only partly useful be- stamped keys cheerfully, no questions cause the paint comes off with com- asked.) mon solvents. Permanent identification, neatly done on the front panel ALARMS, PORTABLE with a vibrating engraver, is good EQUIPMENT policy.

A few stations have experimented with Few stations have an accurate equip- alarms. One station rigged some rack- ment inventory, with serial numbers, mounted equipment such that remov- of their major equipment. However, ing a mounting screw tripped the this is exactly what’s needed most if a alarm. Another put in a set of door theft occurs: both the police and the switches and an alarm loop to the cam- insurance company need it. pus security office, but forgot to advise the police that it had both upstairs and 39 ENGINEERING

CERAMIC CAPACITORS a year old, with a reliable word proces- FAILING sor software package and no exposure to computer viruses. It was installed We had an odd failure in the 1978 pro- with an ordinary plug-strip surge production studio board a year ago: a by- tector, consisting of a simple metal-ox- pass capacitor on the 24-volt supply bus ide varistor across the line wires. While on a preamp card failed. This 0.1 mi- doing some word processing during a crofarad, 50-volt ceramic unit shorted thunderstorm, I noticed that some of out and physically burned open. the software had started to act odd. First the response to mouse commands With inspection of the rest of the cir- slowed. Then features started locking cuit cards, a second capacitor turned up: no ability to change column width, out to have suffered the same fat: all more slow response and a general that was left was the wire leads. This “slow crash” over about 15 minutes PRESERVING OPENsort of failure is hard to explain: It with no evidence of hardware damage. SPACEsurely wasn’t any voltage stress, as the capacitors ran at half their ratings. The The cure was to save the text being only easy explanation was perhaps a worked on, then to do a complete re- metal-crystal “whisker” forming installation of the word processing soft- through a pore in the ceramic, grow- ware (after the storm!). The machine With rack panels, it often happens that there is, say 7" of ing until it caused a short. came back up and has worked fine for rack space available but a new device being built needs per- almost a year. Since then, a full-size haps 5-1/4". It is a mistake to use a 7" panel in this case: a To avoid, or at least defer, any future surge protector has turned up in a lo- year from now you’ll need a 1-3/4" rack space, and you will failures of this sort, all of the dozen cal amateur radio flea market. It pro- have to rebuild the original unit to free up the room. It is bypass capacitors of this type in the vides a burly longitudinal choke coil, much better to spend a bit more for a 5-1/4" and a 1-3/4" board were replaced. That was a year intended to stop common-mode surges panel and have the flexibility. ago, and the board is working fine. (i.e., surges occurring between both wires and ground). It includes some SAWING RACK PANELS LIGHTNING AND PCS hefty by-pass capacitors to stop any residual surge. Aluminum rack panels, and other aluminum stock of simi- It’s common practice to use a surge lar thickness, can be sawed nicely with a table saw. Just use protector on the power cord of a per- The moral: lightning damage isn’t nec- a fine-toothed plywood blade. The result is a smooth cut with sonal computer, the idea being that essarily blown parts, and minimum- little burring. The blade becomes dull somewhat faster than impulses of several hundred volts may type surge protectors protect against when cutting wood, but not dramatically so. This makes it come along on the 120-volt like and only wire-to-wire impulses. Of course, possible to build custom-width panels, to reuse portions of cause damage. But protectors are not this is a residential installation having old panels by cutting them down and to salvage metal stock all the same, and it looks as if the dam- an overhead power feed, not a campus. for general use. age isn’t necessarily physical. Nevertheless, at the least, think twice before keeping the machine going dur- The experience goes like this: My ing a storm. home PC is a reputable AT-clone about 40 ENGINEERING

LIGHTNING — PHASE LIQUIDS IN THE cuit occurred? It turned out that this a cable with an “N” connector to a TWO CONSOLE particular console can be ordered in “BNC” jack, but don’t have the proper larger sizes, with greater numbers of adapter, just push the “N”” plug gently Like a lot of FM station, WCVH has a We had a small but nasty fire in the input cards and more line amps. The onto the jack. It will connect, not per- Bird wattmeter permanently installed $6,000 main console about three years breaker, on the AC line side of the manently, but well enough to get the in the feedline of the antenna, which ago. Someone had left an open bottle power supply, is sized for a full-size, test done. is used to calibrate the power meter of glass cleaner atop the board. Natu- fully equipped unit. So our console was that is part of the transmitter. Our rally, the bottle got knocked over , with badly under-protected, not a great de- A WARNING ON DO-IT- tower has a long history of getting hit ammonia-laden cleaner trickling down sign job. The fix, of course, was to add YOURSELF POWER during thunderstorms, so local practice into the +24 and -24 volt traces on the correctly sized fuses in the +24 and - WIRING is to protect the accuracy of the mea- mother board. In no time an arc set in, 24 volt outputs of the supply. suring “slug” by storing it outside the with flame, black smoke and the foul When WCVH moved into new quarters wattmeter. A simple dummy plug cov- smell of burning epoxy board material. The console has worked fine ever a couple of years ago, some additional ers the slug hole in the wattmeter hous- since. However, consider the causes: AC outlets were needed up near the ing when not in use. Fortunately the DJ was alert enough loose control-room discipline as to al- ceiling. No problem: a junction box for to cut the power. By the time he had lowing liquids, and a marginal electri- the fluorescent ceiling lights already Lightning is tricky stuff. I once visited reacted, the power traces on the cal design. A word to the wise: keep existed in a handy place. It gave a great an FM station in California at which mother board were destroyed in a soft drinks and other fluids out of the opportunity to tap off power, using a the chief engineer explained in a small area and a couple of line amps studios. And in selecting a new board, box cover punched to mount the new puzzled way that the low pass trans- were burned. consider how resistant it is to liquids receptacles. With everything wired mitter had failed even though it was splashed on it. neatly according to code, a first attempt running at only a third of its rated Fixing the harm meant carefully swab- to use the new outlets led to a “zap” in power. Maybe so, but the site is a bing out all the areas of the mother AUDIO OSCILLATOR the connected equipment. The prob- mountaintop at 2,700-foot elevation, board that had been contaminated. In lem: we had assumed the lights ran with excellent exposure to lightning this sort of damage from electrolysis, One of the handiest things in a radio from 120 volts. Not so: the building is damage. it is critical to get all traces of the engineer’s tool kit is a small battery- relatively new, an electrically heated chemical out. Otherwise, corrosion or powered audio oscillator. It needn’t be library, in which the heaters and lights FUSES even a new fire may occur if the hu- one of the fancy ones; the small probe- run from 277 volts. You can’t assume a midity increases at a later date. Mul- type unit that tuns on a pair of pen- thing… the new outlets were carefully When inserting a fuse into the cap of tiple cleanings with water and cotton light cells works fine for tracing wir- removed and another way was found an extractor-type fuse holder, insert the swabs were required to “disinfect” the ing, checking for open inputs on stu- to get the required power. end that is not stamped with the cur- board. One of the sockets on the dio equipment, and all manner of other rent rating. That makes it just a bit mother board was burnt and required quick audio tests. It saves large quicker to check the fuse later on to replacement. Charred areas on the amounts of time, especially in one-per- see if the size is correct. Such a check board were scraped down to good mason testing. is one of the first inspections to make terial. Then the power-bus traces on when working on a piece of used equip- the printed circuit were rebuilt with ment. bare wire and solder. “N” CONNECTOR TRICK

Why didn’t the circuit breaker on the The next time you’re working on the power supply trip when the short cir- transmitter or STL and need to connect 41 ENGINEERING This article is concerned with channels Reference TR-NPL-337, Program Audio supplied to licensed broadcasters , Special Access and Local Channel Ser- which are effectively the same from vices. The “frequency response” col- one telephone company to another, umns give the nominal transmission including the non-Bell companies. The band of the channel and the limits on channels that are offered everywhere equalization when the channel is fed are the 15-, 8-, 5-, and 3.5-kHz chan- from a “good” 600-ohm source and ter- nels. A “nonequalized” channel is avail- minated in a 600Ω load. The response able, at last count, only from Pacific figures to the loss at 1 kHz: a response Bell. of “-3 dB” indicates a 3 dB less loss, “+12” indicates more loss, compared The table lists technical features of to the value measured at 1 kHz. The these channels. The 15-kHz channel is three top-grade channels are basically typically found, in matched pairs, in “flat” ± 1 dB, although there is an al- TECHNICALstereo studio-to-transmitter links of FM lowance for a bit more loss at the very CHARACTERISTICS OFstations. The 8- and 5- kHz channels top or bottom of the band. These fig- TELCO PROGRAM LINESare used most often for medium-grade ures are consistent with Elctronic In- FM remote-pickup links and for all dustries Association standard EIA- NOVEMBER / DECEMBER 1990 applications in AM stations. The 3.5- 250B. Actual channels are usually kHz service is most common for sports within ± 1 dB in any event. Broadcasters have been renting local program lines from the remotes and other uses where “voice” telephone company since the ’20s. Yet changes have occurred quality is sufficient, at minimum cost. The “S/N Ratio” column gives the sig- in recent years that affect the technical characteristics, and nal-to-noise ratio to be expected at the particularly the costs, of these circuits. This article describes Since 1985, pricing has been based on receiving end. These ratios are referred what is offered today and how the price is figured. a “channel termination” to get from the to an assumed instantaneous peak sending location to the serving central transmitting level of +18dBm (18 dB First off, the offerings and price structures are as varied as office, plus mileage charges between above a milliwatt), which is typical for the types of stations buying the service. Licensed broad- central offices (if applicable), plus a signal sent at a level of +8 vu. The fig- casters (AM,FM, or TV) are considered to be an interstate second channel termination to get to ures assume that noise is measured activity. The program lines that they rent come under fed- the receiving location. The old-time with a meter that ignores frequencies eral jurisdiction, and are supplied under a tariff approved pricing was based on a flat rate any- outside the program band: for the 15- by the FCC. That’s true whether the telco line crosses state where within the exchange area. , 8-, and 5-kHz channels, the noise borders or simply runs up the hill to the transmitter site. Today’s rates are almost always higher, meter has a “15-kHz flat” response that, which has led to large sales of radio while basically flat, rolls off gently Non-licensed broadcasters – carrier current, cable FM and remote-pickup and STL equipment and above about 12kHz and has an effec- TV, for our purposes – obtain telco lines under state regula- to expanded use of dial-up facilities for tive bandwidth of 15 kHz. For the tory jurisdiction. These circuits are priced and otherwise remotes. lower-grade channels, the noise meter governed by “wired music” tariffs approved by the state pub- has the rounded “C-message” response lic utilities commission, covering circuits with somewhat Returning to the table, the technical that is commonly used in testing tele- lower performance than the FCC-controlled channels. parameters are listed, as given in Bell phone channels. These figures, the Communications Research Technical lowest ones being in the low 60s, re- 42 ENGINEERING flect the wide use of digital transmis- The “Previous Designators” column sion facilities today. The limit of 71 dB lists the labels by which earlier ver- for a 15-kHz channel gives a wide mar- sions of these channels were known. gin compared to the 60dB traditionally However, these identifiers have no required of a complete FM station. meaning for use today.

“Max.THD” is the level of total har- These circuits nominally provide only monic distortion to be expected in the on-way transmission. However, short presence of the +18 dBm instanta- channels involving only cable facilities neous peak; for lower inputs the dis- and equalizers (no amplifiers or digi- tortion is normally much less. The dis- tal facilities) can be operated backward tortion level on the three top-quality even though the equalization is off a channels is low enough to meet classi- bit. cal FM performance requirements, measuring as low as 0.2% from some Where a pair of 15-Khz is ordered digital facilities. matched for stereo, the phase difference between left and right is held to a The “Max. Loss” column gives the limit of 7.5 degrees, 200 Hz to 4 kHz, greatest amount of transmission loss with the tolerance rising at the band to be expected, again when the chan- edges to 15° at 40 Hz and 20° at 15 kHz. nel is terminated in 600 ohms at both The actual phase difference is usually ends. On long channels, the loss often much less. approaches 32 dB, which requires a line amplifier at the receiving end to These technical parameters are oper- get the signal back up to, say, +10dBm ating limits; any circuit that fails to on peaks to feed an FM transmitter. meet them, for example, during a proof The telco supplies the line amplifier if of performace, should be reported to one orders “gain conditioning” to give telco repair service. For more informa- a zero-dB loss. tion, Chapters 4.1 and 6.4 of the NAB Engineering Handbook (1985 edition) The “Network Channel Code” desig- give useful details, available by calling nates the channel quality for purposes 202/429-5346. of ordering and identifying the circuit. A typical 8-kHz circuit might be designated “7PJNA 12345,” the PJ convey- ing the channel quality (the further up in the alphabet the second letter is, the better the quality and the higher the cost) and the rest being miscellaneous identifiers and a serial number. 43 ENGINEERING

ISOLATION wiring through walls form a similar conduit for sound leaks. Apart from Controlling the incursion of outside careful routing, stuffing their ends with noise – including music or talk from glass wool will help seal them. the studio next door – calls for heavy wall materials and good sound sealing. Doors are a principal path for sound Old-time plaster walls are massive, as transmission. A good, massive door is is dry-wall construction using a double the best defense: set into a stable thickness of 5/8" gypsum board. How- frame, well gasketed or ever, the latter is an attractive way to weatherstripped, with a vigorous au- improve existing construction. In new tomatic closer. However, a sound lock work, the optimum construction con- – double doors with a chamber in be- sists of a double row of studs, staggered tween – is a more practical arrange- apart from each other, so that the two ment. With all its walls treated with GETTING GOODsides of the wall are completely inde- sound absorbing material, it compen- ACOUSTICS IN RADIOpendent. With careful double-studded sates well for the door’s deficiencies. AND TV STUDIOSconstruction, there is no path for vi- Of course, it also provides protection bration of one wall to be transmitted when people enter or leave the studio JANUARY 1991 to the adjacent wall. This makes it a during on-the-air time. more effective isolator than a single One of the perennial issues in building or refurbishing a cam- wall of equal mass. The double row of Windows are another problem. There pus station is how to obtain good studio acoustics. The goal, studs is filled with glass wool insula- is no substitute for double glass, pref- of course, is to obtain a satisfactory facility despite the usual tion for extra sound damping. Unfor- erably of differing thicknesses so as not minimum budget. Without professional consultants, acous- tunately, a cost of thick-wall construc- to resonate at the same frequency tical design becomes a do-it-yourself matter. Here are the tion is that it consumes otherwise us- when, say, a truck goes by. For refit- major factors in working out a solution. able floor space. ting old construction, fortunately, energy-conservation window assemblies The two acoustical problems to solve are: (1) getting good Good walls are meaningless without that will double-pane an existing win- isolation from the outside world, and (2) controlling the painstaking control of little air leaks, a dow of almost any shape. If doubling- “liveness’ of the room itself. Surprisingly, these factors are few of which can reduce the isolation up is not feasible, it may be practical nearly independent; they arise from different causes and by 20dB or worse. Electrical boxes to caulk the windows shut, thus reduc- respond to different cures. A studio can be well insulated placed back-to-back create much of ing incidental leaks. from external noise, yet be excessively “dead” or “ringy.” such leakage, besides passing vibration between walls. Spacing the boxes a few For internal windows, between studios, These are some of the basic considerations in low-budget feet apart on the two sides of the wall sy, the classic approach is double or studio design. They can help get good results in new con- helps considerably. So does carefully even triple glass. The individual panes struction or in improving existing facilities. caulking up all holes in the electrical are tilted slightly with respect to each boxes themselves. Foam leak-stop gas- other (typically splayed outward 5") so kets for outlet plates, commonly sold that light reflections will not buildup for energy conservation, help seal the between them. Again, the window wall boxes. The ducts that carry audio frames should be split: they should give 44 ENGINEERING no path to pass vibration between The ducts themselves should be hung placed high on the wall to be out of walls. For really good isolation, but from vibration isolators. Ducts passing range of accidental contacts. acoustical laminated glass, which is through walls should use flexible sec- more effective than ordinary plate tions to isolate vibration. These tech- Another easy improvement for a too- glass but lighter. niques, by the way, are not familiar to live room is use of a directional micro- most air-conditioning contractors. phone on the console board. However, Of course, good construction is of little all directive mikes require a “free field” value if the monitor speakers are CONTROLLING ROOM behind them to develop the pattern. mounted so as to shake the common “LIVENESS” This rules out placing them close to wall. Resilient mountings, or simply reflective surfaces. using a different wall, are called for. A The goal is a slightly live room, cer- little attention here pays off hand- tainly not a perfect hushed chamber. Some controversy exists over the pre- somely: It is much easier to stop sound In acoustical terms, for a classic me- ferred lighting for studios: fluorescent at its source, especially low-frequency dium-sized studio, a sound of voice fre- lighting is derided for producing elec- noise, than to block it. For example, quency (100-6,000 Hz) should decay by trical and acoustical noise, while incan- keep noisy computer printers away 60 dB (i.e., should pretty much vanish) descent track lighting is more flexible. from the common wall. Where a lot of in about a third of a second.Small con- Unfortunately, incandescent lights re- tape editing is done, it is better to pro- trol rooms should have a shorter de- quire about 2.5 times as much power vide the editor with a good set of head- cay period. The worse theoretical room for the same amount of light. That is, phones rather than to allow use of a is a cube, in which sound reverbera- they put out 2.5 times as much heat. speaker in the editing booth. Studios tion paths exist in all three dimensions. Since we want to minimize air condi- on top floors of buildings beware: there Next worse is a rectangular space with tioning for noise reasons, that heat is are often air conditioners on the roof width equal to the ceiling height, or a objectionable. A TV crewperson or DJ above, passing noises through the ceil- square room. Least problematic is a puts out about 550 BTU per hour of ing. “rectangular” room with one wall heat. A set of studio equipment gener- slightly canted. ates another 1,200 or so. 200 watts of The need to air-condition studios in- incandescent lighting (higher for TV) troduces a major compromise: the Fortunately, it is easier to cure an ex- gives about 680 BTU more. Jointly ductwork provides a fine path for un- cessively “live” room than to stop ex- these can make a closed studio pretty wanted sounds of all types. While large cessive transmission between studios. uncomfortable. If you can compromise ducts slow down air motion, hence Carpeting the floor and a wall or two with the fluorescent lights but the bal- minimizing rushing noise, they also helps considerably. The sound reflec- last unit in a fixture turns out to be tend to allow somewhat more leakage tions off large glass panels can be off- noisy, it is possibleto put it on rubber of other types of sound. Large ducts set by treating the opposite wall. mounts to stop the problem. At the overhead also require a lower ceiling, Molded urethane sound-control foam same time, use of “warm white” tubes a problem in modern buildings. The (“Sonex”) is effective, high-tech mate- is a good idea. Used in place of the only real path for improvement is to rial, but should be used in moderation: usual “cool white,” they give a pleas- keep the ducts for different studios It is easy to get too dead a room, as ing approximation of sunlight. seperate for some distance, use acous- this stuff loads up with fine dust after tical lining, and possibly to put baffles a year or so. It also occupies scarce in them to reduce sound transmission. floor space. It should preferably be 45 ENGINEERING

shop. Most of the military test gear of- ORDERING THE FCC fered is junk, but some (e.g., the AN/ RULES URM-25 signal generator) is excellent. My test bench has been equipped almost entirely through this source. It is time for the annual reminder: it’s easy to get a copy of the Commission’s A seemingly endless supply of per- broadcast regulations. Just call the sonal-computer equipment, new and Government Printing Office at 202/ used, is available through this channel. 783-3238, ask for “Title 47 of the Code The principal of caveat emptor applies of Federal Regulations, Parts 70 to 79,” here, as always, but parts for upgrad- and give a credit card number. The ing PCs and even complete systems are current price is $18. Delivery usually quite inexpensive. Software, in both takes two to three weeks. recent and obsolete versions, is also FLEA-MARKETplentiful. BROADCAST PARTS THE TECH LIBRARY: MARCH 1991 Broadcast equipment turns up, too. KEEP SOME “OLDIE” Power tubes of usable types and other CATALOGS spare parts for transmitters are quite common. Coaxial cable in the 7/8" size One of the lesser known sources for electronic parts, test often appears. Complete consoles, au- Most of us keep a reference file with equipment, computer items, and even broadcast gear is dio processors, usable microphones, catalogs of electronic parts and equip- amateur radio flea markets. Now that the market season has and other treasures are randomly scat- ment. Naturally, fresh catalogs roll in started, here’s how to tap in. tered. An LPB carrier-current transmit- all the time. Though only the latest ter and coupler of recent vintage were version is a relevant source for pur- Most local radio clubs, sponsor yearly events at which mem- available at a very reasonable price. chases, there is a hidden virtue in ob- bers and commercial dealers trade in excess equipment, solete catalogs: they cover discontin- obsolete gear, and outright junk. At the same time, many The value of this source depends criti- ued material that may be around the educational stations are in small towns where the only source cally on the user’s ability to make use station for some years. A good example: of parts is the local Radio Shack, so it is necessary to keep a of odd or “orphan” equipment. A Needing an audio transmitter, you find wide stock of components on hand to handle ongoing needs. skilled technician, prepared to clean up an old but expensive-looking Amateur flea markets yield an unpredictable but good vari- equipment and make minor repairs, Widgetronics unit in the engineering ety of the usual small parts: resistors, capacitors, audio and has a gold mine. For information on “junk box.” To determine its usability, RF connectors, fuses, cable, solid state devices, and so on. upcoming radio flea markets, check one must know the ratings for that listings in amateur publication, espe- transformer. With a 10 year-old Test equipment is also available in good supply at these af- cially the “Hamfest Calendar” section Widgetronics catalog, it’s no problem. fairs, at reasonable prices. Most of it is tube-vintage stuff of in QST magazine. Otherwise it’s necessary to get the rat- marginal usefulness, but true bargains do turn up. As an ings by measurement and guess. The example, a modest-sized Tektronix 5" oscilloscope was found same goes for other broadcast equip- recently, in good condition, for $20. It’s a bit large to haul ment. College stations –all stations, for back and forth to the transmitter site, but works great in the that matter – are havens for old equip- 46 ENGINEERING ment from firms that have vanished through merger or bankruptcy. Particu- larly when considering purchase of used gear, an organized “oldie” catalog file provides valuable information.

TOUCHING UP THE CONSOLE

The cabinets of many modern studio consoles have oak trim sections. These look sharp initially but aren’t wholly DJ-proof. After five years of use, the front trim on WCVH’s main console got pretty tatty, thanks to alot of ballpoint pen marks and miscellaneous scuffed areas. We initially feared that complete stripping and staining was required. Not so: the pleasant surprise was how easy it was to sand out the damage by hand, to mask off the metal areas of the cabinet, and to recoat with poly- urethane varnish from a spray can. The new finish cured overnight, leaving the trim looking like new. 47 ENGINEERING cretion as to imposing fines upon dis- grated circuits, for example. I had the covering defective or missing equip- tone generator fail once, but fortu- ment whose failure is not entered cor- nately the chip that failed was only a rectly in the station log. humble 7400, replaceable from the local Radio Shack. Trying to test the de- Our maintenance hint may save some coder with a pair of ordinary audio embarrassment: many stations in ru- generators is likely not to be workable: ral areas monitor an FM station, using common generators are typically not a Yagi or other directional antenna to precise enough frequency-wise to fit capture its signal. It can happen that a the 10 Hz band-width of the filters in windstorm will turn the antenna the the decoder. At least the station has a wrong way, picking up another station precise test source in the form of its on the same frequency. EBS generator!

NOTES ON EBSThe EBS receiver/decoder will then To some degree, having the EBS de- APRIL / MAY 1991 receive test alerts just fine, but from coder forms a source of news: alerts the wrong station and probably the (to quote the FCC rules - tornadoes, wrong EBS Operational Area. The hurricanes, floods, tidal waves, toxic same goes for non-crystal-controoled gases, industrial explosions, and civil receivers that may drift to an adjacent disorders) are newsworthy. Since local The FCC requires licensed radio and TV stations to partici- channel. The point: be sure that the control stations have the authority to pate in its Emergency Broadcast System: all licensees must receiver is not just working, but work- initiate alerts, an EBS warning may be able to monitor a control station responsible for the local ing on the right station. have a sizable local value. Thus even a area. All stations except 10-watt FMs and low-power TV op- carrier-current, cable FM or cable TV erations must have tone generators to produce the EBS alert- The station may operate without EBS station might want to install a receiver ing signal (853- and 960-Hz tones). On receipt of an alert, gear for up to 60 days , with proper log- and EBS decoder. However, anything the stations must interrupt programming and repeat any ging, but it is dangerous to rely on the can be overdone: one FM station in the (non-test) alerts coming from the control station. If a “par- manufacturer for spare parts or ser- Midwest got a certain amount of noto- ticipating” station, it may stay on the air; otherwise it must vice. The receiver that drives the EBS riety a couple of years ago for initiat- shut down. Naturally, regular tests of the alerting receiver decoder (and forms the program source ing something like 140 alerts in one and transmitting tone generator: the equipment must be for repeating emergency broadcast on year. tested weekly. EBS rules are contained in Sections 73.901 to the air) needn’t be anything special, 73.962 and 73.1250 of the Commission’s rules. and thus can be swapped out readily when failure occurs. The decoder and The FCC is serious about reliability of EBS equipment. The tone generators are not so easy: it is tone generator is “type accepted” like a transmitter. In theory, highly unusual to keep a spare unit one can home-build this equipment, but the FCC type-ac- around, and there is no easy (or legal) ceptance is still required. way to substitute something else pending repairs. As a result, it would be good The FCC’s field personnel are also required to treat EBS equip- policy to keep a few critical spare parts ment seriously when inspecting a station; they have no dis- around: crystals and any unusual inte- 48 ENGINEERING

• The applicant for the new facility on which the versus the number of aural outlets licensed to Petitions to Deny have been filed must be af- the new applicant’s proposed community of li- forded an opportunity to respond to the petitions cense and whether or not you should be re- within the specified time period. Your station quired to share time with the new applicant. should obtain a copy of any response and have your legal and/or engineering counsel review it UPGRADE for possible impact to your station. POSSIBILITIES

• You indicate that the competing applicant has Q: Our station is interested in pursu- already proposed a reduction in specified ERP ing an engineering study in order to via an amendment to the original application - explore the possibility of upgrading our this could be a compromise on it part. However, facilities. However, we are located in a I am not sure whether the Commission will act major metropolitan area currently favorably on an application, even in a mutually served by several other non-commer- ENGINEERING Q&Aexclusive situation, seeking to implement a fa- cial stations. Realistically, what options cility with a lesser ERP than the current Class A can we expect to be made available to station 100-watt minimum. us regarding an upgrade? • Given your situation, probably the wisest course of action would be for your station to A: Your question is a very good and “join forces” with the competing applicant to timely one. As you are probably aware, MUTUALLY EXCLUSIVE urge the Commission to grant a waiver regard- it is becoming increasingly difficult to APPLICATIONS ing the mutually received interference. Although uncover viable opportunities for both by no means guaranteed, the Commission is pre- non-commercial and commercial sta- Q: Our station recently filed an application for a power in- disposed to the granting of applications which tions to upgrade their facilities due to crease to 1.5 Kw. Approximately six months later, an appli- will enhance a given service area while con- the recent upgrading of some previ- Prepared by Laura Mizrahi, NACB cation was filed on a first adjacent frequency for a new sta- currently giving new service to an unserved or, ously classified Class D stations and engineering tion specifying 100 watts ERP. The applications were deemed underserviced, area. Although the notion of ap- pending the proposals of many im- counsel, the proaching your competitor to work together may following informa- to be mutually exclusive by the Commission, at which time proved and new facilities. However, tion should provide the new applicant filed an amendment to reduce the pro- seem difficult, it is better in the Commission’s there are still several avenues which some basic hints for posed ERP to 50 watts. Our station and local TV6 station eyes than having to designate the applications should be explored in depth by your stations just starting up or looking to have each filed Petitions to Deny the proposed new facility. for a hearing. consulting engineer. upgrade. This is a Is there any other action that we can take? • Should you prefer to leave your engineering basic outline for optimum coverage proposal as is, and participate in an FCC hear- • Before beginning the upgrade study, and par- of low power, AM A: The Commission has long held to the concept of prefer- ing, realize that the administrative law judge for ticularly if the station first went on the air over and unlicensed FM ring to avoid educational application hearings due to the your hearing must determine which application 20 years ago, the engineering consultant should systems. If you are considering a substantial delays and expenses that can be incurred in le- best serves the public interest. Many factors are positively ascertain the correct site location, site drastic startup or gal and engineering fees. This situation is likely to occur considered including a comparison of the added coordinates, grade level, HAAT and ERP for the upgrade, we suggect that you here. Given that, work with legal counsel to try to resolve population which would be served by your fa- existing facility. We recently discovered a situ- contact a profes- the situation outside of a hearing. The following suggestions cility upgrade versus the population to be served ation where a non-commercial station went on sional engineering are based on the underlying premise that the new facility by the proposed new facility, the number of au- the air in 1948 and has been operating at an ERP firm or counsel. applicant meets all applicable FCC Rules and Regulations. ral outlets licensed to your community of license 49 ENGINEERING of 4 Kw when it should have been operating at a facilities in turn or they (may) be forever re- ers authorized on the tower site. Some be shown in a petition that there would power of 5.6 Kw. stricted to their current facilities.” This option of these measures include adequate be a strong public interest associated is, obviously, the most difficult and, likely, most fencing requirements, limited time with the allocation of a commercial FM • The first step in determining a station’s upgrade costly possibility to pursue. However, if the po- access for workers on the tower and frequency for non-commercial use possibilities is for the consulting engineer to tential gains are substantial, and there are no power reduction or elimination during (such as providing a community with perform an in-depth allocation study of the 20 alternative options, it may well be worth the such time as workers are on the tower. its first non-commercial FM channel), channels reserved for non-commercial use (88.1 station’s serious consideration to pursue a If your station should receive a letter and no other party expresses an inter- MHz to 91.9 MHz). The study would address all waiver of the Rules. from the Commission requiring that est in the use of the channel as a com- limiting facilities and allocations on each chan- this issue be more fully addressed, you mercial facility, this may be a worth- nel plus or minus three frequencies from the ANSI COMPLIANCE should contact your broadcast engi- while possibility to pursue if the non- studied frequency. From this study, a determi- neering consultant so that the appro- commercial band in your area is satu- nation can be made of the maximum ERP pos- Q: We recently filed our station’s li- priate statement and calculations can rated. Again, your broadcast engineer- sible on any given frequency from the existing cense renewal application with the be submitted. The ANSI standards ing consultant is the best source for transmitter site. (FCC). The Commission sent us a let- must also be addressed in applications supporting information. ter stating that, before the application to the FCC for facility improvement or • Should the allocation study show that an up- could be processed completely, a state- modification. MUTUALLY EXCLUSIVE grade on the current frequency and site loca- ment regarding the station’s environ- APPLICATIONS tion is not feasible, study any possible alterna- mental impact would have to be pro- NEW NCE-FM CHANNEL tives for both. If your station can afford it, con- vided. Is this a new FCC requirement? SEARCH Q: We recently filed an Application For sider the possible re-allocation of a limiting co- Construction permit for a new mini- or adjacent channel facility to a new frequency. A: The Commission has recently be- Q: Our school is very interested in mum facility, Class A, FM station. We This change may allow for the station’s facility gun “cracking down” on less than thor- looking into the possibility of establish- were informed by the Commission that upgrade. ough or complete evaluations regarding a new FM station. We have been our application is mutually exclusive ing compliance for human exposure to told, however, that a preliminary study with another application filed within • If all upgrade alternatives have been ex- radio frequency radiation. Specifically, of the 20 channels reserved for non- a few weeks of ours. The Commission hausted, consider the possibility of using a the standards which must be adhered commercial use does not look promis- is encouraging us to seek a solution to transmitter which may re-broadcast the primary to are contained in the Radio Fre- ing. Are there any other avenues we the situation outside of a comparative station’s signal on an alternate frequency. The quency Protection Guides, adopted by can pursue? hearing, suggesting among the possi- new rules for FM translator stations, effective the American National Standards In- bilities a sharetime arrangement with June 1st allow for a maximum ERP of 250 watts stitute under FCC OST Bulletin No. 65, A: As a matter of fact, there are. In July the other proposed facility. What are if certain conditions are met. Oct. 1985. The formulas, as specified of this year, the FCC reached a deci- the basics of sharetime operations? in the bulletin, are applied to an indi- sion in a rule-making case approving • Lastly, the Commission had recently granted vidual facility’s operation in order to the reservation of a commercial FM A: Sharetime agreements have long waiver requests involving second and third ad- determine where the maximum allow- frequency for non-commercial educa- been employed by individual, non- jacent overlap of existing facilities where grant able ANSI Standard for radio frequency tional use. The decision was predicated commercial facilities for several rea- of the waiver would “increase the flexibility radiation is reached on both the ground on the petitioner demonstrating the sons. First, as in the case you describe available to non-commercial stations to make around the tower base and on the tower preclusion of non-commercial educa- above, a sharetime arrangement can significant improvements in service.” It was itself. From these calculations, appro- tional channels in a specific area due eliminate the necessity of a compara- noted that the Commission believes , under cer- priate safety measures can be imple- to a nearby Channel 6 station or the tive hearing while allowing for the ini- tain circumstances, that it “should allow the in- mented which will reduce the amount inability to meet Canadian or Mexican tiation of two new services to the pub- terfering stations some latitude to modify their of exposure to the public and to work- allocation criteria. Basically, if it can lic. Such a compromise can allow two 50 ENGINEERING individual, non-commercial entities an unlicensed campus FM station un- A: Depending on your specific techni- the opportunity to establish their own der these rules. cal facilities, there are a number of stations on a part-time basis if no always in which a station can improve The new antenna must be mounted with its ternative solution is available to elimi- A: Part 15 deals with unlicensed Ra- its signal strength: radiation center at the same level on the nate the problem of mutual exclusiv- dio Frequency Devices. Most receivers 1. A number of stations employ trans- supporting structure (plus or minus 2 ity. and computers carry labels stating that mitting antennas which have horizon- meters) as the radiation center of the original antenna. FCC form 302 must be filed with signals radiated by these devices are tal-only polarization. Horizontal polar- the FCC in Washington, D.C. within ten days Second, such an arrangement naturally of insufficient strength to interfere ization refers to the plans in which the of the date putthat power, you commence effective operationradiated power and possesses the potential for lessening with licensed or government facilities. signal is transmitted to the earth. Hori- with the newdesired antenna. input This connector procedure type. ap- the financial burden on each licensee Section 15.209 does provide for very zontal-only antennas are like a televi- plies to stations licensed for non-directional operation. of running a full-time facility, as well low power FM broadcasts in the 88-108 sion receiving antenna which has its as aiding in the fulfillment of the MHz band. The transmitted signal elements parallel to the surface of the Commission’s minimum operating re- level can’t exceed 150 microvolts per earth. To receive the strongest signal, quirements for all non-commercial FM meter (150 u V/m) when measured 10 the transmitting and receiving anten- 2. Although FM antennas are described stations. The requirements specify a feet from the transmitter. For broad- nas must be in the same plane. as omnidirectional (radiating the same minimum operation schedule of 36 casting, the FCC defines a signal level power in all directions) they are not. hours per week , comprised of at least of 34 dBu (50 u V/m) as the extent of When you think of the typical FM receivingThe supporting structure affects the five hours per day on at least six days the usable signal in rural areas. Based antenna (whip antenna on a car orsignal tele- with larger structures having the per week, except for those stations lion standard formulas, a transmitter scoping antenna on a portable or boombox)greatest effect. For example, a typical censed to educational institutions. In radiating 250 u V/m at 10 feet will have you think of a vertically polarized antenna.FM antenna mounted on the easterly This is a real problem because the vertically that case, the station does not have to a 50 u/V m signal level at 50 feet. polarized antenna intercepts very littleleg ofof a 24" face tower would radiate 2 operate on Saturdays or Sundays, or to the horizontally polarized signal whichkilowatts you to the east and 0.5 kilowatts observe minimum operating require- Practical, unlicensed FM stations can are transmitting. to the west when licensed for a 1.0 kilo- ments during official school holidays be built for campus use. The systems watt operation. The same antenna or recess periods. A station operating must be adjusted and measured on site The solution to this problem is relativelymounted to a 7' face tower could radi- less than 12 hours per day, every day to meet Part 15 standards utilizing FCC- easy. Modern antennas are circularlyate po- 4 kilowatts in some directions and of the year, is required to share use of approved equipment and methods. larized. Circular polarization is just whathave the nulls in other directions where its frequency if an application propos- These systems should only be consid- name implies – essentially equal signalonly is a few hundred watts are being transmitted in all polarizations so no mat- ing such an arrangement is granted by ered where a 100 -watt FM station is ter how the receive antenna is orientedradiated. it If you are experiencing cov- the Commission . In cases where the not possible due to limited service area will pick up as much as possible. erage losses in some directions which parties cannot agree on time-sharing, and complex system design require- are not caused by terrain obstructions, an application filed for such will not ments. How effective a signal improvement canget be together with the antenna manu- be acted upon until the existing had? An increase in signal of up tofacturer a 10 and/or your consulting engi- station’s license comes up for renewal. IMPROVING SIGNAL times power increase can be seenneer on to solve these problems. STRENGTH nearby, vertical only, receive antennas. UNLICENSED FM ON How do we go about ordering the antenna?3. Have you noticed that your station CAMPUS Q: Our station wishes to improve its To obtain the correct radiated powerdoes you not sound as loud as other stations coverage, listenability and signal need to buy double the number of bayson for the dial in your community? You Q: What is Part 15 of the FCC Rules? strength. What can we do right now a circularly polarized antenna. When order-probably thought that this was caused ing you must specify your operating fre- Someone told me that we could build which would not require FCC review quency, tower mounting data, antennaby in- your comparatively low power and approval? level. In FM this is not true. Loudness 51 ENGINEERING is related to modulation density and is relatively unaffected by your transmitter power. Two areas of your system should be looked into. First, a modern state-of-the-art audio processor (compressor/expander), limiter and stereo generator in one unit. Second, purchase a new state-of-the-art modulation monitor which will be connected direct to the transmitter. The newest monitors allow greater modulation levels by virtue of their improved peak measuring circuitry. To achieve maximum modulation, it is imperative that the modulation monitor be located at the transmitter and not connected to an off-air antenna. Off-air readings are distorted by multipath signals.

4. Finally, run your station with the highest professional standards. Con- duct periodic audio distortion and frequency response checks, keep cart heads properly cleaned and aligned, replace worn out carts and styli and properly maintain the transmitter power output. Operators must ride gain properly to prevent distortion or dropping of the audio level so low that the audio processing equipment is no longer operating at its maximum. 52 ENGINEERING audio, which prevents feedback on the After you’ve mapped out the equip- telephone line.) If you were going to ment list, you need to set up a time broadcast the event, you would need table. Allow more time than you think an audio feed to the radio station or you will need! If possible, set up the video crew. day before. If not, do the set up as far in advance of the event as possible. Third, you would compile a list of This is needed not only in case of it equipment, including cables. Also taking longer to set up than antici- make sure you think about connectors pated, but also allow time to test the and adapters. You don’t want to get set set up. Don’t just plug it in and expect up and find out you have to go from an it to work. Also, the extra time allows XLR to a mini with no way to do it! you to insure that all the equipment has arrived, that all the connectors you SETTING UP A EQUIPMENT LIST need are on hand, etc. TELECONFERENCE√ Two shure mic mixers (XLR & bindingThe next thing is: put it all together. APRIL/MAY 1992 posts) First set up the microphones – one mic √ 2-3 microphones plus a spare with appro-for the moderator and one or two for priate mic stands (XLR) audience participation. These mics √ Symetrix TI-101 telephone interfaceneed to be placed to avoid feedback During the NACB conference in November, a session was √ House P.A. (Usually XLR) from the monitors. These mics should scheduled which consisted of an audio teleconference. If you √ Telephone (RJ-11...usually) then be connected to the first shure attended this session, you were witness to a number of tech- √ XLR cables (bring extras in case a badmixer. one The line level output of this nical problems which helped get the session started over an makes the trip) mixer is your mix minus feed. The mix hour late. When the conference did get going, the audio was √ Y Adaptor for the telephone (dependsminus on audio is fed to the symetrix. less than ideal. Since I have done similar events, including a the phone and jack) The mic level output from this mixer live interactive video conference, I decided it would be ap- is then fed to the second shure mixer. by Will Robedee, propriate to discuss how I would have set up for such an A word of caution – telephone hand- Also connected to this mixer is the Chief Engineer at the Campus Media event, and how you could do the same. sets usually use different connectors output of the symetrix (caller audio). Center at SUNY- than the desk set. Tis can cause prob- The output of this mixer is then fed to New Paltz, which includes WFNP-FM, The first item on the agenda is to determine exactly what is lems. the house P.A. system. Now all you WRNP Cable 106 going to happen, and what the organizers want to happen. need to do is connect the telephone. and WNPC-TV 6. In this case the event was an audio-only teleconference in I make block diagrams of the intended which there was a moderator and interaction by those in set up to help me visualize the audio Connect your duplex phone jack to the attendance with the party on the phone line. paths and connections. Then I bring input between the wall jack and the this with me to help the set up go telephone. The other side of the the The second step is to determine exactly what you need to do smoother and quicker. It also allows phone jack is connected to the to accomplish the event. First you need to mic the modera- others to help set up or trouble shoot symetrix. Now your system is just tor and provide a mic or two for audience interaction. You’ll in the case of problems. I also bring a about complete. If I were going to need to feed the house P.A. system and the caller with mix box of adapters and extra cables to broadcast the event, the second shure minus audio. (Mix minus is the audio minus the callers’ avoid last minute problems. mixer still has a free output. Another 53 ENGINEERING option would be to have the P.A. system monitor the radio station. This would free up a program output from the second shure mixer. If working Determine what you need to do to make the with a T.V. crew, this spare output outing a success. would come in handy. Make an equipment checklist and block diagram. The only other problem which needs Set up a time table for set up, travel, etc. to be overcome at this point is to pre- Bring extra pen,mics, what’s outlet goingstrips, tomic happen, cables, what’s ex- vent the audio in the room from en- etc. pected of you, and what you expect from tering the mouthpiece of the tele- others. phone, otherwise you’ll get feedback. Set it up and test it – don’t assume it This can be accomplished fairly easily will work! by simply disconnecting the handset. Another alternative is to install a “push to talk” button. Simply connect a mo- mentary switch between the connections for the mouthpiece.

There are many ways to accomplish this same task, many different brands of equipment and different types of equipment to do simpler and more elaborate set-ups. For instance, you could use a portable console with mix minus capabilities, you could tap directly from the telephone’s earpiece or use an expensive sports console. I only specified the above equipment because most of it is on hand at most stations. If you don’t have a mic mixer or two, you may want to pick one up if you are thinking of doing any kind of on- location recording, remotes or the like.

To sum it up, here’s a list I find important when doing any on-location recording and/or broadcasts:

Find out as much as possible about the event, when, where, what’s going to hap- 54 ENGINEERING

THE POSSIBILITIES STEPS AND STUDIES

It is becoming increasingly difficult to Regarding upgrade possibilities for an uncover viable opportunities for both existing facility, there are several im- new noncommercials facilities and portant steps that should be explored. existing stations who wish to upgrade. The first avenue, particularly if the sta- This is due to the continuous upgrad- tion first went on the air over 20 years ing of some previously classified Class ago, would be for the engineering con- D stations, pending proposals for nu- sulting to positively ascertain the cor- merous upgrades and new facilities. rect site location, site coordinates, However, there are still several av- grade level, HAAT and ERP for the ex- enues which can be explored in depth isting facility. Much of the data on file by your consulting engineer. for a facility dating this far back was derived from less sophisticated and STATION UPGRADESWith respect to a new full service fa- accurate terrain data than currently cility, while it is true that the more exists today. For example, a situation congested geographical areas will, by was recently discovered where a non- their nature, pose the most challeng- commercial station went on the air in ing study situations, many areas are by 1948 and has been operating at an ERP no means incapable of supporting a of 4 KW when it should have been op- The ability to initiate a new non-commercial FM service or new minimum FM facility (100 watt erating at a power of 5.6 KW. Such a upgrade an existing service is dependent upon several fac- ERP at 30 meters HAAT). Depending discrepancy in actual operating param- tors, all of which must be taken into account and studied upon actual site location, the final an- eters can obviously impact greatly on carefully by your consulting engineer. tenna design may necessitate a the facility’s authorized coverage area. directionalized pattern which will af- Prepared by Laura Mizrahi, NACB COSTS ford the required protection to affected The next step in determining a station’s engineering CO and adjacent channel facilities in upgrade possibilities is for the consult- counsel, the following informa- Prior to the actual undertaking of a full study of the non the allocation picture and minimize ing engineer to perform an in-depth tion should provide commercial portion of the FM band to determine the avail- Channel 6 TV interference, if that is a allocation study of the noncommercial some basic hints for ability of a viable FM frequency, it is strongly recommended factor. If the college/university can be band. The study would address all lim- stations just starting up or looking to that the overall construction costs of the new station be dis- flexible concerning site location, mi- iting facilities and allocations on each upgrade. This is a cussed with the consultant and reviewed by the college/ nor site changes have been known to channel plus or minus three frequen- basic outline for optimum coverage university. It is important that available funding be in place significantly reduce the required pro- cies from the studied frequency. From of low power, AM so that the project, once underway, can go forward without tection and, perhaps, eliminate the this study, a determination can be and unlicensed FM surprises. The best way to assure that this occurs is to ob- need for the more costly directional made of the maximum ERP possible systems. If you are considering a tain as accurate a project quote as possible, including bud- antenna as opposed to a non-direc- on any given frequency from the ex- drastic startup or getary equipment costs, early on from the consultant. While tional antenna. isting transmitter site. upgrade, we suggect that you these figures cannot be considered “hard and fast,” they can contact a profes- provide a clear enough picture of what is to come so that all Should the allocation study show that sional engineering firm or counsel. involved parties can concentrate on the desired end result – an upgrade on the current frequency, a new or improved facility. at the existing site location, is not fea- 55 ENGINEERING sible then study any possible alterna- However, if the potential gains are sub- COST ESTIMATES AM BROADCASTING (CARRIER tives for both. If your station can af- stantial, and there are no alternative CURRENT) SYSTEMS ford it, consider allowing the consult- options, it may well be worth the ant to perform a study which may per- station’s serious consideration to pur- mit the reallocation of a limiting CO sue a waiver of the Rules. AM Broadcasting System A: or adjacent channel facility to a new Single Antenna at the center of a large campus frequency. This change may allow for AM SYSTEMS LPB or RS solid state AM transmitter 700. the station’s facility upgrade. Finally, Choose a frequency on the dial which 25 watt fixed attenuator, 10 dB 250. a transmitter site change for your sta- sounds quiet. Part 15 AM station must be 0-65 dB pushbutton attenuator, 1 dB step 150. tion, if the college/university will con- located outside the protected service con- 22 vertical foot antenna with ground sytem and antenna matching unit 1,850. sider it, could significantly alter cov- tour of a full service station, the proposed Ashley CL50E single channel compressor limiter 300. frequency should be checked with a broad- erage potential if the site is well cho- cast engineering consultant for compli- Enclosure for equipment 450. sen. ance. Freight, travel expenses, equipment installation, adjustment and verification to FCC Rules 4,250. If all the above described upgrade al- Choose a frequency on the high end of the Total Budget $7,950. ternatives have been exhausted, con- dial if possible. Electric interference and sider the possibility of using a trans- man-made noise decrease as theAM fre- Broadcasting System B: mitter which may re-broadcast the pri- quency increases. Radiating Cable, 2-story dorm mary station’s signal on an alternate Use good audio processing equipment, LPB or RS solid state transmitter 700. frequency. The new rules for FM compressor and limiter to obtain optimum Power splitter 150. translator stations, effective June 1, loudness consistent with good quality. 400' radiating cable with connectors & terminations 1,200. 1991, allow for a maximum ERP of 250 For small to medium size areas, or very ir- Ashley single channel compressor limiter 300. watts if certain conditions are met. regular areas, the system should be de- Enclosure for equipment 450. signed around an antenna system of radi- Freight, travel expenses, equipment installation, Lastly, the Commission has recently ating cable. A very large campus may be adjustment and verification to FCC Rules. 2,750. able to use a single vertical radiator, or two granted waiver requests involving sec- vertical radiators, designed to Total Budget $5,550. ond and third adjacent channel over- directionalize the signal. lap of existing facilities where grant of AM Broadcasting System C: the waiver would “increase the flexibil- Radiating Cable, 10-story dorm ity available to noncommercial stations LPB or RS solid state AM transmitter 700. to make significant improvements in 2000' radiating cable with connectors & terminations 4,600. service.” It was noted that the Com- Power splitters 750. mission believes, under certain cir- Ashley CL50E single channel composers limiter 300. cumstances, that it “should allow the Enclosure for equipment 450. interfering stations some latitude to Freight, travel expenses, equipment installations, modify their facilities in turn or they adjustment and verification to FCC Rules. 4,500. (may) be forever restricted to their Total Budget $11,300. current facilities.” The outcome of this avenue is not assured and, indeed, may be a costly possibility to pursue in terms of legal and engineering support. 56 ENGINEERING

FM SYSTEMS COST ESTIMATES FM BROADCASTING SYSTEMS Choose a frequency on the dial which sounds quiet. Interference from other stations will severely limit your service Systemarea. D: Due to the level of activity which existsSingle in antenna and transmitter for one floor building out- the FM band, constant frequency changes and new station construction, the chosendoor use frequency should be checked with a broad- Innovative Communication Electronics FM stereo cast engineering consultant to be sure that transmitter, synthesized with power supply 499. the frequency is not proposed for use in O-65 dB pushbutton attenuator, 1 dB steps 150. your area. Smiley Super Stic 11, flexible base, loaded telescoping antenna 35. Ashley CL52E stereo compressor limiter 499. Good quality audio processing is key to a Aphex 723 stereo limiter 1,495. good listenable signal. A mono signal will Equipment enclosure 450. be listenable at greater distances (weaker Installation and FCC verification 2,800. signal levels) than a stereo signal. Total Budget $5,128. Uniform coverage inside buildings is most easily accomplished by using radiatingSystem E: cable although some building designsRadiating do cable , 2 -story dorm lend themselves to single stub antennas in Innovative Communication Electronics FM stereo transmitter, the ceiling of each floor. Outdoor coverage can be obtained by using radiating cable synthesized with power supply 499. or standard coaxial cable radiators at O-65 dB pushbutton attenuator, 1 dB steps 150. specified intervals along the cable depend- 400' radiating cable and terminations 1,200. ing on the size of the area to be covered. Power splitters 175. Ashley CL52E stereo compressor limiter 499. Aphex 723 stereo limiter 1,495. Equipment enclosure 450. Notes on Costs for AM & FM Broadcasting Installation and FCC verification 2,800. Systems Total Budget $7,268. • All prices budgetary only. • Each installation must be designed on a System F: custom basis if good coverage and FCC Rules Radiating cable , 10 -story dorm compliance are to be realized. • Installation costs vary greatly from Innovative Communications Electronics FM stereotransmitter, installations to installation and depend on the synthesized with power supply and amplifier 1,499. availability of AC power, phone lines to interconnect the studio to the transmitter and O-65 dB pushbutton attenuator, 1 dB steps 150. ease of cable installation. 2000' radiating cable terminations 4,600. Power splitters 850. Other equipment that you will probably need almost immediately after going on air include: Ashley CL52E stereo limiter 1,495. • an audio console ($3,000) Equipment enclosure 450. • reel-to-reel machine ($2,000 ea.) • cart machines ($1,500 ea.) Installation and FCC verification 3,500. • professional-grade CD players ($500 ea.) Total Budget $13,043. • turntables ($500 ea.) 57 ENGINEERING It is becoming increasingly difficult to The first avenue, particularly if the sta- uncover viable opportunities for both tion first went on the air over 20 years new non-commercial facilities and ex- ago, would be for the engineering con- isting stations who wish to upgrade. sultant to positively ascertain the cor- This is due to the continuous upgrad- rect site location, site coordinates, ing of some previously classified Class grade level, HAAT and ERP for the ex- D stations, pending applications to the isting facility. Much of the data on file FCC for numerous upgrades and for for a facility dating this far back was new facilities. However, there are still derived from less sophisticated and several avenues which can be explored accurate terrain data than exists today. in depth by your engineering consult- For example, a situation was recently ant. discovered where a non-commercial station went on the air in 1948 and has With respect to a new full service fa- been operating at an ERP of 4 kW when UPGRADEcility, while it is true that the more it should have been operating at a RECOMMENDATIONScongested geographical areas will, by power of 5.6 kW. Such a discrepancy REGARDING LICENSEDtheir nature, pose the most challeng- in actual operating parameters can ob- ing study situations, many areas are by viously impact greatly on the facility’s FM STATIONSno means incapable of supporting a authorized coverage area. FEBRUARY, 1995 new minimum FM facility (l00 watts ERP at 30 meters HAAT). Depending The next step in determining a station’s The ability to initiate a new non-commercial FM service or upon upgrade possibilities is for the engi- upgrade an existing service is dependent upon several fac- actual site location, the final antenna neering consultant to perform an tors, all of which must be taken into account and studied design may necessitate a directional- in-depth allocation study of the twenty carefully by a qualified and experienced engineering con- ized pattern which will afford the re- channels reserved for non-commercial Prepared by Laura Mizrahi, NACB sultant. Prior to the actual undertaking of a full study of the quired protection to affected co and use. The study should address all lim- engineering noncommercial portion of the FM band to determine the adjacent channel facilities in the allo- iting facilities and allocations on each counsel, the following informa- availability of a viable FM frequency, it is strongly recom- cation picture and also minimize Chan- channel plus or minus three frequen- tion should provide mended that the overall construction costs of the new sta- nel 6 TV interference, if that is a fac- cies from the studied frequency as well some basic hints for tion be discussed with the consultant and reviewed by the tor. If the College or University can be as a basic addressing of any potential stations just starting up or looking to College or University. It is important that available funding flexible concerning site location, mi- TV 6 interference. From this study, a upgrade. This is a be in place so that the project, once underway, can go for- nor site changes have been known to determination can be made of the basic outline for optimum coverage ward without surprises. The best way to assure that this oc- significantly reduce the required pro- maximum ERP possible on any given of low power, AM curs is to obtain as accurate a project quote as possible, in- tection and, perhaps, eliminate the frequency from the existing transmit- and unlicensed FM cluding budgetary equipment costs, early on from the con- need for the more costly directional ter site. systems. If you are considering a sultant. While these figures cannot be considered “hard and antenna as opposed to a nondirectional drastic startup or fast”, they can provide a clear enough picture of what is to antenna. Should the allocation study show that upgrade, we suggect that you come so that all involved parties can concentrate on the an upgrade on the current frequency, contact a profes- desired end result – a new or improved facility. Regarding upgrade possibilities for an at the existing site location, is not fea- sional engineering firm or counsel. existing facility, there are several im- sible, possible alternatives should then portant steps that should be explored. be studied. If your station can afford 58 ENGINEERING it, consider allowing the consultant to an opportunity to enjoy some modest contour of an adjacent full service fa- perform a study which may permit amount of increased coverage. cility). The outcome of this avenue is moving a limiting co or adjacent chan- not assured and, indeed, may be a nel facility to an alternate frequency. After all the above described upgrade costly possibility to pursue in terms of This change may allow the station to alternatives have been exhausted, con- legal and engineering support. How- upgrade at its licensed site location. sider the possibility of employing a ever, if the potential gains are substan- Finally, a transmitter site change for translator facility which may tial, and there are no alternative op- your station, if the College or Univer- re-broadcast the primary station’s sig- tions, it may well be worth the station’s sity will consider it, could significantly nal on an alternate frequency. The serious consideration to pursue a enhance coverage potential if the allo- new rules for FM translator stations, waiver of the Rules. cation situation is improved at the new which became effective on June l, location and the site is well chosen. 1991, allow

Additionally, there have been some For a maximum ERP of 250 watts if cer- recent indications that the climate at tain conditions are met. It is possible the Commission is changing with re- to implement a series of translators spect to Class D stations. Specifically, which can carry the primary station’s the Commission realizes that many of programming into various communi- these facilities are unable to upgrade ties many miles from the site of origi- to even a minimum power, Class A, nation. Such an upgrade option is station with an ERP of l00 watts, given worth looking at very closely if there the severe allocation restraints im- would be a strong demand for the posed on some of these stations. At the station’s programming from sources same time, as noted in recent corre- too distant to be reached by the pri- spondence regarding Class D facilities, mary signal alone. the Commission does desire to preserve this service as it recognizes many Lastly, the Commission has recently local benefits to its continued opera- granted waiver requests in certain cir- tion. To that end, the Commission has cumstances involving second and third begun to look favorably on minor site adjacent channel overlap of existing and/or operating parameter changes as facilities where grant of the waiver well as the previously allowed fre- would “increase the flexibility available quency changes to reduce or eliminate to non-commercial stations to make interference sought by some Class D significant improvements in service.” licensees as a means of continuing to It was noted that the Commission be- provide or enhance this service to the lieves, under certain circumstances, campus and communities of license. that it should allow the interfering sta- This new approach on the tions some latitude to modify their fa- Commission’s part may afford some cilities due to the severe restrictions Class D stations, which are severely placed on many of these “donuted” sta- precluded on all other upgrade fronts, tions (stations within the protected 59 ENGINEERING

AM BROADCASTING antenna will be designed to serve the 540 KHZ- 1700 KHZ entire campus or will be combined with a leaky cable or carrier current system to enhance building penetra- Section 15.221 of the Rules deals with tion. The addition of a carrier current this frequency band. The Rule section system utilized in conjunction with the states that this band is restricted to single antenna will be particularly im- College or University campuses or on portant if AM reception is poor in class- the campus of any other educational rooms and dormitories. institution. Operation is restricted to the campus grounds. There is no limit An AM broadcast Part 15 station must to the power level utilized provided be located outside of the protected ser- that the measured signal level at any vice contour of full service stations. point 100 feet outside the perimeter of The protected contours are: LIMITED AREAthe campus does not exceed a range of co-channel, 0.5 mV/m, lSt adjacent BROADCASTINGsignal levels between 44.4 to 14.1 mi- channel, 0.5 mV/m, 2nd adjacent A GUIDE TO FCC RULES, PART 15 / FEBRUARY 1995 crovolts per meter. As the frequency channel, 5.0 mV/m and 3rd adjacent increases, the allowable signal de- channel, 25 mV/m. In rural areas, it creases. may be easy to find an available frequency. In more urban areas, a con- SUMMARY We all are familiar with the old carrier sulting engineering firm may be re- FOR EDUCATIONAL current facilities which are connected quired to locate a frequency and some AND NON-COMMERCIAL Part 15 of the FCC Rules and Regulations provides the stan- to the power line and used for AM areas will be found which cannot sup- INSTITUTIONS dards for intentional radiators which may be operated with- Broadcasting. This is a Part 15.221 sys- port a station at all. The choice of fre- out prior FCC approval or license. These systems are to be tem. Carrier current systems can be quency is critical if one is to obtain Prepared by Laura Mizrahi, NACB operated subject to the condition that they do not cause harm- more difficult to maintain due to the optimum coverage. Once the station is engineering ful interference to licensed broadcast facilities. Should the number of transmitters. Many carrier built, the system’s performance must counsel, the following informa- FCC notify the owner of a Part 15 system that they are caus- current systems utilize separate trans- be measured to verify signal levels tion should provide ing harmful interference, the system must be shut down mitters in each building with each around the campus on desired and some basic hints for immediately and cannot return to the air until the interfer- transmitter connected by phone lines undesired frequencies. The certifica- stations just starting up or looking to ence has been corrected. to the studio. tion must be completed by the manu- upgrade. This is a facturer of the transmitting equipment basic outline for optimum coverage Properly designed Part 15 systems can be used to provide a AM wireless systems utilize an outside or by a responsible engineer whose of low power, AM broadcast service to an entire campus or portions of a cam- antenna and can be designed to serve qualifications are known to the Federal and unlicensed FM pus. This document will provide an overview of practical an entire campus from one central lo- Communications Commission. systems. If you are considering a system designs which can be constructed and the consider- cation if the campus is essentially drastic startup or ations involved. All Part 15 systems are limited area systems. square in shape. These systems gen- APPENDIX I upgrade, we suggect that you They are applicable when FCC Rules prohibit licensed, wide erally perform better in suburban or contact a profes- area, operation or when broadcasting to relatively limited rural settings. Campuses that are not Includes sample equipment lists and sional engineering firm or counsel. areas is desired. uniformly shaped will require more estimated budget figures based on prac- than one transmitter or a directional tical AM antenna designs. 60 ENGINEERING

Section 15.219 of the Rules does allow ments, a signal strength of (34 dBu) 50 APPENDIX II tion must be located outside the protected ser- 100 mw transmitters, and integral an- uV/m will provide a noise free stereo vice contour of a full service station, the pro- tenna not greater than 3 meters in signal. In an open area, a system which Includes sample equipment lists and posed frequency should be checked with a length, to be used in the AM band with- meets the FCC radiation limitations estimated budgets along with practical broadcast engineering consultant for compli- out concern as to measured signal lev- will have a signal level of 50 uV/m at a FM antenna designs. ance. els. These units can be tuned in on a distance of 50 feet from the radiator. typical AM receiver for distances as The best FM receivers will provide 2. Choose a frequency on the high end of the great as 1,000 feet in open areas such noise free signals to the 14 dBu or 5 CONCLUSIONS dial if possible. Electrical interference and man as parks and parking lots. The units can uV level which would extend out to a made noise decrease as the frequency in- also be used for outdoor broadcasting radius of 105 feet. creases. to a campus commons area with the Part 15 systems can be implemented understanding that there will be little As can be seen, the coverage radius at relatively low cost. A limited range 3. Use good audio processing equipment, com- or no signal beyond obstructions. from a single antenna is very limited. AM or FM transmitting facility can be pressor and limiter to obtain optimum loudness Therefore, non-licensed systems must built for as little as $ 2,000.00 with com- consistent with good quality. SHORTWAVE FREQUENCIES be designed with great care. First, the plete systems designed to serve an frequency should be interference free. entire campus costing $ 20,000.00 and 4. For small to medium size areas, or very irregu- The frequency bands from 1.705 - 10 Specifically, if the campus is located up. These systems can provide an ex- lar areas, the system should be designed around mHz, 13.553 - 13.567 mHz and 26.96 - in an area where the FM band is highly cellent, unregulated, environment for an antenna system of radiating cable or a car- 27.28 mHz are available for wireless developed, interference to a low power campus radio at nominal cost, if all of rier current system. A very large campus may use. Systems operating on these fre- system is likely to occur on some re- the above system implementation fac- be able to use a single vertical radiator, or two quencies can be received on most ceivers. In such a case, the cost for a tors have been considered. vertical radiators, designed to directionalize the shortwave broadcast receivers. Al- wired FM system may not be cost com- signal. though these frequencies can be used petitive in comparison to an AM op- for broadcasting, they are not recom- eration. Although there is no restric- L O W P O W E R U N L I FM SYSTEMS mended for two reasons. First, during tion (as with the AM band) that the sta- C E N S E D F A C I L I T nighttime hours or under certain tion must be located outside a full ser- I E S 1. Choose a frequency on the dial which sounds propagation conditions, signals from vice station’s protected contour, the quiet. Interference from other stations will se- distant locations can totally override frequency should be chosen with care. verely limit your senice area. Due to the level of the low power wireless system. Sec- If, for instance, a frequency “sounds” GENERAL DESIGN HINTS FORactivity which exists in the FM band, constant ond, the typical listener does not own quiet but in reality an unconstructed OPTIMUM COVERAGE frequency changes and new station construc- a receiver for these frequencies. new station is underway, the campus tion, a low power FM facility may not be a prac- signal will be unlistenable once the full tical choice. If still desired, the chosen fre- FM BROADCASTING 88 service station is built. If the FM band AM SYSTEMS quency should be checked with a broadcast - 108 MHZ is relatively uncongested and an FM engineering consultant to be sure that the fre- system is the preferred choice, service 1. Choose a frequency on the dial which sounds quency is not proposed for use in your area. Section 15.239 of the Rules deals with inside buildings must be planned out quiet. Interference from other stations will se- this frequency band. The Rule states with a thorough knowledge of the verely limit your service area. In areas of the 2. Good quality audio processing is key to a that the signal level cannot exceed 250 building construction being taken into country where there are a great number of sta- good listenable signal. A mono signal will be lis- microvolts per meter (uV/m) at a dis- account, labor costs to install versus tions, it may be necessary to use 530 kHz or 1610 tenable at greater distances (weaker signal lev- tance of 9.8 feet (3 meters) from the signal strength and interference con- kHz. Most AM receivers will receivethese fre- els) than a stereo signal. radiator. In most listening environ- siderations. quencies. Due to the fact that a Part 15 AM sta- 61 ENGINEERING

3. Uniform coverage inside buildings is most SYSTEM C - RADIATING A P P E N D I X II SYSTEM F - RADIATING easily accomplished by using radiating cable CABLE, 2 STORY DORM CABLE - 10 STORY DORM although some building designs do lend them- Radio Systems, or equivalent, Innovative Communication selves to single stub antennas in the ceiling of solid state AM Transmitter $ 795.00 F M STEREO BROADCASTING Electronics FM stereo transmitter, each floor. Outdoor coverage can be obtained Power splitter and coupler $ 400.00 synthesized with power by using radiating cable or standard coaxial 400' radiating cable with SYSTEM D - SINGLE ANTENNAsupply & amplifier $ 1,499.00 cable with stub radiators at specified intervals connectors & terminations $ 1,200.00 AND TRANSMITTER FOR ONE0-65 dB pushbutton attenuator, along the cable depending on the size of the Ashley CLSOE single channel FLOOR BUILDING OR 1 dB steps $ 150.00 OUTDOOR USE area to be covered. compressor limiter $ 300.00 2000' radiating cable & Enclosure for equipment $ 450.00 Innovative Communication terminations $ 4,600.00 Freight, travel expenses, Electronics FM stereo transmitter, Power splitters $ 850.00 APPENDIX I equipment installation, synthesized with power supply. $ 499.00 Ashley CL52E stereo adjustment and verification to 0-65 dB pushbutton attenuator, compressor limiter $ 499.00 FCC Rules. $ 2,750.00 1 dB steps $ 150.00 Aphex 723 stereo limiter $ 1,495.00 A M BROADCASTING Smiley Super Stic II, flexible Equipment enclosure Installation Total Budget $ 5,895.00 base, loaded telescoping antenna. $ 1,495.00 and FCC verification $ 450.00 SYSTEM A - SINGLE ANTENNA Ashley CL52E stereo compressor AT CENTER OF LARGER SYSTEM D - CARRIER limiter $ 450.00 Total Budget $ 13,043.00 RURAL CAMPUS CURRENTS 10 STORY DORMAphex 723 stereo limiter Radio Systems, or equivalent, Equipment enclosure Installation solid state AM Transmitter $ 795.00 Radio Systems, or equivalent, and FCC verification $ 2,000.00 NOTE: Budgetary estimates only. Each Radio Systems ATU Tuning Unit $ 695.00 solid state AM Transmitter $ 795.00 system must be designed and installed Radio Systems AT Antenna $ 1,495.00 Power splitters and couplers $ 1,200.00 Total Budget $ 5,128.00 by a qualified vendor. Connectors and RG Cable $ 370.00 Ashley CL50F single channel Antenna Mount and Mast $ 420.00 compressor limiter $ 300.00 SYSTEM E - RADIATING Freight, travel expenses, Enclosure for equipment $ 450.00 CABLE - 2 STORY DORM equipment installation, Freight, travel expenses, Innovative Communication adjustment and verification equipment installation, Electronics FM stereo transmitter, to FCC Rules. $ 4,250.00 adjustment and verification synthesized with power supply. $ 499.00 to FCC Rules. $ 2,750.00 0-65 dB pushbutton attenuator, Total Budget $ 8,025.00 1 dB steps $ 150.00 Total Budget $7,245.00 400' radiating cable & terminations $ 1,200.00 SYSTEM B - SINGLE ANTENNA Power splitter. $ 175.00 AT CENTER OF URBAN NOTE: Ashley CL52E stereo compressor CAMPUS All prices budgetary only. Each instal- limiter $ 499.00 Information Station Specialists lation must be designed on a custom Aphex 723 stereo limiter $ 1,495.00 100 mw transmitter & antenna $ 995.00 basis if good coverage and FCC Rule Equipment enclosure $ 450.00 Audio processing unit $ 300.00 compliance are to be realized. Installation and FCC verification $ 2800.00 Installation and set up of unit $ 1,500.00 Total Budget $ 7,268.00 Total Budget $ 2,795.00 legal NACB 1995 STATION HANDBOOK

Three 63 LEGAL the decision is based solely on a mis- “HANDS OFF STATION understanding of FCC rules and regu- FUNDS” lations, call NACB for help. We will gladly send you a copy of the Advisory APRIL/MAY 1992 Ruling so that you may educate and inform the local cable company. Q: The money that our station raises from promotional/underwriting spots is deposited into an unrelated account “COMPENSATION FOR by our college, and the station is not PUBLIC AFFAIRS allowed to use the money. Is this le- PROGRAMMING” gal?

SPRING 1994 A: Although there are no FCC rules that specifically address this matter, LEGAL Q&AQ: We are a full time FM college radio the situation you describe violates the Cary Tepper is a station, licensed by the FCC. We have spirit of the non-commercial regula- communications attorney with the been approached by a local citizens tions from a “frauds” perspective. firm Meyer, Faller, group that wants to pay us to produce While the FCC permits and often en- Weisman & and broadcast a weekly local current courages non-commercial stations to Rosenberg in Washington, DC affairs program. Can we enter into broadcast underwriting announce- who is familiar with “COMMERCIALS ON CABLE such a relationship? ments and participate in a variety of legal issues affecting student ACCESS?” fundraising efforts to maintain the op- radio and TV, and A: Yes, but you have to be very careful eration of the station, there is an in- also serves as APRIL/MAY 1992 about a few key matters. Noncommer- herent assumption that such money NACB’s legal counsel. This cial radio stations are not permitted to will actually be used for the station’s section of the Q: Our local cable system is refusing to broadcast our pro- “lease” time like commercial radio sta- operations. The money raised does not handbook includes his answers to gramming on their public access channel because the pro- tions often do. However, if the station necessarily have to be deposited into a college stations’ grams contain commercials. Are they allowed to do this? produces the show, you may be reim- separate radio station account. And the most common legal questions, as bursed for all the costs in connection college could legitimately divert some printed in the A: From an FCC perspective, your programs cannot be de- with its production and broadcast. of the money to defray utility costs, “Legal” column of nied transmission on the public access channel simply be- Also, you may encourage – but not re- rent for the studio, insurance, etc. But College Broadcaster magazine since cause they contain commercials. Recently NACB requested quire – the local citizens group to make a reasonable amount of the money January, 1991. – and received – an Advisory Ruling from the FCC on this a general supporting contribution to must go to the station; otherwise, the very topic. According to the FCC Ruling, “this agency ad- the station. Remember, however, that listeners who sent in their money will If you have a legal ministers no rules or policies that would prohibit cable chan- any such contribution would require have been defrauded. question, please write to Legal nels (including access channels) or closed-circuit systems acknowlegdement of the support. Column, c/o NACB, from carrying programs containing commercials.” Howev- 71 George St., Providence, RI er, the FCC Ruling recognized that local franchising author- 02912-1824. Urgent ities or other state and local agencies may adopt contrary issues should be faxed to NACB at rules or procedures. Therefore, if your programming is re- 401.863.2221. fused, try to get a specific explanation for the decision. If 64 LEGAL “ILLEGAL CREATIVITY” are participating in the discount pro- so that Section 73.1212 (sponsorship “SYNDICATED RADIO gram? identification) of the FCC Rules is com- PROGRAMS” FEBRUARY 1991 plied with. A: Yes you can, so long as you men- JANUARY 1991 Q: In last month’s issue you said that a tion such businesses in conjunction station could run a syndicated radio with the membership card, and do not “SLOGANS IN Q: Can a non-commercial educational program containing a full-fledged com- promote the goods or services of any MODERATION” broadcast station run a syndicated ra- mercial spot (not an underwriting an- participating entity. Make sure that dio program that contains a full-fledged nouncement). What if I create a show any anouncements about the member- APRIL/MAY 1992 commercial (not an underwriting spot) and syndicate it to my station, get a ship card and its benefits always em- if the program is received on straight local pizzeria to sponsor it, and give phasizes the fundraising aspects of the Q: Can a noncommercial, educational barter (no cash or in-kind [goods or them a commercial spot in exchange program, and not the goods or servic- radio station use identifying slogans of services] compensation to the station)? for pizzas, not cash? es of the participating entities. companies in underwriting announcements? A: Although the station’s own policy A: No good. The case discussed last may rule otherwise, the answer is month is a special exception to the rule PLEDGE DRIVES A: This answer depends upon the ex- “yes.” Section 399B of the Communi- – the deal must be a straight barter: act slogan of each company. If the slo- cations Act, as amended, prohibits a receiving the program in exchange for MARCH 1991 gan does not contain any comparative non-commercial station from broad- running it (with the built-in ad). As a or qualitative language, and cannot be casting an advertisement in exchange DJ at the station, you are considered Q: For fundraising purposes, our col- construed as promotional, the identi- for renumeration. However, if the syn- tied to the station as staff. The pizza, lege radio station plans to set up pledge fying slogan can be used. The rule here dicated program is received on straight though not cash, would be considered tables at local restaurants and our DJ’s is that you must make a good faith de- barter, the statute’s renumeration re- “in-kind” (goods or services) compen- will encourage listeners to stop by termination as whether or not the slo- strictions are satisfied. sation to the station as well as to you, those restaurants to pledge financial gan sounds too much like a commer- which violates Section 399B of the support and pick up random prizes. cial, and less like an underwriting spot. Since the FCC expects all non-commer- Communications Act, as amended. Each restaurant will reimburse the sta- For example, the slogan, “GE: We Bring cial broadcasters to exercise discretion tion for the costs associated in setting Good Things to Life,” is permissible in the management and operation of up the remote broadcasts. The station’s because the slogan is not product-spe- their stations, a few words of caution MEMBERSHIP CLUBS broadcast announcements will men- cific, and the language is not persua- are warranted in this area. The legislation the name and location of the res- sively promotional. However, the slo- tive history behind Section 399B indi- JANUARY 1991 taurant, but will say no more. Is this gan, “Metropolitan Life Insurance: Get cates that Congress expects such ad- OK? Met, It Pays,” is not permissible be- vertisements to run at either the be- Q: Our radio station would like to ask cause the slogan is definitely promo- ginning or end of the syndicated pro- its listeners to join its Membership A: Yes, so long as you do not promote tional. The words encourage the lis- gram, or at a point in the programming Club by submitting an annual station the restaurant or its menu. However, tener to “get” insurance from that spe- where a natural break would otherwise contribution fee, which would entitle with respect to the restaurant’s reim- cific company. have occurred. If the syndicated pro- each member to a “club card” that of- bursement of the station’s remote ex- gramming is produced in such a man- fers certain discounts fom participat- penses, make sure that such reim- ner as to place the advertisement ing businesses in the area. Can we bursement does not exceed the actual “smack in the middle” of the regular promote the membership card by an- costs, and be sure to acknowledge the program so as to actually interrupt the nouncing which stores and businesses restaurant as a supporter of the event program , the airing of that syndicated 65 LEGAL show – although bartered – would vio- A: No. Although moving shots are per- A: A non-commercial station should location, except for the permissible late FCC rules. Also, Congress expect- missible in non-commercial TV under- never combine music with its under- inclusion of the licensee’s name, or ed only one or two commercials to be writing spots, the station cannot do writing spots since this inclusion would the station’s frequency or channel aired in such instances. Screen the pro- indirectly what it is prohibited from create commercial advertisement-like number. Also, make sure the jingle gram first. If it contains numerous doing directly. The content of both announcements. does not distort the sound of the commercials, don’t run it. aural and video underwriting an- words beyond easy comprehension. nouncements are restricted by federal However, with respect to music and regulation. These announcements can IDs, you are permitted to use this com- TRANSLATOR RULES identify the sponsor, provide a neutral bination, provided you comply with “UNDERWRITING CHANGES description of the sponsor’s business the basic requirements of Rule 73.120, VIOLATIONS” and provide the location of the busi- “Station Identification”. Each station FALL 1993 ness. If an underwriting spot provides must broadcast its ID at the beginning MARCH 1991 demonstrative information that pro- and end of each day’s operation, and Q: What are the new rules regarding motes the business, it violates the FCC hourly, as close to the top of the hour Q: What was the outcome of the re- fundraising by translators? rules. In this instance, since the rules as feasible. As for the verbal content cent FCC investigation of a non-com- prohibit verbal content from including of the ID, the FCC’s Rules are quite mercial radio station in Mississippi for A: The new fundraising rules permit any language to indicate the store had strict – the ID must consist of the sta- broadcasting prohibited advertise- FM translators to air one or more fund- a sale going on (or any similar infor- tion’s call letters, immediately followed ments? raising announcements or advertise- mation indicating discounts), the visu- by the station’s community of license. ments per hour totalling 30 seconds in als cannot provide such prohibited in- The name of the licensee or the sta- A: On November 29,1990, the FCC length. The solicitation or announce- formation either. Even if the camera tion’s frequency or channel number, or released its findings regarding donor ments may be split during the hour – quickly panned the signs, the fleeting both, may be inserted between the call and underwriting announcements the FCC does not care how a transla- images might be construed as sublim- letters and the station location, but no broadcast by WJTA-FM/Kosciusko, tor operator actually allocates their 30 inal advertising. other verbal insertion is permissible. MS. Early last year, WJTA broadcast seconds of annoucements within an Therefore, the use of instrumental several overly-descriptive announce- hour. music would not violate the rule. How- ments, such as the following: “UNDERWRITING ever, should a full song with lyrics be •Want to know what the best kept BEDS” used, any lyrics audible between the secret in Ottawa County is? That’s “TV UNDERWRITING call letters and the station location [name of business]... Stop by and see SPOTS” NOVEMBER/DECEMBER 1991 would violate the rule – and subject the their beautiful selection of living station to a maximum fine of $2,500, room suites... JANUARY 1991 Q: We have been advised in the past according to FCC fines. •Has the cold winter weather got not to combine a music bed with an your car down? In the market for a Q: A college TV station wants to broad- underwriting announcement since the With respect to transforming your sta- new or late model car or truck? cast an underwriting spot wherein the announcement might sound too much tion’s ID into a creative jingle, the [Name of car dealer] has a complete verbal content would merely identify like a commercial. What legal ramifi- FCC’s Complaints and Compliance line of new and late model cars and the sponsor and mention the sponsor’s cations would there be if we combined Branch has advised us that would be trucks...They don’t use high-pressure location, but the visuals would include an instrumental music bed with our OK, as long as the ID-jingle contains sales tactics or gimmicks. They just moving shots of the underwriter’s station ID, or made the ID to sound like the required call letters and station lo- give you honest, down-to-earth pric- store, including “Sale” and “Discount” a bubbly jingle instead of a bland read- cations, and that no words interrupt the es... signs. Is this permissible? ing of words? announcement of the call letters and 66 LEGAL In view of the above, the station was “ANNOUNCEMENT “COMMERCIALS ON “COMMERCIALS FOR found to have violated Section 399B of LENGTH” CABLE ACCESS?” NON-PROFITS” the Communications Act of 1934, as amended (“no public broadcast station WINTER 1994 APRIL/MAY 1992 SUMMER 1994 may make its facilities available to any person for the broadcasting of any ad- Q: Our underwriting solicitors are Q: Our local cable system is refusing Q: We know that noncommercial vertisement”), as well as Section trying to sign up businesses for 15- to broadcast our programming on their broadcast stations cannot air advertise- 73.503(d) of the FCC Rules and Regu- second and 30-second underwriting public access channel because the pro- ments from non-profit entities. How- lations (“no promotional announce- spots, just as commercial stations sell grams contain commercials. Are they ever, can we air full length commer- ment on behalf of for-profit entities advertising spots. Is this permissible? allowed to do this? cials for such non-profit businesses as shall be broadcast at any time in ex- the local symphony, Planned Parent- change for ... consideration to the lic- A: Not exactly. Although the FCC A: From an FCC perspective, your pro- hood and the noncommercial TV sta- ensee.”). has not set any specific time limita- grams cannot be denied transmission tion in our area? tions for underwriting announce- on the public access channel simply Since the FCC concluded that WJTA ments, a recent FCC ruling clearly because they contain commercials. A: Yes, so long as you are certain each ceased airing such commercial an- indicates that the longer it takes to Recently NACB requested–and re- of these entities is non-profit. Al- nouncements immediately upon re- identify an underwriter and his ser- ceived–an Advisory Ruling from the though Section 399B of the Communi- ceipt of the FCC’s initial Letter of In- vices, the more the announcement FCC on this very topic. According to cations Act prohibits noncommercial quiry, no fines were levied. However, becomes promotional. Underwriting the FCC Ruling, “this agency adminis- broadcast stations from broadcasting should the station be found to violate solicitors should not guarantee any- ters no rules or policies that would pro- “advertisements” from for-profit enti- these rules again, the FCC warned that one a specific amount of air-time in hibit cable channels (including access ties, you may accept advertisements fines would be immediately imposed. exchange for their financial support channels) or closed-circuit systems from non-profit entities. to the station. As a general rule, if from carrying programs containing Reminder: Only use neutral, non-dean underwriting spot takes longer commercials.” However, the FCC Rul- Caution: noncommercial stations can- scriptive language in your underwrit- than 15 seconds to announce, it is ing recognized that local franchising not broadcast any kind of announce- ing announcements. The most popu- likely to be too promotional and authorities or other state and local ments that express the views of any lar format is: “ the following program should be withheld from broadcast agencies may adopt contrary rules or person with respect to a matter of pub- is made possible by (underwriter name until the copy is shortened. Except procedures. Therefore, if your pro- lic importance, or which support or and location) offering (product X, Y ...)” for extreme circumstances (such as gramming is refused, try to get a spe- oppose any candidate for political of- For example it is legal to announce: when the announcer must give cific explanation for the decision. If fice. Therefore, if Planned Parenthood “The following program is made possi- lengthy travel directions), any under- the decision is based solely on a mis- wishes to air an announcement that ble by ABC Corp. of Gotham City, deal- writing announcement that exceeds understanding of FCC rules and regu- expresses an opinion on abortion or er and service center for Pluto cars and 15 seconds should be withheld from lations, call NACB for help. We will birth control matters, or wishes to sup- trucks.” However, it is illegal to an- broadcast until the copy is shortened. gladly send you a copy of the Advisory port or oppose a political candidate, nounce: “ The following program is Ruling so that you may educate and they cannot do so on your station. made possible by your friendly ABC inform the local cable company. Corp. dealer of Gotham City, your reliable sales and service center for the sleek new line of 1991 Pluto cars and trucks.” 67 LEGAL “COMMISSIONS ON support go towards the station’s opera- “DEPOSITING versity newspaper and the local week- UNDERWRITING tions. UNDERWRITING ly newspaper. All along we knew that ANNOUNCEMENTS” FUNDS” the position was for underwriting solicitation, not sales. Can we get in trou- SPRING 1995 “COMPENSATION FOR SPRING 1995 ble with the FCC for advertising for PUBLIC AFFAIRS salespersons by mistake? Q: May we pay commissions to stu- PROGRAMMING” Q: Our school administration wants dents that obtain underwriting com- us to deposit our underwriting collec- A: No. What you do off-the-air is of no mitments? We understand that NPR SPRING 1994 tions into the school’s general bank concern to the FCC. So long as the sta- pays commissions to their underwrit- account so that there can be documen- tion and its employees and volunteers ing solicitors? Q: We are a full time FM college radio tation of the money collected. We are comply with the FCC’s rules for on-air station, licensed by the FCC. We have afraid that some of the money will then underwriting announcements, you can A: NACB recently asked the FCC for a been approached by a local citizens be diverted for general school support. give your staff any kind of title they Letter Ruling on this topic. Unfortu- group that wants to pay us to produce Do you have any advice? wish — whether it is done on purpose nately the FCC response was that they and broadcast a weekly local current or by mistake. did not have the manpower to devote affairs program. Can we enter into A: For documentation purposes, it is to issues such as these. However, the such a relationship? probably a good idea to deposit the FCC’s refusal to address these matters funds into an account. The federal “ILLEGAL CREATIVITY” does not mean such actions are per- A: Yes, but you have to be very careful government and many states have in- missible. I would strongly advise non- about a few key matters. Noncommer- creased the documentation require- FEBRUARY 1991 commercial stations to enter into such cial radio stations are not permitted to ments for non-profit entities. Howev- financial arrangements with great cau- “lease” time like commercial radio sta- er, if the school diverts any of the mon- Q: In last month’s issue you said that a tion. NPR is a program producer and tions often do. However, if the station ey for things that do not directly sup- station could run a syndicated radio supplier. Since NPR is not the Licens- produces the show, you may be reim- port the broadcast station, the FCC program containing a full-fledged com- ee of a broadcast station, they have the bursed for all the costs in connection rules would be violated. For example, mercial spot (not an underwriting an- liberty to offer commissions in these with its production and broadcast. if the school wants to use some of the nouncement). What if I create a show instances without the risk of violating Also, you may encourage – but not re- money to defray the cost of the utili- and syndicate it to my station, get a FCC policy. With respect to noncom- quire – the local citizens group to make ties or insurance for the station, that local pizzeria to sponsor it, and give mercial broadcasters, although Section a general supporting contribution to would be permissible. However, if them a commercial spot in exchange 73.503(d) does not specifically prohib- the station. Remember, however, that some of the money is diverted to help for pizzas, not cash? it the payment of commissions on un- any such contribution would require support the school’s football team, that derwriting solicitations, the spirit of the acknowlegdement of the support. would be impermissible. A: No good. The case discussed last rule prohibits the receipt of any con- month is a special exception to the rule sideration to a station’s employees, in- – the deal must be a straight barter: cluding volunteers. At a minimum, “HIRING receiving the program in exchange for underwriting commissions could be UNDERWRITING STAFF” running it (with the built-in ad). As a viewed as “salary” , which is permissi- DJ at the station, you are considered ble. I would recommend that the com- SPRING 1995 tied to the station as staff. The pizza, mission be minimal, and that the sub- though not cash, would be considered stantial majority of the underwriting Q: Our radio station recently adver- “in-kind” (goods or services) compen- tised for new “salespersons” in the uni- sation to the station as well as to you, 68 LEGAL which violates Section 399B of the Communications Act, as amended.

“MUSIC BEDS”

SUMMER 1994

Q: In the December 1991 issue of Col- lege Broadcaster you said that music beds should not be combined with underwriting announcements. However, at the last NACB Convention, you said it was OK to combine music with underwriting announcements. Did the FCC change its policy?

A: No. When I previously discussed these matters with the FCC staff, they misunderstood my inquiry. An FCC staffer actually read my legal column in December 1991 and called me to “correct the record.” The correct answer is that music beds are allowed to be combined with underwriting announcements, so long as the music does not contain indecent or obscene lyrics, or lyrics that promote a product or contain a “call to action.” (In other words, the lyrics cannot subimi- allly contain language that is prohibited from use in the actual text of the underwriting announcement.) 69 LEGAL Comments have been submitted to the FCC by numerous organizations on the subject, including NACB. Among other arguments, NACB’s comments em- phasized the need to continue the policy of reserving noncommercial channels under DAB. Compared to their commercial counterparts, college stations generally will have more difficulty purchasing the required new technology. A reserved band will help insure that they will eventually be able to participate in the digital age once “DIGITALthe requisite finances are obtained. BROADCASTING” FEBRUARY 1991

Q: Our school has a carrier current radio station and cable TV station. We are located in a dense media market with no available over-the-air radio frequencies or television channels. Will our station ever be able to get onto the broadcast bands?

A: Possibly. The FCC is currently considering proposals for Editor’s Note: The the creation of a digital audio broadcasting (DAB) band. Dig- National ital broadcasting eliminates many of the problems that to- Association of day’s FM and AM suffer, such as interference from adjacent Broadcasters (NAB) has published a channels. It also offers higher signal quality and expanded study, “Digital Audio geographic coverage using less power, among other bene- Broadcasting: Status Report and fits. Digital HDTV, with equally dramatic improvements over Outlook,” reviewing current TV, is also being developed. the latest developments in the field. It is The 1992 World Radio Conference will settle many issues, recommended but the FCC is not expected to begin licensing digital fre- reading for those who want to learn quencies to stations until late this decade. However, most more about DAB. experts predict that digital broadcasting will replace FM, AM The cost is $25 to NAB or NACB and analog TV soon afterwards. members, available by calling 800-368- 5644. 70 LEGAL “NEW FCC FINES” The word around Washington is that the FCC plans to substantially increase NOVEMBER/DECEMBER 1991 its inspection visits to all stations from here on. Q: We just learned that the FCC is increasing the amount of fines assessed against broadcast stations for rules violations. Will these new fines be imposed on non-commercial radio stations?

A: Yes. On Aug. 1, the FCC issued a Policy Statement regarding the substantial increase in fines that it will be FINESlevying on stations for violations ranging from Public File omissions to Im- proper Tower Lighting. In an apparent effort to raise more revenue, the FCC has decided to take advantage of a federal law passed in 1989 that permits it “FINING NOVICES” to assess larger fines (forfeitures) for rules violations. APRIL/MAY 1991 For example, the new maximum fines Q: If a college radio station is staffed with “novices” who for certain rules violations are as fol- have not yet learned all applicable FCC rules and regula- lows: inadequate tower lighting and tions, could the station be fined for a rules violation related marking ($20,000), failure to respond to non-awareness or ignorance? to FCC communications ($17,000), failure to maintain public file ($7,500), A: The premise of this question is troubling. Although some failure to identify sponsors/underwrit- radio stations are licensed to colleges and universities, stu- ers ($6,250), failure to maintain tech- dents should not use actual on-the-air time as basic training nical logs ($5,000) and violations of sessions. A federally licensed entity such as a radio station enhanced underwriting announce- should not serve as a classroom. Noncommercial stations ments ($2,500). are licensed to promote alternative, educational programming. These stations must comply with all applicable feder- Although, in the past, the FCC has gen- al and state regulations, just as their commercial counter- erally regulated non-commercial sta- parts do. tions more leniently than their commercial counterparts, we encourage you not to take chances in hopes that the FCC doesn’t inspect your station. 71 LEGAL

the language in the FCC fees section ACTION of the budget (Section 3001 of the Omnibus Budget Reconciliation Act) to NACB agreed with college stations that waive the permit fee. NACB is attempt- this was excessive. In addition, NACB ing to coordinate an effort to find a felt the fee was discouraging people sympathetic member(s) of Congress from entering broadcasting and im- who would push this effort through. In pacted college station volunteers par- the meantime, however, the fees must ticularly hard. NACB helped lead the be paid. effort in informing policy leaders about the fee. Executive Director Glenn Gut- Note: Since this article appeared, the macher and legal counsel Cary Tepper $35 fee was overturned for non-com- visited FCC staffers in 1990 regarding mercial stations. the issue, and filed a petition for re- consideration on behalf of college THE FCC broadcasters nationwide. NACB also $35 DJ FEE wrote articles on the topic for various CONTROVERSY media trade publications, including a lengthy letter published in Broadcast- Great news for non-commercial college ing magazine and a strong editorial in radio and TV stations: A blanket waiv- College Broadcaster magazine. In ad- $35 DJ FEE er has been granted–exempting those dition, a NACB station survey evaluat- working exclusively at noncommercial ing the impact of the fee was complet- JANUARY 1991 stations–from the FCC’s $35 fee for an ed by hundreds of college stations. operator’s permit, effective immediate- Q: What can we do regarding the $35 DJ fee? ly. VICTORY

A: The $35 fee, for the Restricted Radiotelephone Operator HISTORY However, it was a letter in the sum- Permit, is required for any DJ or staff who would act as over- mer of 1991 from Ohio Northern Uni- seer of an FCC-licensed station’s studio and transmitter. Since The Restricted Radio Telephone Oper- versity’s (Ada, OH) Director of Broad- it could happen that any on-air DJ would be the only one ator Permit is a small yellow card re- casting, G. Richard Gainey, who also around a college station during a particular shift, it is advis- quired for anyone operating transmit- serves as faculty advisor to NACB mem- able for each volunteer to have the permit. (However, only ting equipment at licensed stations, ber station WONB-FM that got the ball one person at the station at a time needs to have the permit, valid for the permitee’s lifetime, which rolling. He wrote Congressman Mike so a station desperate to save money could institute some had been free up until 1990. The fee, Oxley (R-Findlay, OH) to argue that the creative staffing arrangements to reduce the number of per- imposed in 1990 as a result of the U.S. $35 fee was too expensive for most col- mits needed.) Congress’s mandate to all divisions of lege students. He also pointed out that the federal government to cut costs and many students working in radio and Petitions by NACB, college stations and other organizations raise revenue, was a one-time charge TV do not become professional broad- to the FCC have been fruitless. The Commission says that of $35. casters and so do not need the lifetime the fee was instituted by Congress and so can only be waived permit. Oxley agreed and sponsored there. The only option left is to lobby Congress to change the bill amending the 1992 FCC bud- 72 LEGAL get which passed the House on Sep- GETTING REFUNDS correct information told to us by an A: The answer to this question is ex- tember 24, 1991. Realizing that it FCC staff member over the telephone? tremely dependent upon the particu- would likely pass the Senate, the FCC According to the FCC, station volun- lar facts of each campus closed-circuit took the initiative in early October to teers who have already paid the fee will A: Most definitely, yes. The FCC has system. Generally, the Cable Act’s re- institute the exemption itself, short-cir- be unlikely to obtain refunds unless ruled over and over again that tele- transmission provisions apply to cable cuiting the need for a Senate vote. they included a statement with it (as phone inquiries to its staff should not systems and other multichannel vid- recommended to all college stations in be relied upon. To begin with, callers eo programming systems that make NEW APPLICATION PROCEDURE the September 1990 College Broadcast- often do not tell the “whole story,” the service available to subscribers or er magazine) requesting a waiver of the thereby jeopardizing a well-reasoned customers for a fee. If your school’s To be exempted for the fee on new fee as a noncommercial station broad- response. In addition, all FCC staff do system is free, retransmission consent permits, send the normal FCC Form caster. If you did send such a state- not necessarily know every new rule is probably not required. Also, the 753 to: FCC, 1270 Fairfield Rd., Get- ment, the FCC will contact you by mail change and revision. And, if the situa- school’s closed-circuit system might be tysburg, PA 17325-7245. However, it around the end of 1991 to send back tion presented is new or novel, the staff considered a Master Antenna System must be accompanied by a letter, your permit. You will then receive a might have to meet and discuss the (MATV) for purposes of the Cable Act. signed and dated by the applicant, stat- replacement permit with the noncom- matter, regardless of the strong opin- MATV systems merely retransmit over- ing: “The Restricted Radio Telephone mercial-use-only designation. To ap- ion of one of its members. the-air signals and make such signals Operator Permit being applied for will ply for an operator fee refund (wheth- available to residents. be used only at a noncommercial edu- er or not you requested a waiver be- One way to avoid a problem such as cational station.” The permit, returned fore), you must write to: FCC, 1270 this is to ask the staff member to con- A campus closed-circuit system will to the applicant by the FCC, will bear Fairfield Rd., Gettysburg, PA 17325- firm his/her advice in writing. The probably be viewed as an MATV-ex- a notation that it is good only at a non- 7245, ATTN: Laurel Sentz. If possible, FCC will often agree to do this. Then, empt provider if (1) there are no sub- commercial educational station. Even- send proof of prior payment along with once you have something in writing, scriber charges, (2) the system pro- tually it is expected that a modified your letter of explanation. Valid refund you will be protected if that written vides services only to areas within the Form 753 will be used, but for now, requests will be processed in 1992. We advice later turns out to be wrong. boundaries of the campus, and not your letter with the current Form 753 suggest that you retain a copy of your under the control of any multichannel will serve as certification for noncom- refund request for future reference. distributor (such as the local cable sys- mercial permit use. “CABLE ACT 1992” tem).

Note that this exemption does not cov- “BAD ADVICE” WINTER 1993 er station personnel at college com- “CABLE ACT AND mercial stations or those volunteers APRIL/MAY 1991 Q: I understand that the new Cable CAMPUS RADIO” who expect to work at any commer- Act prohibits the retransmission of any cial station now or in the near future. Q: Recently we called the FCC about television signal over a cable or pro- WINTER 1993 They should still send their Form 753 our station’s use of an emergency an- gramming system without the prior with the $35 fee to: FCC, PO Box tenna, and what steps we needed to express consent of the originating tele- Q: Are radio stations subject to the 358295, Pittsburgh, PA 15251-3295. For take to comply with applicable rules vision station. Does the 1992 Cable retransmission consent requirements your information, submission of Form and regulations. Later, we found out Act’s retransmission consent rules ap- of the new Cable Act? If so, does this 753 and the $35 fee does not require that the advice given to us over the tele- ply to closed-circuit campus cable sys- mean that our campus FM radio sta- the filing of the usual FCC “cover let- phone was incorrect. Could we have tems? tion cannot be retransmitted on the ter” Form 155 that accompanies most been cited or fined for relying on in- local cable system without the station’s FCC fee filings. prior consent? 73 LEGAL A: Radio broadcast services are cov- “CHANGING CALL meters have been installed. Therefore, “EMERGENCY ered under the 1992 Cable Act. There- LETTERS” if the station has a DJ that is FCC-li- ANTENNA” fore, radio station signals might not be censed and another non-licensed per- retransmitted over a cable system with- SEPTEMBER 1991 son running the board during that DJ’s APRIL/MAY 1991 out the prior consent of the originat- time slot, the station would be complying radio station. Although the text of Q: We would like to change the call let- ing with the FCC Rules. However, as a Q: What are the rules regarding use of the Cable Act does not make specific ters of our radio station. We have com- matter of convenience, many stations an emergency antenna? reference to noncommercial radio ser- piled a list of new call letters and would want numerous persons to be licensed vices, it is my opinion that noncom- like to check their availability. Any so that there may be flexibility in per- A: Erecting an emergency, temporary mercial radio services with respect to suggestions? sonnel scheduling, especially in times antenna is permitted only if the autho- these matters. of emergency or school recess when rized main and/or auxiliary antenna(s) A: Although numerous companies ad- many stations operate with a skeleton is (are) damaged and cannot be used. vertise in broadcasting trade magazines staff. “CABLE that they will research the availability You do not need prior FCC approval to COMPENSATION FOR of call letters for a fee, we suggest that Q: If one of our volunteers works at a erect and begin emergency antenna CARRIAGE OF SCHOOL you save your money and call the FCC commercial radio station, does he have operations. However, within 24 hours STATIONS” instead. The Call Sign Desk at the FCC to get another license to work the board after commencing use, a letter or tele- will provide you with such information at our campus radio station? gram must be sent to the FCC notify- WINTER 1993 free of charge. The telephone number ing them of the facts and circumstanc- there is 202/634-1923. That office is A: No. He should make a photocopy es surrounding the incident causing Q: Can our school offer compensation very busy and understaffed, so please of his operator’s license so that the the authorized antenna damage, and to the cable system for the carriage of be patient and polite. campus station has proof of his li- requesting authority to continue using either the school’s LPTV signal or the censed status. In fact, each station is the emergency antenna for a certain campus FM station? required to keep a copy of each per- specified time. The letter or telegram “DJ PERMITS” son’s FCC license in an accessible should include a description of the A: Absolutely not. The 1992 Cable Act place. If an FCC inspector should walk damage to the authorized antenna, a prohibits a cable operator from request- FALL 1994 in, the station must be able to prove description of the emergency antenna, ing or accepting compensation for car- that at least one person on duty is li- and the station’s operating power with riage or channel positioning of any Q: Our campus radio station requires censed. the emergency antenna. television station. Although the Cable each volunteer and employee to obtain Act does not make any specific refer- an FCC Restricted Radiotelephone REMINDER: ence to compensation-a-via radio car- Operator’s Permit. Does the FCC re- “EQUAL STATION TIME riage, I would strongly recommend quire this? The FCC recently issued a new FCC FOR CAMPUS avoiding such arrangements since such Form 753 (Application for Restricted CANDIDATES” restrictions appear to be implied un- A: No, Section 73.1860 of the FCC Radiotelephone Operator Permit). Al- der the new Cable Act. Rules requires at least one licensed though persons working exclusively at WINTER 1993-94 operator to be on duty at all times, and non commercial stations are fee-ex- this person must be located at either empt, the fee for those persons work- Q: If a candidate for a student govern- the transmitter location, a remote con- ing part-time or full time at a commer- ment office at a school or university is trol point, an ATS monitor and alarm cial station is now $45.00. The old fee interviewed on the campus radio sta- point, or the place where extension was $35.00. tion, will this require the station to of- 74 LEGAL fer his opponent(s) equal time on the authority, the FCC political broadcast lators might be useful at this time. radio station? rules do not apply to them. The FCC recently restructured the FM A: No. The equal opportunity rule translator rules so that they would be applies only when there is an appear- “FINING NOVICES” consistent with the intended purpose ance made by a legally qualified can- of translators – namely, to provide sup- Fundraising by Translators: The FCC re- didate for public office, such as a lo- APRIL/MAY 1991 plementary service to areas in which tained its rules which restrict on-air fund- cal, State or Federal candidate. There- direct reception of radio broadcast is raising activities. In addition to normal so- fore, student government candidates Q: If a college radio station is staffed unsatisfactory due to distance or inter- licitations donethe signal by the is primary transmitted station, over FM the air from Translatorsthe may primary run up station to 30 toseconds its translators. of Inde- do not trigger the equal opportunity with “novices” who have not yet vening terrain barriers. Due, in part, donor solicitationspendent partiesor acknowledgments are also eligible to become rule. learned all applicable FCC rules and to the growing desire of many FM per hour of theirFM translator own. Announcements licensees for stationsmay that are regulations, could the station be fined translator operators to operate as low be split duringintended the hour. to rebroadcast NCE-FM stations. However, even if the “candidate” was for a rules violation related to non- power, local broadcasters with distinct running for a public office, the equal awareness or ignorance? programming, the FCC re-examined its Local Program Origination: FM Translators opportunity might not apply in this rules. The FCC concluded that FM may only rebroadcast the signal of an FM instance. There are four exceptions A: The premise of this question is trou- translators should “translate” (rebroad- broadcast station. Program origination by to the rule: an appearance on a bona bling. Although some radio stations are cast) rather than originate program- any commercial or NCE-FM translator is prohibited with the exception of #3 above fide newscast; an appearance on a bona licensed to colleges and universities, ming of their own. or to provide emergency warnings of immi- fide news interview program; an ap- students should not use actual on-the- nent danger, though translators have no pearance on a bona fide documentary; air time as basic training sessions. A Although the rules and regulations con- local service obligations. and an appearance in an on-spot news federally licensed entity such as a ra- cerning NCE-FM translators are less event. dio station should not serve as a class- stringent than those which apply to Signal Delivery: An NCE-FM translator op- room. Noncommercial stations are li- commercial translators, all operators erating on a reserved channel, and owned censed to promote alternative, educa- are urged to comply with the follow- and operated by the primary station’s lic- “EQUAL STATION TIME tional programming. These stations ing guidelines: ensee, may use alternative signal delivery means (other than over-the-air), such as FOR POLITICAL must comply with all applicable fed- satellite and microwave, under certain con- CANDIDATES” eral and state regulations, just as their Allocated Frequencies and Power: All FM ditions. commercial counterparts do. translators may operate on any of the 80 SPRING 1994 non-reserved commercial channels (fre- Use of Auxiliary Frequencies: NCE-FM quencies). In addition, NCE-FM translators translators owned and operated by their may operate on any of the 20 reserved non- primary station may use auxiliary broadcast Q: Our school operates a cable-current “FM TRANSLATORS” commercial educational channels. The pro- frequencies for program reception. radio station and a campus-wide cable posed maximum power standard has been TV station. Local political candidates MARCH 1991 reduced to 250 watts at low HAATs (anten- keep demanding reasonable access on na heights), with the provision that additional antenna height must be traded for re- both stations. Also, some candidates Q: Did the FCC’s recent rules revisions duced power to limit signal coverage area.“LICENSE RENEWAL” are demanding equal time when we concerning FM translator stations im- present an interview with one of the plicate noncommercial educational FM SEPTEMBER 1991 candidates. Must we provide such ac- (NCE-FM) translators? Ownership Restrictions: An NCE-FM lic- cess or equal time? ensee is not subject to any restrictionsQ: re-Our station is filling out its FCC li- A: No, because neither station requires A: No. However, a brief review of the garding the service area range coveredcense by renewal and there is a question a license from the FCC for operating FCC’s rules concerning NCE-FM trans- translators it owns and operates as longasking as if any of our owners have been 75 LEGAL convicted of a felony or involved in any through Saturday, you will be in com- erating the minimum numbers of Although your community collge holds lawsuits. Since our station is licensed pliance with Section 73.561. hours. As a result, two things could classes on Saturday, the FM station is to our university’s Board of Regents, occur: 1) the FCC revokes the station not required to operate on that day. does that mean we must check this for Please remember, however, that sta- license and awards it to the challeng- However, you should operate the sta- each member of that Board? tions licensed to educational institu- er, or 2) the FCC requires both parties tion at least 5 hours each day, Monday tions are not required to operate on to enter into a time-share arrangement throguh Friday, and at least 36 hours A: Unfortunately, yes. “Owners” in this Saturdays or Sundays, or to observe the so they can both operate on the fre- each week. case would refer to your Board of Re- 36-hour minimum operating require- quency. gents, so if any of those individuals ment during those days designated on Also, noncommercial broadcasters have received felony convictions or are the official school calendar as vacation should be aware that the FCC has pre- involved on any lawsuits, then that or recess periods. “MOS & COMMUNITY viously ruled that “lack of funding” is information should be included under COLLEGE STATIONS” not an excuse for failure to meet your that question on your license renewal Q: What are the long-term consequenc- minimum operting requirements. In application. es of an NCFM not complying with a SUMMER 1995 other words, if you hold an FCC li- 36-hour minimum weekly operating cense, you should do whatever it takes schedule? Q: The FCC rules on minimum oper- to comply with the FCC rules. “MINIMUM ating requirements for noncommercial OPERATIONS A: Since every broadcast station li- stations is confusing. We are a com- SCHEDULES (MOS)” censed by the FCC is required to oper- munity college. Our radio station op- “MOS & COMPLAINTS” ate in the public interest, any time a erates 5 days a week, at least 36 hours JANUARY/FEBRUARY 1992 broadcaster (commercial or noncom- total. We do not operate at least 5 hours SUMMER 1995 mercial) fails to comply with relevant on Friday, nor do we operate the radio Q: Our noncommercial FM station cur- FCC rules, there is the possibility that station on Saturday. However, the Q: If we operate our radio station at rently broadcasts about five hours each the FCC will impose a forfeiture pen- school holds classes on Saturday, so least 36 hours each week, and at least day, excluding Sundays. Is our broad- alty. Recently, the FCC released a list must we operate the radio station on 5 hours each day Monday through Fri- cast schedule in compliance with the of possible rules violations and the as- Saturday? Please help us understand day, are we fully protected from com- FCC rules? sociated fines that might be imposed. the FCC rules. plaints or challenges to our FCC li- Although the list did not specifically cense? A: Unless your school is currently in mention what fine may be imposed for A: The FCC’s requirements for mini- recess, your operations do not comply failing to meet the minimum operat- mum operating schedules for noncom- A: No. Unless an educational broad- with the FCC rules. Section 73.561 of ing schedule, such a rules violation mercial broadcast stations is found in caster operates its FM radio station at the FCC Rules require all NCFMs to may fall under the “miscellaneous vi- Section 73.561 of the FCC Rules. Edu- least 12 hours each day (including Sat- operate at least 36 hours each week, olations” category, which carries a cational broadcasters are required to urdays and Sundays), 365 days per consisting of at least five hours of op- $1,250 penalty. operate their FM radio stations at least year, there is the risk of forced time- eration per day on at least six days of 36 hours each week, and at least 5 share. At any time, someone could file the week. While your station opera- In addition to a monetary forfeiture, hours each day Monday through Fri- an application withthe FCC seeking tions meet the minimum five-hour-per- there is also the possibility that a sta- day. Educational broadcasters are not use of your frequency on a time-share day requirement, your overall sched- tion’s license renewal could be chal- required to operate their FM stations basis for your failure to maximize use ule falls short of the 36-hour minimum. lenged. The challenger might argue on Saturday or Sunday, or during times of the “scarce” radio frequency. How- Therefore, if you increase your opera- that the station has failed to meet its of official vacation or recess. ever, if the FCC grants the time-share tions to six hours per day, Monday public interest obligations by not op- appplication, you would not have to 76 LEGAL share your studios, equipment or staff. “MUSIC FORMATS & “NEW FCC FINES” The word around Washington is that The other party would have to con- EDUCATIONAL the FCC plans to substantially increase struct there own facilities, unless you PROGRAMMING” NOVEMBER/DECEMBER 1991 its inspection visits to all stations from voluntarily agreed to share your facili- here on. ties. SUMMER 1994 Q: We just learned that the FCC is increasing the amount of fines assessed Another problem could arise when you Q: The commercial radio stations in against broadcast stations for rules vi- “PUBLIC FILE” apply for a renewal of your FCC broad- our area have complained to us that olations. Will these new fines be im- cast station license. The FCC has a our music format contains too much posed on non-commercial radio sta- FEBRUARY 1991 policy called “renewal expectancy,” popular music and not enough educa- tions? which basically means that if you optional programming. They want us to Q: What is a public file and what must erate your station in compliance with stop playing “Top 40” music, especial- A: Yes. On Aug. 1, the FCC issued a be included in it? FCC rules and without serious com- ly during drive-time hours. Can they Policy Statement regarding the sub- plaint from the public, the renewal of force us to do this? stantial increase in fines that it will be A: As part of its obligations as a public your FCC license should be an expect- levying on stations for violations rang- trustee, a non commercial broadcast ed reward. Failure to meet the 12 hours A: No they cannot. Many commercial ing from Public File omissions to Im- licensee must make certain materials per day schedule will leave the station radio and TV stations try to intimidate proper Tower Lighting. In an apparent and records available for public inspec- at risk should someone challenge the their nearby noncommercial counter- effort to raise more revenue, the FCC tion and copying. Failure to maintain license renewal application. parts for fear that the noncommercial has decided to take advantage of a fed- or update a public file can result in FCC station is attracting too much of the eral law passed in 1989 that permits it penalties. local audience. However, noncommer- to assess larger fines (forfeitures) for “MOS & CABLE cial radio and TV stations are free to rules violations. Here is a summary of what it should STATIONS” program as they choose—it’s your pro- contain ( see Section 73.3527 of the tected right. However, in order to ful- For example, the new maximum fines FCC Rules for a more complete discus- SUMMER 1995 fill your noncommercial educational for certain rules violations are as fol- sion): 1) FCC Applications, including (or religious) commitment, I recom- lows: inadequate tower lighting and any and all amendments and related Q: We are a cable-current campus ra- mend that at least 10 hours each week marking ($20,000), failure to respond FCC correspondence; 2) Ownership dio station. Must we comply with min- be strictly devoted to educational or to FCC communications ($17,000), fail- Reports, for up to seven years; 3) Con- imum operating schedules or Public religious programing, such as talk, ure to maintain public file ($7,500), tracts & Agreements, including bylaws, File maintenance? news, or special events. If you do this failure to identify sponsors/underwrit- network affiliation agreements, man- and also comply with all other FCC ers ($6,250), failure to maintain tech- agement contracts, etc.,; 4) Requests A: No. Generally the FCC Rules apply rules and regulations, you should have nical logs ($5,000) and violations of for Political Broadcast Time, made by only tho those broadcast stations op- nothing to fear from your complaining enhanced underwriting announce- or on behalf of candidates for public erating pursuant to an FCC-issued li- competitors. ments ($2,500). office along with station response and cense or authorization. However, some charges, if any, for up to two years; 5) scholls have “adopted” the FCC Rules Although, in the past, the FCC has gen- Annual Employment Reports, i.e., FCC for their cable-current stations in or- erally regulated non-commercial sta- Form 395B and related EEO data, for der to ensure certain standard operat- tions more leniently than their com- up to seven years; 7) FCC Procedure ing procedures. If your school has cer- mercial counterparts, we encourage Manual, called The Public and Broad- tain operating requirements, don’t for- you not to take chances in hopes that casting, Revised Edition (39 Fed. Reg. get to comply with them. the FCC doesn’t inspect your station. 32,288; 9/5/74), available from the FCC 77 LEGAL or NACB*; 8) Donor List, those sup- “SPECIAL Please remember that the operator on porting specific programs; 9) Station- ARRANGEMENTS FOR duty must know when to “pull the FCC Correspondence, of any nature SCHOOL BREAKS” “STATION plug” on any indecent or improper pro- that is unresolved – if unsure, I sug- AUTOMATION” gramming, including any improper gest you keep it for three years. SUMMER 1995 underwriting announcements. Howev- SEPTEMBER 1991 er, careful screening of all pre-pro- I also recommend reading the FCC’s Q: If we shut our station down during duced programming will make the Public File checklist and rules regard- the summer vacation, are there any Q: Our school wishes to extend its ra- night operator’s job easier, and prevent ing public inspections of the file, all special precautions we must take to dio station’s broadcast schedule into your station from being fined by the contained in a more detailed memo I comply with FCC rules? the evening hours with the use of au- FCC. prepared on this subject, available tomation and remote control equip- through NACB. A: If your radio station is required to ment. What FCC guidelines should we have its tower painted and lighted, the be cognizant of? “STATION If your station discovers that certain paint must be maintained and the INTERFERENCE” documents are missing from your pub- lights must be kept on at all times, re- A: The Communications Act requires lic inspection file, you can protect gardless of the school’s schedule. Paint- that the Licensee have supervisory APRIL/MAY 1991 yourselves by sending a letter to the ing and lighting requirements are there control over the station’s transmitter FCC, your legal counsel, university for air navigation safety – obviously during all periods of operation. How- Q: Because an area commercial station official or anyone else who could help aircraft fly everyday, not just when ever, that operator need only be able wants to increase power - which would acquire the missing items. Place a copy your school is in session. to terminate the station’s operation cause interference to our signal – our of that correspondence in your public should it be the source of harmful in- station is being asked to change fre- file so as to document (a) your recog- Although the station’s FCC Public File terference or be operating inconsis- quencies, which will be expensive and nition of the missing documentation, must only be made available for pub- tently with the law. Meters, alarms, or a pain. Can we do anything about this? and (b) the steps being taken to solve lic inspection during regular business automatic controls could be used to the problem. If you request the miss- hours, the file must be kept current at facilitate this supervisory control. A: First, the commercial station must ing documentation by telephone, draft all times. If the station files an FCC petition the FCC for the upgrade. If the a memo which includes a list of the Application during the summer, a copy Also, the FCC must be able to contact FCC finds merit to the proposal, a no- missing documentation and the names of that application should immediate- the station during hours of operation. tice of proposed rule making will be and telephone numbers of the parties ly be sent to the Public File. Also, Therefore, the use of remote control issued, and public comments will be contacted to assist you. Place a copy someone at the school should be des- at sites other than the main studio or invited. During the public comment of that memo in the file until the doc- ignated the guardian of the Public File transmitter must be identified to the period, you could either challenge the umentation is received. during summer vacation or recess so FCC. In general, the school may oper- merits of the proposal (usually with the that an FCC Inspector may look at the ate its station by automation or remote submission of a rebuttal engineering * Yes, this FCC Procedure manual is file if he/she walks in during the Sum- control using any method that assures showing) or submit a counterproposal from 1974. Though it is old and some mer. (1) a licensed operator is on duty, (2) that would preserve the power increase contents are not up-to-date, it is the the transmitter system operates prop- but not require your station to change most recent version in existence and erly, and (3) the FCC can contact sta- frequencies. However, in order for your must be kept in your Public File. tion personnel during hours of opera- comments or counterproposal to be tion. credible, you must submit a statement from a qualified engineer. 78 LEGAL If the FCC ultimately approves the “TICKET GIVEAWAYS” “TRANSLATOR RULES upgrade, contrary to your comments CHANGES” APRIL/MAY 1991 or counterproposals, you will have to The text of the cart message is also OK move. But cooperation early on can since it merely identifies the business and FALL 1993 lead to a happy ending for all parties. Q: Our radio station promotes ticket its location, and simply requires the listen- giveaways. The DJ announces that a er to call the station. If the announcementQ: We understand that the FCC recent- on the cart were to describe the business ets up is the winner, or is authorized by the In New York state recently, commer- ticket will be given away for a specific in advertising form, or require the listenerly advised its FM translator rules. What winner to pick up the tickets.) cial station WMNM-FM applied for a concert or event. The DJ then reads a to call a toll number or visit the promoter’sis the current state of local program power upgrade. The FCC wanted to trivia question for listeners to phone- business to pick up the tickets – this wouldorigination authority for NCE-FM approve it. However, engineers deter- in the station. The promotion con- be improper. translators? mined that the higher power would cludes with the DJ playing a cart that interfere with WRMC-FM’s signal, the announces the following: “Tickets giv- A: All translators, commercial and existing station at Middlebury (VT) en away at this hour are provided by NCE-FM alike, are prohibited for origi- College, on a nearby frequency. There- [name of business], which is located at “TOWER LIGHTING” nating programs, with the exception of fore, in its upgrade application, WMNM [address]. You may be the next winner acknowledgments or solicitations of proposed that WRMC move further by calling the radio station at [tele- FALL 1994 financial support, as well as emergen- down into the noncommercial band to phone number].” Does this procedure cy warnings of danger. avoid interference. But the new pro- comply with FCC rules? Q: Our radio station’s FCC license re- posed frequency would have conflict- quires the tower to be lighted. How- ed with the previously submitted ap- A: Yes, it does. In order for ticket give- ever, our station does not operate dur- “USER FEES” plication of St. Lawrence U. for a new aways such as this to comply with FCC ing the summer recess. Do we have to station on that frequency. rules, the following restrictions must keep the tower lighted during the sum- SUMMER 1994 be complied with: mer recess? Instead of a fight, the engineers of the Q-We just heard that the FCC has pro- three stations worked out a compro- The DJ announces the concert or eventA: Yes, absolutely. The tower lighting posed annual “user fees” for most FCC mise: another frequency was found for using neutral language. The DJ shouldrequirements not have nothing to do with licensees and holders of Construction WRMC that would not cause interfer- promote the concert or event, but merelythe broadcast operations of the station Permits. Is this true? ence for either the upgraded WMNM identify it, and its date and location. - they are there for aviation navigation- or the proposed St. Lawrence Univer- It is OK for the station to ask the listenersal safety. The same logic applies to A-Yes, but noncommercial stations sity station. In addition, WMNM prom- to answer a trivia question and call thetower sta- painting. Even if the station need not worry. The FCC has proposed ised to reimburse WRMC for the costs tion. It is not OK if the listener is requireddecides to to shut down operations for six annual user fees for most commercial of switching frequencies. (This is a le- travel to a store, business, or other months,loca- the tower lights and paint licensees and commercial construction tion to qualify for participation in the give- gally supported request, by the way, away. Likewise, a listener cannot bemust re- be maintained in accordance with permit holders. These proposed annu- but some colleges may not realize they quired to purchase something in exchangethe terms of its FCC license and FCC al fees range from $135 to $18,000. can get those expenses covered.) for participating in the giveaway, or inrules ex- in general. If these rules are vio- However, the proposal excludes any change for receiving tickets. (However,lated, the the FCC may impose fines as kind of annual payments for noncom- station may ask the listener to visit the station to pick up the tickets. The stationhigh may as $8,000.00 for each incident of mercial stations or noncommercial also ask the listener to sign a “form” tonon-compliance. ac- DJs. knowledge that the person picking the tick- 79 LEGAL

“WHO CONTROLS THE HELPFUL HINT: LICENSE?” I recommend that all radio stations FALL 1993 adopt written programming rules, regulations and standards, and that all DJs Q: Our college radio station id fight- and programming personnel are pro- ing with the school’s administration vided a copy of them on a regular ba- over the content of our broadcasts. The sis. If these steps are taken, should a administrators say they have ultimate certain DJ make indecent or obscene control over our broadcasts, and that comments over the air, or broadcast they can censor us. We disagree. Who questionable music, the station would is correct? be able to prove to the FCC, if necessary, that it had taken preventative af- A: According to FCC Rules and Regu- firmative action in this area. If a rules lations, the licensee of the radio sta- violation subsequently occurs, the FCC tion is ultimately responsible for the is likely to be more lenient with the programming broadcast over its facili- station if such preventative measures ty, and should take whatever steps are had been taken. necessary to ensure that the programming content complies with all appropriate rules and regulations, including indecency or obscenity regulations. As a precaution, a licensee may also institute special programming rules and regulations of its own in response to community concerns or demographics, which may be more strict than that required by law.

A recent example of licensee responsibility for its own broadcasts is WSUC- FM at the State University of New York at Cortland. Although an afternoon DJ was the one that played indecent rap music, the FCC fined the State Univer- sity of New York, which was the actual licensee. 80 LEGAL “BORROWING “CONCERNS FOR COPYRIGHTED SONGS” STUDENT PRODUCTIONS” SEPTEMBER 1991 SPRING 1995 Q: In the April/May edition of College Broadcaster, you indicated that a stu- Q: Our college operates a low-power dent TV production, produced in the broadcast TV station, which is also car- context of a credit-bearing course, may ried on the local cable systems. Our use copyrighted songs as themes, back- student productions often use pub- ground music or under closing cred- lished music, published text, footage its. Does this mean that I can just go from movies and old TV shows, and into the store, purchase any record or local talent. Several questions arise: tape, and use it as a music bed? Are (1) do we need an ASCAP/BMI li- MUSIC LICENSINGschools exempt from synch rights? If cense?, (2) can we use small amounts so, does it matter where the show is (10 seconds) of old TV shows without eventually exhibited? risk?, (3) should we get written releases from the local talent? A: This topic has generated a lot of interest with our readers, and we thank A: Any college broadcast production “BLANKET AGREEMENTS” you for all your calls and letters. Ac- that results in the show being broad- cording to the General Counsel’s Of- cast, retransmitted or exhibited in any FALL 1994 fice of the U.S. Copyright Office, you manner outside of the classroom would can just go into the store, purchase a require appropriate permissions for the Q: Our university pays BMI, ASCAP and SESAC each year. record or tape, and use it as a music use of copyrighted music, movies and Is our radio station automatically covered under these agree- bed if the program falls within the ed- TV shows. ASCAP and BMI offer blan- ments? ucational purposes division of the ket music performance licenses for copyright law. In this instance, we were these very purposes. You must also A: Not necessarily. BMI, ASCAP and SESAC often enter told that synch rights are inapplicable. contact the movie and TV show distrib- into “blanket agreements” with parties to cover their specif- However, possible re-transmission of utors for written permission to use ic use of music. The University may be paying for their use the show on a local cable system or their works. There is no minimum of music on the telephone lines, pumped throughout the other video outlet poses a very serious amount of music or footage that may hallways or in the lounge and entertainment areas. If these problem. Since most viewers have to be used without prior permission. This agreements between the University and BMI, ASCAP and subscribe to such cable systems, and is an old fallacy – any use of copyright- SESAC do not include the radio station, the agreements must because such re-transmission is for ed music or footage requires prior per- be revised. And, upon such revision, the annual fees are entertainment or publicity – but not mission. Finally, with respect to ob- likely to be increased. educational – purposes, you must ei- taining releases from local talent, it is ther delete the music beds during re- a good idea to obtain a simple general transmission or pay all the appropri- release that would permit the redistri- ate copyright and music licensing fees. bution and sale of the work without 81 LEGAL prior permission or further consider- “DIALOGUE CLIPS” as possible at 212/595-3050, or ask your the authorizing agencies is the Harry ation to the actor or actress. counsel for assistance. Fox Agency in New York City (212/370- NOVEMBER/DECEMBER 1991 5330) and is a good place to start.

“CREATING MUSIC Q: We are thinking about using dia- “LICENSE TO VIDEOS” logue (not music) from certain films APPROPRIATE” “MUSIC LEGAL ON or TV shows as a form of comedic re- COLLEGE TV?” WINTER1994 lief or teasers during our radio broad- APRIL/MAY 1992 casts. Can we do this without the for- APRIL/MAY 1991 Q One of our student producers wants mality of written permission or pay- Q: Can we use songs sent to us by to use copyrighted music along with ment of licensing fees? record companies in any way other Q: Our college TV station is producing his own video footage to create music than playing the full song? For exam- a show that might ultimately be broad- videos. Can he use the music without A: According to the Motion Picture ple, can we use segments of songs as cast on the local cable TV system or prior permission? Association of America, every compo- backdrops behind new stories, or as on a national college cable network, nent of a film (or television show) is part of promotional spots? such as U Network. The student pro- A If the student is producing the video under exclusive copyright protection. ducers plan to use copyrighted songs solely for class credit and the video will Therefore, before you appropriate any A: Your station is permitted to use seg- as background music in the plot of the not be shown outside the classroom, dialogue from a film or TV show, you ments of songs – be it the instrumen- show and/or during the rolling of the the Copyright Act permits such educa- must first contact the producer/studio tal portion or vocal portion – so long credits. Is the use of such music in this tional uses of copyright material with- responsible for the film or show, and as the station already submits a blan- manner permissible? out prior permission. However, if the obtain their permission for such use. ket licensing fee to ASCAP or BMI. If video will be exhibited on the campus We urge you to obtain such permission the station doesn’t submit such an an- A: Yes, as long as the production of the TV or cable station, or anywhere out- in writing. And, it is likely that the pro- nual music licensing-use fee, your sta- show is on an educational, non-profit side the classroom, then permission to ducer/studio will charge you a fee for tion cannot appropriate such music. basis. The 1976 Copyright Act, as use the music must be obtained. What such use. amended, contains several applicable often happens is that a student finds provisions relating to the limitations of market value for these kinds of class “MUSIC LICENSING” copyright exclusivity. Although the projects long after the class ends. In “ID BEDS” holder of a copyrighted work maintains such instances, although the original JANUARY 1991 exclusive rights to the reproduction, intent was for classroom use, once the NOVEMBER/DECEMBER 1991 derivation, distribution, performance, nature of the “use” extends beyond the Q: If we pay the normal ASCAP and and display of the copyrighted matter, classroom, the copyright compliance Q: If our station combines a music bed BMI license fees, can we use portions other parties may use the copyrighted requirements become more stringent. with our ID, do we need to pay any of licensed music in producing com- work, without the risk of copyright in- music licensing fees? mercial spots? fringement, under certain circum- Note: stances. Since the FCC has not ruled specifical- A: If your station already submits a A: No. ASCAP and BMI only control ly on this topic, NACB has requested a blanket licensing fee to ASCAP, the use music performance rights . Re-record- Section 110 of the Copyright Act pro- letter ruling on this matter. We will of music with your ID would fall with- ing portions of songs in the production vides an exemption where the perfor- advise you further once the FCC issues in the general ASCAP license. If you of spots falls under the category of syn- mance relates to the systematic in- an opinion. do not already pay ASCAP fees, we chronization rights which is handled structional activities of a non-profit suggest that you contact ASCAP as soon by other organizations. The largest of educational institution. In the above 82 LEGAL scenario, if the students were required out paying the record/video compa- one with dozens or hundreds of au- recorded vocal performances by enter- to produce the show as part of the cur- nies for the rights? thors. tainers without permission or a licens- riculum of a specific class or general ing agreement, the right of publicity track of studies, the exemption would A: Absolutely not. The educational Under the 1976 Copyright Act, all mu- may be equally protective. This applies apply. nature of your cable TV station does sic created prior to January 1, 1978 and even if you don’t mention the celebri- not exempt you from paying the ap- still valid at that time will be copyright ty’s name with the imitation. Another section of the Copyright Act propriate copyright, performance, and protected through the year 2002. And, that would apply is Section 1076, relat- music licensing fees associated with all music created after January 1, 1978 To date, the only cases we are aware of ing to “Fair Use.” In this instance, the complete appropriation and re will be copyright protected for the du- concern commercial station ads. How- where the musical work is being used transmission of such videos. Should ration of the author’s life plus 50 years. ever, underwriting, IDs and other pro- in an educational context and in a your station desire to incorporate mu- In some very limited circumstances mos would probably fall within the manner devoid of any profits, use of sic videos into your programming, we where the copyright or copyright or precedent. These rulings would extend such material would be deemed fair suggest you first contact the producer, copyright renewal has terminated, the to any audio or video implication that and equitable and not subject to exclu- distributor, or agent listed on the vid- music becomes part of the “public do- a celebrity is endorsing the station, sivity. eo’s label and inquire as to (1) what main” for anyone to use it as they wish. event, etc., just as if it were any other royalty and fee registration forms the However, most music today is still type of product. A word of caution: The mere fact that station should fill out, and (2) the roy- copyright protected. If you want to the program is produced on college alty and licensing fee schedule for the check on the copyright status of a par- Stations should adopt and circulate a premises does not automatically trig- re-transmission of videos. ticular song, the Copyright Office in concise, written policy prohibiting: 1) ger an exemption. The production Washington, D.C. can help you Their the production of spots that include must have a reasonable connection telephone number is 202-479-0700. any unauthorized sound-alike seg- with the student producer’s education- “PERMISSION FROM ments, and 2) the airing of any sup- al curriculum. AUTHOR” plied spots that the station knows to “SOUND-ALIKE ADS” contain an unauthorized imitation. FALL 1994 Since most states have not yet ratified “MUSIC VIDEOS” FEBRUARY 1991 unambiguous laws in this area, when Q: Can our radio station play non-BMI, in doubt about the content of a spot, SEPTEMBER 1991 non-ASCAP, and non-SESAC music Q: Can I do celebrity voice imitations contact an attorney. without the permission of the author/ on promo spots (station IDs, outside Q: We are a non-profit college cable TV composer? event promotion) and underwriting station operated by our students. Our announcements? “YOU’RE JINGLIN’, TV station is currently carried on our A: In most instances, no. If an au- BABY” campus cable system, as well as on thor/composer still holds a valid copy- A: Not without the celebrity’s authori- some of the local commercial cable right for certain music, you must still zation. Two recent sound-alike cases APRIL/MAY 1992 systems. Our programming primarily obtain their permission to use their resulted in large damage awards, based consists of local educational shows and work even if they do not associate with on a court determination that perform- Q: We have a compact disc of themes sporting events, PBS, student-produced BMI, ASCAP or SESAC. This is the very ers have a “right of publicity” to their from TV commercials. Can we use shows, U Network, and other network reason why BMI, ASCAP, or SESAC play voices, which may not be imitated portions of these theme songs as programming. We are considering play- such an important and convenient without the performers’ consent. While “drops” between songs and programs? ing music videos. Can we do this with- role—it would be terribly difficult (if this is different that the federally-pro- not impossible) to negotiate one-on- tected copyright which prevents use of 83 LEGAL A: No. Absolutely not. You cannot use any portion of such a commercial (or TV show, music video, or movie) without first getting permission from either the producer or distributor of the work. In your situation, look at the compact disc jacket and find out what company is listed as the producer or distributor. You will then have to write to them and get their written permission to use that material. And it is likely that they will charge you a fee for such use. 84 LEGAL viding funds for the programmer to produce his show, without any editorial restrictions (other than the music must be relevant to that specific religious heritage).

PAYOLA

“VOLUNTEER DJ PAYOLA?”

APRIL/MAY 1991

Q: We recently found out that one of our volunteer community programmers has been receiving money from a particular religious federation to purchase religious music to be aired on his show. None of this money has been received by the station, nor has the purchased music become part of the Editor’s Note: If this volunteer station’s music library. Is there any problem with this ar- programmer had rangement? been a student with ties to the station because of A: No, since the programmer is a volunteer and not a station academic course employee, and because the station is not enhancing its mu- requirements, etc., the answer to the sic library as a result of this arrangement. Please be advised, above could be however, that the situation would be troublesome if the reli- different. As with any legal matter, the gious group forced the programmer to promote specific specifics of each musicians or bands. Similarly, there would be a “payola” prob- case can lead to different decisions lem if the programmer received the music directly from the even in similar music companies to promote specific musicians or bands. scenarios. But, in this instance, the religious federation is merely pro- 85 LEGAL I recommend that college stations institute and keep on file a policy on explicit program material and make sure that all staff understand its importance. Since this is not a clear-cut issue, using good judgment about your audience’s probable reaction to program content may prove more worthwhile than legal advice.

INDECENCY & OBSCENITY

“INDECENT PROGRAMMING”

JANUARY 1991

Q: What’s the status on airing so-called “indecent” program content?

A: The FCC adopted a report endorsing a 24-hour broadcast ban on such programming. However, it was appealed on unconstitutionality grounds last November in federal court by numerous media networks, trade associations and other first amendment advocates, with oral argument to begin late this month. Since the ban cannot be enforced until the petition is decided upon, it is reasonable to assume that the FCC will continue its current policy of investigating questionable broadcasts aired between the hours of 6 a.m. and 8 p.m. only. Note that non-licensed (carrier current, cable and closed- circuit) radio and TV stations may technically be subject to obscenity and indecency rulings, although they are probably not a high priority for FCC investigation. 86 LEGAL to such issues. Such an “issues-program” list is required to be placed in your station’s public inspection file.

Q: Do PSAs count toward fulfilling our issues-program obligations? And can someone or some organization force us to broadcast their PSAs?

A: The broadcast of PSAs definitely counts toward the fulfillment of your station’s issues-program obligation. However, PSAs should not be listed as the majority of the responsive pro- PROGRAMMINGgramming aired by the station. For example, of the six to 10 hours of responsive programming that should be aired each quarter, only about one hour should be credited for PSAs, regardless of the actual time devoted to PSAs. “ISSUES-PROGRAM OBLIGATIONS” As for the second part of your ques- JANUARY/FEBRUARY 1992 tion, please be advised that no one can force you to broadcast a PSA. Again, Q: Has the FCC established any minimum standards with the FCC leaves it up to the good-faith respect to the broadcast of programs responsive to commu- discretion of each broadcaster as to nity issues and concerns? what should and should not be aired.

A: The FCC leaves it up to each broadcaster to determine However, make sure you treat as which issues are of concern to its listening community, and equals all segments of your listening how best to air programs that are responsive to such inter- community. If you exclude the broad- ests. As a rule of thumb, we recommend that each station cast of a PSA from one religious orga- broadcast at least six to 10 hours of responsive programming nization while permitting the broadcast each quarter. These programs may be in the form of a “round- of PSAs from other religious denomi- table discussion” of community leaders, a special news doc- nations, the station could get into trou- umentary or a call-in talk show. ble for such disparate treatment. Also, document on paper why you choose Regular newscasts should not be included in calculating the to exclude a certain PSA, so that you number of hours of responsive programming. And remem- can later defend that position if neces- ber that you should compile a quarterly list of issues and a sary. summary of the programs that were broadcast in response 87 LEGAL your show and programming plans would be required before a complete legal analysis could be completed.

SYNDICATION

“SYNDICATING LOCAL SHOWS”

FALL 1993

Q: Our school’s students are currently producing a local public interest radio show at a local station. We are thinking of syndicating the show. What steps should we take to protect our programming idea and the rights to the program?

A: If the general topic of the program is novel, and if the name of the program is unique, I would recommend that a copyright application be filed for the programming idea, and that a trademark application be filed to register the name of the show. Also, you should enter into some written understanding with the local radio station regarding the school’s ownership of the radio show, despite the fact that it is being produced at their station. Finally, once the show is syndicated, there will be a need for a written contract with each station that will broadcast the show. This is a brief summary of what is recommended. A more thorough review of 88 LEGAL A: Yes, it does. In order for ticket giveaways such as this to comply with FCC rules, the following restrictions must be complied with:

The DJ announces the concert or event using neutral language. The DJ should not promote the concert or event, but merely identify it, and its date and location.

It is OK for the station to ask the listeners to answer a trivia question and call the station. It is not OK if the listener is required to travel to a store, business, or other location to qualify for participation in the giveaway. Likewise, a listener cannot be re- GIVEAWAYS quired to purchase something in exchange for participating in the giveaway, or in exchange for receiving tickets. (However, the station may ask the listener to visit the station to pick up the tickets. The station may also ask the listener to sign a “form” to acknowledge that the person picking the tick- “TICKET GIVEAWAYS” ets up is the winner, or is authorized by the winner to pick up the tickets.) APRIL/MAY 1991

Q: Our radio station promotes ticket giveaways. The DJ an- The text of the cart message is also OK nounces that a ticket will be given away for a specific con- since it merely identifies the business and cert or event. The DJ then reads a trivia question for listen- its location, and simply requires the listeners to phone-in the station. The promotion concludes with er to call the station. If the announcement on the cart were to describe the business the DJ playing a cart that announces the following: “Tickets in advertising form, or require the listener given away at this hour are provided by [name of business], to call a toll number or visit the promoter’s which is located at [address]. You may be the next winner by business to pick up the tickets – this would calling the radio station at [telephone number].” Does this be improper. procedure comply with FCC rules? 89 LEGAL

“HOW TO APPLY FOR A BROADCAST STATION” IS A 6- PAGE INFORMATION BULLETIN EXPLAINING THE STEPS IN SELECTING A FACILITY, GIVING LOCAL “FACT SHEET ON ADVANCED NOTICE, THE HEARING TELEVISION” IS A 2-PAGE PROCEDURE, CONSTRUCTIONSUMMARY OF STEPS TAKEN PERMITS, ETC. IT IS REALLY BY THE FCC THROUGH 1988 CALLBOOKS, FM/TV AN OUTLINE, REFERRING ON ESTABLISHING AN HDTV DATABASES, RADIO READERS TO OTHER OR EDTV SYSTEM IN THE U.S., EQUIPMENT, ETC; SOURCES FOR MORE FOLLOWED BY AN 11-PAGE DETAILED INFORMATION; BIBLIOGRAPHY OF TECHNICAL, ECONOMIC AND “LAYMAN’S-LANGUAGE” ARTICLES THAT HAVE BEEN PUBLISHED ABOUT ATV; CATALOG OF FCC“CABLE TELEVISION” IS A 24- PAGE INFORMATION PUBLICATIONSBULLETIN PROVIDING A BRIEF HISTORY AND SUMMARY OF RULES ABOUT THE SERVICE, “THE FCC IN BRIEF” IS A 6- WITH A LARGE PORTION PAGE INFORMATIONAL DEVOTED TO PROGRAMMINGBULLETIN DESCRIBING THE If you wish to The FCC offers a large number of publications of interest to ISSUES; FCC’S FUNCTIONS AND ITS receive any of these COMPONENT DIVISIONS. publications or lectronic media students. Single copies will be sent free upon (THE SEPARATE 1-PAGE “FCC desire more request. ORGANIZATION CHART” information about DIAGRAMS THE BRANCHES them, contact “BROADCAST EQUAL EMPLOYMENT OPPORTUNITYAND REPORTING Martha E. Contee, RELATIONSHIPS.) Assistant Chief, GUIDELINES” IS A 4-PAGE Office of Public FACT SHEET DESCRIBING THE Affairs, Consumer RULES REGARDING HIRING OF Assistance and MINORITIES AS IT RELATES Small Business TO LICENSE RENEWAL, “HOW FCC RULES ARE Division, FCC, 1919 INCLUDING REFERENCES TO M St., NW, Rm. 254, MADE” IS A 1-PAGE FLOW OTHER INFORMATIONAL Washington, DC CHART AND OUTLINE RESOURCES; 20554, or call her at EXPLAINING HOW PETITIONS 202/632-7260. In FOR RULEMAKING BECOME addition, you may OFFICIAL; contact the Government Printing Office, Washington, “RADIO STATION AND OTHER DC 20402; phone: LISTS” IS A 5-PAGE “FEE FILING GUIDE” IS A 5- 202/783-3238, for INFORMATION BULLETIN PAGE GUIDE FROM THE FCC’S lists of available WITH SOURCES OF PROGRAM government FIELD OPERATIONS BUREAU LISTINGS, DOMESTIC AND publications LISTING THE VARIOUS FEES OVERSEAS STATION INDICES, concerning radio, FOR LAND- AND SHIP-RADIO AMATEUR RADIO TV, electronics, and OPERATORS. EVEN BETTER related subjects. 90 LEGAL

IS THE 6/21/90 FCC PUBLIC “TELECOMMUNICATIONS: A “HOW TO FILE A COMPLAINT NOTICE, “FEES COLLECTION GLOSSARY OF AGAINST A BROADCASTER” PROGRAM-FURTHER TELECOMMUNICATIONS IS A 3-PAGE FACT SHEET CLARIFICATIONS,” A 5-PAGE TERMS” IS AN 18-PAGE GUIDEDESCRIBING THE PROCESS IN RELEASE WRITTEN IN Q&A EXPLAINING MOST OF THE LODGING A COMPLAINT AND FORMAT, DEALING WITH THEJARGON IN ELECTRONIC IS A HANDY REFERENCE FOR MOST COMMON AREAS OF MEDIA FROM “ACCESS BROADCASTERS CURIOUS TO MILITARY AND MANY OTHER CONFUSION ABOUT THE FEE CHARGE” TO “WIRELESS KNOW WHAT LISTENERS AND APPLICATIONS. BOTH MAY PROCESS; CABLE”; VIEWERS MUST DO IN ORDER BE PURCHASED FROM THE FOR THE FCC TO ACT ON SUPERINTENDENT OF COMPLAINTS; DOCUMENTS, GOVERNMENT PRINTING OFFICE, “LOW POWER TELEVISION “MASS MEDIA SERVICES: WASHINGTON, DC 20402, OR (LPTV)” IS A 12-PAGE FACT EVOLUTION OF CALL 202/783-3238.) SHEET STARTING WITH A BROADCASTING” IS A 34- “BUSINESS OPPORTUNITIES CHRONOLOGY OF PAGE INFORMATION IN PRIVATE RADIO” IS A 3- SIGNIFICANT EVENTS IN THE BULLETIN SUMMARIZING THE PAGE MEMO LISTING THE HISTORY OF LPTV HISTORY OF RADIO AND TV SEVEN FCC-ALLOCATED RULEMAKINGS FOLLOWED BYBROADCASTING, ITS SERVICES WHICH OFFER AN IN-DEPTH Q&A SECTION REGULATION, RULES ON ENTREPRENEURIAL ANSWERING THE IMPORTANTPOLITICAL PROGRAM VENTURES IN RADIO QUESTIONS IN APPLYING FORCONTENT, ADVERTISING, SERVICES. THESE COVER AND OPERATING AN LPTV PAYOLA, LOTTERIES, BUSINESSES SUCH AS STATION, AS FAR AS THE FCCOBSCENITY, THE FAIRNESS MOBILE PAGING SYSTEMS IS CONCERNED; DOCTRINE, NETWORKS, AND “MUZAK” SUBCARRIER MULTIPLE OWNERSHIP PROGRAMMING; RULES, CLASSES OF STATIONS, MONOCHROME AND COLOR TV TECHNOLOGY, STEREO, THE VERTICAL “STATEMENT OF POLICY ON BLANKING INTERVAL, MINORITY OWNERSHIP OF CLOSED-CAPTIONING, “FREQUENCY ALLOCATION” BROADCASTING FACILITIES” SUBSCRIPTION TV, IS A 7-PAGE INFORMATION IS AN 8-PAGE PUBLIC NOTICE INSTRUCTIONAL TV FIXED BULLETIN EXPLAINING HOW DESCRIBING THE POOR STATE SERVICE, INTERNATIONAL THE FCC AND NTIA HAVE OF MINORITY BROADCASTER BROADCATING, SATELLITE DIVIDED THE RADIO BAND. OWNERSHIP AND COURT BROADCASTING, FM (ADDITIONALLY, FREQUENCY CASES ADDRESSING THE TRANSLATORS AND LOW- ALLOCATIONS BY SERVICES – ISSUE. THIS 1978 NOTICE IS POWER TV. IT SERVES AS A NOT INDIVIDUAL STATIONS – OUT OF DATE, HOWEVER. GOOD BASIC OVERVIEW OF ARE LISTED IN THE CODE OF INSTEAD, REQUEST A COPY THE INDUSTRY; FEDERAL REGULATIONS TITLE OF FCC DOCKET #80-90, 47, PART 2. THERE IS ALSO WHICH IS A RECENT DOCUMENT #003-000-00652-2, RULEMAKING ON THE ISSUE A MULTICOLOR POSTER THAT AUTHORIZED TAX SHOWING THE FULL U.S. BREAKS FOR STATION SALES FREQUENCY SPECTRUM – TO MINORITY OWNERS; INCLUDING RADIO, TV, 91 LEGAL sertion that it would protect children tensibly include syndicated “shock- in the audience who could potentially jock” Howard Stern, whose show is listen. aired around the country during the unprotected hours. As a result, his Almost immediately, two challenges parent company, Infinity Broadcasting, were filed in federal court, both backed has already been hit with over $600,000 by numerous, noted First Amendment in indecency fines by the FCC, current- advocates. The U.S. Court of Appeals ly on appeal. granted the stay on February 23 in favor of the petitioners to prevent the “The court’s decision focuses on the expanded ban from being implement- vagueness of the FCC’s rules in this ed until the court could rule on the is- area,” said NACB’s legal counsel, Cary sue. The National Association of Col- Tepper, an attorney at the law firm of lege Broadcasters (NACB) was the only Meyer, Faller, Weisman & Rosenberg INDECENCY & EXPLICTmedia organization participating in in Washington, D.C. “The court effec- CONTENT RULINGSboth original petitions. Because the tively said that the FCC isn’t regulat- two petitions were similar in nature, ing broadcast content properly, and the groups involved agreed to be con- that clear and more concise rules are solidated by the court into one case: needed. This decision should finally “Action for Children’s Television et al. force the FCC to tailor its rules more FCC Indecency Ban Expansion Overturned, and Pacifica Foundation et al. v. FCC effectively.” Tepper feels that the FCC Explicit Content on Public Access Cable Permitted; et al.” wants the public to know that it will Represents National Victories for College Radio and TV, Oth- continue to be involved in regulating ers Among other points, the petitioners indecency on the airwaves. “I expect asserted that the FCC had yet to dem- in the next few months, under the new On Nov. 23, 1993, allies of the First Amendment in the broad- onstrate that a significant number of FCC Chairman Reed Hundt, that the casting and cable industries scored two major legislative vic- children in the audience would be pro- Commission will develop clearer rules tories with far-reaching implications for programming to the tected by this expanded ban, and that regarding indecent broadcasts.” Prepared by John Crigler of Haley general public. the ban infringed on parents’ authori- Bader & Potts, this ty to determine what programming In the meantime, NACB Executive Di- Reference Memorandum – 50 – was appropriate for their children’s rector Glenn Gutmacher called the 1991 – Chapter 3 EXPLICIT SAFE HARBOR RESTORED viewing and listening. court decision a major victory. “As the from June 20, 1991 is most dynamic part of the public radio reprinted with permission. For not the first time in recent years, the Federal Communi- In its decision on November 23, the universe, college radio stations often cations Commission (FCC) had attempted in January, 1993, court agreed – and the FCC’s expand- push the boundaries in programming. Haley, Bader & Potts to implement a broad-based restriction on more explicit pro- ed ban has been restored to the origi- However, it is not to titillate in the style 2000 M St., N.W., Suite 600 gram content on radio and television (so-called “indecent” nal 8pm-6am safe harbor. However, of commercial morning show DJs,” he Washington, D.C. material). The proposal to limit the airing of “indecent” the outgoing interim FCC Chairman, said. 20036 material from the existing 8pm-6am period to a shorter “safe Jim Quello, said that enforcement phone: 202-331-0606 harbor” of midnight-6am was based largely on the FCC’s as- against indecent broadcasts will con- “Rather, college stations feel it is part tinue from 6am-8pm. This would os- of their mission, as mandated by the 92 LEGAL FCC, to offer unique programming that According to the Cable Act, anyone in outlines that policy and reviews key “Penis Envy,” “Walk with an Erection,” educates their audience, which at the general public interested in hav- FCC rulings which interpret it. “Erotic City,” “Jet Boy, Jet Girl,” times means to challenge the audience. ing a show cablecast on such a chan- “Makin’ Bacon”); D.J. banter concern- Because they are not trapped in the nel is guaranteed access to cable pro- 1. DEFINITION. ing tabloid sex scandals (e.g., Vanessa race for audience ratings to get more duction equipment and training at no William’s photographs in Penthouse sponsors, they are not forced to offer charge, hence the name “public access In 1987, the Commission replaced its and a honeymooner whose testicle was lowest-common-denominator pro- channel.” Student-produced campus “seven dirty words” standard with a caught in a hot tub drain); discussions gramming to their audience: they take programming, referred to as “college “generic” definition of indecency. In- between D.J.s and callers concerning chances,” Gutmacher said. TV,” is largely carried on access chan- decent material is now defined as: intimate sexual questions (e.g., “What nels on local cable systems across “language or material that, in context, makes your hiney parts tingle?”; That programming ranges from tough America. depicts or describes, in terms patently “What’s the grossest thing you ever put talk on gay or lesbian issues, to alter- offensive as measured by contempo- in your mouth?”); dirty jokes or puns native rock music with a strong politi- While college TV is not yet as large as rary community standards for the (“Liberace was great on the piano but cal or explicit message, to frank cover- college radio, its productions are equal- broadcast medium, sexual or excreto- sucked on the organ”); non-clinical ref- age of medical and life topics, to rap ly diverse. They found the decision to ry activities or organs.” erences to gay, lesbian or oral sex, music with the sounds of the street, be a confirmation of their progressive masturbation, sodomy, erections, or- and more. “Whatever today’s realities programming activities. “We are a. Context. The Commission has definedgasms, etc.; and the seven dirty words are, even though they may be too sex- pleased that the courts have endorsed context only by stating that it encompass-(shit, fuck, piss, cunt, cocksucker, ually or otherwise explicit to some sen- the full range of programming possi- es a “host of variables” which includernother the fucker, tits). sitive or ultra-conservative people, col- bilities through public access,” said “manner” in which the material is presented, the issue of whether the offensive ma- lege radio feels it is more important to Gutmacher. “Like college radio, if we terial is isolated or fleeting, and the “mer-II. HOURS OF ENFORCEMENT. insure that these things be covered on are to explore the important issues of it” of the material. the air than to hope commercially-driv- today that are often explicit in nature, In striking down the 24-hour ban, the en media might occasionally touch on then the medium that people use most court instructed the Commission to them in a sugar-coated manner,” add- – television – must be able to utilize b. Depictions or Descriptions. Theconduct new a further inquiry to determine ed Gutmacher. the rights that the First Amendment definition extends to television broadcastsa reasonable “safe harbor” for broad- offers us. but to date no television station has castingbeen indecent material. Until such INDECENT MATERIAL OK ON fined for broadcasting indecent material.hours are permanently established, the PUBLIC ACCESS Commission will continue to enforce INDECENCY c. Patently Offensive. The standard appliedits indecency policy between the hours That philosophy also goes for college GUIDELINES is a national standard based upon whatof the6:00 a.m. and 8:00 p.m. In effect, it TV, which enjoyed a similar victory to Commission at any given time believeshas will temporarily adopted an 8:00 p.m. - their broadcast counterparts. In relat- On May 17, 1991, the Court of Appeals offend the “average” broadcast viewer6:00 or a.m. safe harbor period. listener. Because the standard does not ed news, federal court in November for the D.C. Circuit struck down the look to local values or sensibilities, it is dis- ruled that indecent program material FCC’s 24-hour per day ban on ‘inde- cernible primarily through rulings as to III. DEFENSES. is permissable at any time on public cent’ broadcast matter. (See Memoran- what the Commission finds offensive.” access channels. The FCC has yet to dum #48, May 23, 1991.) The court The Commission has recognized a lim- announce if they will appeal this deci- otherwise reaffirmed the expanded ited number of defenses to indecency sion. enforcement policy with respect to in- Examples of its findingsinclude popu- complaints. These include: decency which the Commission adopt- lar songs which contain repeated ref- ed in April 1987. This memorandum erences to sex or sexual organs (e.g., 93 LEGAL

a. Procedural defects in the complaint. Commission has discussed a number e. Lack of pandering or titillating appeal. Complainants are required to identify the of defenses which it will not credit in Material may be indecent even if it is not call letters of the broadcast station, the date making indecency determinations. pandering or titillating in nature. Songs and time of the broadcast, and provide a These include: such as “Penis Envy” and “Makin’ Bacon” tape, transcript or significant excerpt of the were held to be indecent because they con- material which is the subject of the com- a. Licensee’s good faith judgment. Broad- tained lewd references to genital organs, plaint. Although the Commission may sim- commented on a Playboy interviewcasters with are held strictly accountable for even though those references may not have ply dismiss a defective complaint, it may Jessica Hahn. In that ruling, it rejectedairing ar-indecent material. The Commission been not titillating. also give the complainant an opportunity to guments that the D.J.s remarks weregives es-no weight to the broadcaster’s judg- repair defects or ask the broadcaster to sentially news commentary and mentwarned that material was not indecent, al- respond to the complainant’s allegations that “while the newsworthy naturethough of the it may take such judgments into ac- f. Innuendo, double entendre, indirect allu- and supply a tape of the program material. broadcast material and its presentationcount in determining the severity of the sions. Material may be indecent even if it a serious, newsworthy manner wouldsanction be to be imposed. does not contain graphic descriptions of d. Merit. The Commission has stressed the relevant contextual considerations in an sexual activity. An indirect allusion may be fact that merit is “simply one of many vari- indecency determination, they are not, in deemed offensive “if it is understandable ables, and it would give this particular vari- b. Time of broadcast. The Commission has themselves, dispositive factors.” b. Humor and spontaneity. The Commis- and clearly capable of a specific sexual or able undue importance if we were to sin- dismissed a number of complaints which sion has repeatedly rejected arguments excretory meaning which, in context, is in- gle it out for greater weight or attention than relate to broadcasts between 8:00 p.m. and that humorous or ironic intent should be escapable.” WIOD (AM), Miami was fined we give other variables.” The Commission 6:00 a.m., for example, KZKC-TVs 8:00 p.m. considered in determining whether mate- $10,000 for airing material such as “Candy refused to issue a declaratory ruling that broadcast of the movie “Private Lessons” rial is indecent. It has similarly rejected Wrapper” (a song in which various candy James Joyce’s Ulysses was not indecent, and WGBH-TV’s 10:00 p.m. coverage of an arguments that the indecency policy inter- bar names symbolize sexual activities) and and denied a complaint against a reading exhibit of Robert Mapplethorpe photo- feres with the spontaneity of talk or call-in “Butch Beer” (a satiric commercial which, from Ulysses primarily on grounds that the graphs. The 8:00 p.m. deadline is enforced shows. in the Commission’s view, contained an “un- reading occurred after midnight. No inde- strictly, however: KLUC-FM, Las Vegas was ambiguous” “lesbian theme.”) cency complaint has been denied solely on fined $2,000 for broadcasting an indecent the grounds of the merit of the program song at 7:53 p.m. c. Popularity. In response to a complaint material. against a Howard Stern program, the licensee offered demographic data to show g. Surprise. In rejecting arguments that a that the show had broad appeal and did not D.J. was surprised by the indecent remarks c. Context. Material contained in political offend adult listeners in the New York met- of a caller, the Commission has suggested advertisements, news and public affairs e. Isolated or Fleeting Statements. The ropolitan area. The Commission rejected that all stations using talk show or call-in programs has been found not to be offen- Commission has dismissed complaints this showing as irrelevant and again noted formats should pre-record these programs sive because of “context.” The Commission which merely cite the use of isolated words that it did not consider local community or use some form of screening device, such denied a complaint against a political ad in or phrases in a broadcast, and has stated values in determining whether the material as a tape delay, so that inappropriate re- which a mayoral candidate opposed the that it would “not necessarily” take action was offensive. marks can be edited prior to broadcast. incumbent’s proposal to buy a clock for the against “the isolated use of unplanned ex- City Hall building with the rallying cry, pletives during live coverage of news or “clocksuckers.” It denied a complaint public affairs programs.” The Commission, d. Lack of appeal to children. The Commis- h. Remedial Efforts. Disciplinary and reme- against a segment of “All Things Consid- however, fined a Las Vegas FM station sion similarly rejected a survey which pur- dial actions taken in the wake of an inde- ered” featuring a wiretapped conversation $2,000 for airing a Prince song which reported to show that virtually no children lis- cent broadcast will be considered only in with reputed gangster John Gotti, in which peatedly used the single word “fuck.” repeatedly used variations of the word tened to the Stern program. The relevant determining the size of any fine to be im- “fuck.” And it denied a complaint against test, the Commission held, was not wheth- posed. Such actions must be “prompt and the telecast of a high school sex education er children actually listened to a particular effective” to have any impact. The Commis- class. The Commission, however, fined program, but whether they listened to any sion refused to reduce a $2,000 fine against KSO-FM, St. Louis, Missouri $2,000 for a program in the market. So long as there WZTA-FM, Miami where the licensee took program in which two D.J.s read fromIV. and UNSUCCESSFUL DEFENSES. were children in the market, they might “in- no action for more than two months after a cidentally” tune in to a station carrying in- D.J. aired indecent material. decent material. In outlining its indecency policy and ruling on indecency complaints, the 94 LEGAL

A. THE NATURE OF Issues of Value ISSUES “Is abortion the murder of a human being?” “Is marijuana less harmful to health than The Commission does not provide a cigarettes?” clear definition of the word, “issue.” It “Is the President doing a good job of run- has indicated that the concept of “is- ning the country?” sue” as it pertains to the Issues/Pro- Issues of Explanation grams List, is different from the notion “What is the cause of inflation in this coun- of “issue” as used in Fairness Doctrine.1 try?” Issues subject to the Fairness Doctrine “Will the President’s economic program are “controversial,” and matters of help or hurt the economy?” MEMORANDUM“public importance.” It would appear “What accounts for the loss of pride and COMMUNITY ISSUEthat “issues facing the community” involvement in the community?” PROGRAMMING:need not be as dire or as salient as those subject to the Fairness Doctrine. ISSUES OF POLICY QUARTERLY ISSUES/However, this is more a question of PROGRAMS LISTdegree rather than one of kind. In ba- “What should be done to increase person- sic terms, what makes something an al safety on city streets after dark” LAST REVISED APRIL 1, 1993 issue is the same for Fairness purpos- “Should the school bond issue be passed?” es as it is for “Issues/Programs” pur- “Should stiffer gun control measures be Pursuant to Section 73.3526(a)(9) of the Commission’s Rules poses. enacted?” (see Appendix A), radio broadcast licensees are required to “how can the quality of our environment broadcast programming responsive to local needs and prob- Fundamentally, an issue is a question best be protected?” lems (i.e., “issues”) facing the community during the license in the minds of one or more persons, “What can be done to attract more busi- term. For each quarter of the license term, (i.e., October which calls for some resolution. By ness and industry to our area?” 1st, January 1st, and April 1st) the licensee must prepare necessity more than one position can “Should more funds be appropriated for and place in its Public Inspection File a quarterly Issues/ be taken on an issue; otherwise the maintenance and repair of city streets?” Program List. This list should summarize those issues fac- matter would not be “at issue.” ing its community (primarily the city of the license and only Different issues may be salient (i.e., secondarily for the greater service area) to which the licens- Issues generally fall into one of the fol- important) for different groups, de- ee paid particular attention with programming during the lowing categories, for example: pending upon the values, goals and previous three months, together with a brief description of objectives of the group. An issue which how each issue was addressed by the licensee. In addition, ISSUES OF FACT is considered vital by one group may a list of the licensee’s most significant programs responsive not be considered important by anoth- to each should be provided, including the time, date (month, “Are the country’s nursing homes in er,com- and not even perceived as an issue day and year), and duration of each program, together with pliance with federal health and safety(i.e., stan- no choice of belief or action is a brief description of the program, demonstrating how it sig- dards?” thought to be necessary), by a third nificantly addressed the issue and whether or not it was lo- “Has the crime rate increased in this group.com- The Commission has left it up cally originated. Each of these elements of the Issues/Pro- munity?” to licensee’s good faith reasonable dis- grams List are discussed separately below. “Is there a drug problem in the schools?”cretion to decide which issues in the 95 LEGAL community would be of the most in- tion on the type of programming which A specific program must be used, not fectively that it has complied with the terest to its listeners. must be used to address community just the title of a regular program or Commission’s community program- issues. Accordingly, news features pro- series. It is not enough to state that ming requirements in the event of an B. HOW ISSUES ARE grams, PSA’s, religious or “agricultur- “Community Forum,” a weekly public FCC inspection, petition to deny or li- SELECTED al” programs, editorials, and instruc- affairs talk show addressed the issue cense renewal challenge. These tional programs may be used in addi- of abortion sometime during the past records need not be made part of the A licensee is not required to engage in tion to the more traditional “public af- three months: the specific date (i.e., station’s Public File, however; only the any formal ascertainment procedures fairs” guest discussion or listener call- month, day, time, year), time and du- Issues/Programs List must be made as a means of determining or select- in type of program. Conceivably, even ration of the specific program that dealt available for public inspection. ing issues to be addressed. Nor is the programming traditionally considered with that issue must be shown, e.g. licensee required to describe, in the as “Entertainment” could be used to E. PREPARATION OF Quarterly Issues/Programs Lists, how address community issues. Plays, po- 1/29/89 “Community Forum” 8-8:30 THE LIST issues were selected. As a practical ems, and song lyrics often make polit- p.m. featuring Msgr. Brian Mulcahey, suggestion only, we would recommend ical statements or take positions on is- speaking on the Roman Catholic A sample page of a Quarterly Issues/ that the station’s news and/or public sues. The licensee is supposedly free Church’s position on abortion and birth Programs List is attached to this Mem- affairs directors: (a) consult with two to experiment with a mixture of pro- control (30 min., Local) orandum as a suggested form the list or three leaders every month (Particu- gram types and the only limitation is a should take (Appendix C). We would larly leaders of those groups whose general rule of reasonableness: pro- 2/2/89 Public Service Announce- recommend that no less than four is- members constitute a significant por- gramming offered must bear some log- ments 9:15 a.m., 12:03 p.m., 3:02 p.m., sues be selected for each quarter, and tion of the station’s listening audience); ical connection to the issue it is 7:08 p.m. National Organization for that at least ten different issues be (b) monitor the issues programming of claimed to address. We would recom- Women, “Right to Choose” PSA mes- treated overall during the course of the other broadcast media in the area (as mend, however, that traditional public sage on abortion issue. (60 sec. each year. We also recommend that be- well as read the local newspaper); and affairs programming not be abandoned Rec). The program description should tween three and five programs (exclud- (c) consult with station management altogether, but be included in any mix demonstrate that the program ad- ing individual PSA’s) should be shown concerning those community issues of programming. dressed the issue and also indicate for each issue. These quantities are which should be addressed by station whether the program was locally orig- probably sufficient to meet the “rule programming. Such efforts would en- D. EXAMPLES OF inated. of reasonableness” standard imposed sure that the licensee is broadcasting PROGRAMMING by the Commission without making programming relating to the particu- While the program logging require- the document unduly bulky or un- lar needs of its own audience as well ments have been eliminated for radio wieldy. A separate page for each is- as ensuring that other media were As part of the above requirement that broadcast licensees, it is clear that sue, as shown by the attached sample, treating issues the licensee may not the licensee provide a description of some form of record must be kept of is recommended. have covered. how each issue was treated, a list of community issue programming so that example programs should be shown for the Quarterly Issues/Program List can F. PERIOD OF C. TREATMENT OF each issue. The programs list must be prepared with the requisite speci- RETENTION ISSUES constitute the licensee’s most signifi- ficity. A sample form on which to cant treatment of the issue in question record information concerning com- The Commission requires that the The List must also contain a brief de- that the licensee broadcast during the munity issue programming is attached Quarterly Issues/Programs Lists be scription of how each type of issue was preceding three months on the issue to this Memorandum (Appendix B). retained “the term of license” (i.e., sev- treated through station programming. on question. The retention of such records would en years). Thus, a separate list pre- The Commission imposes no restric- permit the licensee to demonstrate ef- pared for July 1, 1986 may have to be 96 LEGAL removed from the Public File and Dis- Licensee does not have these Lists Date of Program: ______carded on July 1, 1993. available in the public file, but certi- Every permitee or licensee of an AM, fies falsely on its Renewal Application, FM or TV station in the commercial Time: ______G. SIGNIFICANCE OF that the Lists have been placed in the broadcast services shall maintain for Source: LOC / REC / NET THE LIST Public File at the appropriate time, it its public inspection a file containing risks designation of its Renewal Appli- the material described in paragraphs Duration: ______A Federal Circuit Court has ruled that, cation on character grounds. (a)(1), (2), (3), (4), (5), (6), (7), [(8), (9),] Type: PA / NEWS / EDIT / PSA / since the Issues/Programs List is the and (10) of this section. REL / AG / OTHER only documented evidence of how In short, the Quarterly Issues/Pro- well a licensee has met its public in- grams Lists can be evidence against li- *** (Specify): ______terest obligations to its community of cense renewal instead of support of (9) For commercial AM and FM broad- license, the list of programs broadcast renewal. The obligation to prepare and cast stations, every three months a list Brief Description: (Include name of by the station must be the most sig- maintain these lists, must therefore be of programs that have provided the sta- guest, if any, and position; show spon- nificant – not merely “typical” or “il- taken very seriously. We urge you to tion’s most significant treatment of sor if PSA; producer if non-local) lustrative” – of all the programs broad- place responsibility for their prepara- community issues during the preced- cast during the previous three months tion in the hands of a trustworthy in- ing three month period. The list for dealing with a particular issue. While dividual, and to periodically monitor each calendar quarter is to be filed by this requirement may not mean much your Public File to see of the Lists are the tenth [day] of the succeeding cal- in daily practice, it could have tremen- being placed therein at the appropri- endar quarter (e.g., January 10 for the dous impact in any license renewal ate times. quarter October-December, April 10 for proceeding. Because there is an im- the quarter January-March, etc.). The ______plied warranty by the licensee that its We hope that this Memorandum has list shall include a brief narrative de- Signature list comprises its best effort to deal been helpful in explaining the require- scribing what issues were given signif- with the issues facing the communi- ments of the Quarterly Issues/Pro- icant treatment and the programming ty, it may be precluded from rehabil- grams Lists and how to prepare them. that provided this treatment. The de- APPENDIX C itating the list or offering additional If you have any questions concerning scription of the programs should in- evidence in the event that “effort” is the obligation to broadcast communi- clude, but is not limited to, the time, sloppy or inadequate. ty issue programming or specific prob- date, duration, and title of each pro- (Sample Page, Quarterly Issues/Pro- lem with preparation of a Quarterly gram in which the issue was treated. grams List) Moreover, the FCC Renewal Applica- Issue/Programs List, please contact tion requires the Licensee to certify Office. Radio Station WCKO that each Quarterly Issues-Programs APPENDIX B Gotham City, New York List has been placed in the Station’s Public Inspection File at the appro- APPENDIX A Radio Station: ______ISSUE: What should be done to im- priate time. In the event that the lic- prove Gotham City’s public transpor- ensee cannot so-certify, a written ex- 47 C.F.R. 73.3526(a)(9) COMMUNITY ISSUES PROGRAM- tation facilities? planatory exhibit must accompany MING the Renewal. The Issues-Programs 73.3526. Local Public Inspection use Discussion of Issue: List is something that is always asked on commercial stations Issue: ______for by persons making an inspection The Public Transportation system of of the Public File of a station. If the (a) Records to be maintained. *** Title of Program: ______Gotham City is inadequate. Citizens 97 LEGAL complain of long delays during rush hour and poor metro service to the outlying suburbs. Discussions with c. Public Service Announcements 55 PSA’s leaders of citizens’ groups and local 60 sec., variable government officials reveals that a WCKO broadcast a number of public ser- large part of the problem appears to vice announcements throughout the three be lack of funding and disputes be- months providing information on public transportation services. During the week tween local jurisdictions as to how as- addressed the appropriation in the town’s of June 4, 1988 a series of PSA’s were budget for Metro. (Local) sessments should be allocated. broadcast on the fare increase and changes in service which became effective May 31, 1988. (Local and Recorded; Recorded PROGRAMMING: PSA’s were produced by Metro Public Af- fairs Department). WCKO addressed this issue through several different kinds of programs, d. News Programming (Variable) including public affairs discussions, Throughout the past three months WCKO news stories, and PSA’s. The follow- News Department covered important ing are illustrative examples of such events relating to public transportation. programming: News interviews with Gotham City Coun- cilmen and other community leaders were broadcast as part of news stories on the a. WCKO’s Community Microphone 4/16/88 metro fare increase and proposed revision 8:00-8:30 p.m. of the Metro Master Plan. A 30-minute news feature was broadcast May 12, 1988 Spotlight on the Gotham & Northeastern (6:30 p.m.) discussing the pros and cons of Railroad—a year end “report card” for the the proposed expansionism of rail service means of mass transportation over 87 mil- to the northwest suburbs. (Local) lion commuters frequent per year. Views were presented by consumer advocate Ri- chard Kehoh, who admonished the railroad for its fare increases and on-time performance rate, and Sam Zutner, Director of Public Affairs for the G&NE Railroad.In (Lo- December, 1987, the Commission cal) voted to terminate enforcement of the Fairness Doctrine as being a violation b. LaGuernica Reports 5/5/88 10:30-11:00of the First Amendment to the Consti- p.m. tution. Various public interest groups Councilman Joe Isuzu discussedhave the appealed that Decision to the LaGuernica Town Board’s adoption of acourts, res- and the matter is presently on olution to make more handicapped parkingappeal. available in the Town of LaGuernica and to modify the method by which to obtain a handicapped parking permit. Isuzu also 98 LEGAL tion, that is accessible by members of or on behalf of a candidate for public office, to- the public during regular business gether with a notation on each request show- hours. ing the disposition made by the station on each request, along with the charges made, if any, if The following materials and docu- the request time was granted. These records ments must be placed in the Public File must be retained for a period of two years. and kept for the time period indicated. You should review Section 73.3527 5. Annual Employment Reports. Copies of the for a more complete discussion of each Annual Employment Reports (FCC Form 395-B) NONCOMMERCIALof these items. filed for the Station. These reports are due each BROADCAST LICENSEE 31st of May and must include statistical and EEO PUBLIC INSPECTION FILE1. FCC Applications. A copy of every Applica- data. Annual Employment Reports must be kept MEMORANDUMtion filed with the Commission. This includes for seven years. In addition, a copy of the any and all amendments to such applications station’s most recent Equal Employment Oppor- LAST REVISED APRIL 3, 1993 and Commission correspondence with respect tunity Model Program (usually included with the thereto. In addition, copies of the License Re- license renewal application) must be retained newals for each station must be kept in the Pub- in the Public File until replaced by a more cur- lic File, along with any and all amendments and rent version. correspondence to or from the FCC pertaining to your renewals. These materials must be kept 6. Issues-Programs Lists. A copy of each of the As part of its obligations as a public trustee, a noncommer- on file for a period of seven years. Quarterly Issues-Programs Lists required to be cial broadcast licensee must make available for public in- filed on July 1st, October 1st, January 1st, and spection and copying certain materials and records. Recent- 2. Ownership Reports. Copies of all ownership April 1st of each year during the license term. ly, the Commission announced that Public File infractions reports filed on behalf of the licensee. These You should keep these lists for a period of seven constituted one of the most frequent violations noted by Field must be kept on file for a period of seven years. years. Office Bureau personnel when making routine inspections. This Memorandum discusses the nature and maintenance 3. Contracts and Agreements. A copy of all 7. FCC Procedure Manual. A copy of the FCC of the materials and procedures which must be implement- contracts misted in Ownership Reports (e.g., procedure manual entitled, The Public and ed to insure that public assess in uninhibited. failure to management contracts, network affiliation Broadcasting, Revised Edition (39 Fed. Reg. 32, maintain a Public File or keep it updated can subject a lic- agreements, and other agreements relating to 288, Sept. 5, 1974). To be kept indefinitely, or un- ensee to monetary forfeiture. Refusal to allow public access the ownership, management or control of the til a new edition replaces it. to the File can result in more severe sanctions. station, which are required to be filed with the FCC under Section 73.3615). The File should also 8. Donor List. The lists of donors supporting A. MATERIALS REQUIRED TO BE contain copies of the Articles of Incorporation specific programs. PLACED IN THE PUBLIC FILE and By-Laws of the Licensee, if a corporation, with all amendments thereto. All such contracts, 9. Station-FCC Correspondence. In general, any Section 73.3527 of the Commission’s Rules requires that a agreements, etc. shall be maintained for so long correspondence between the station and the Public File, open for public inspection during regular busi- as they are in effect. Commission should be kept on file until a matter ness hours be maintained at a licensee’s main studios (if in question is resolved or otherwise disposed located within the community of the license) or at some 4. Requests for Political Broadcast Time. A copy of. A three-year requirement would probably other location inside the community of license of the Sta- of every Request for Broadcast Time made by be a good guideline as to when such correspon- 99 LEGAL dence may be discarded — assuming that it is the Fairness Doctrine, certain corollar- E. FACILITIES FOR REQUEST TO EXAMINE no longer active. ies of the Doctrine, including the Po- REPRODUCTION OF PUBLIC INSPECTION FILE litical Editorial Rule and the Personal STATION RECORDS Attack rule, remain on the books. A Request is made by: B. F.O.B. INSPECTION Rule Making proceeding looking to- Section 73.3527(f) of the Rules pro- CHECKLIST ward the elimination of these two rules vides: NAME: ______is presently pending. For the time be- The Commission has released a list of ing, however, they are still good law. “Copies of any material required to be ADDRESS: ______those items required to be placed in While it is relatively easy to determine in the public file of any applicant for a the Public Inspection File that the Field whether or not a station has, through construction permit, or permitee or lic- CITY/ STATE/ ZIP:______Operations Bureau will be instructed an editorial, endorsed or opposed a ensee of any noncommercial educa- to check when making an inspection specific candidate for public office, tional TV or radio station shall be made ______of a Station. A copy of this is attached determining whether a personal attack available for machine reproduction to this Memorandum. We would rec- has occurred is more difficult. upon request made in person, provid- ______ommend that you take time right away ed the requesting party shall pay the to verify whether all the items on the reasonable cost of reproduction. Re- PHONE: ______list are contained in your station’s Pub- D. INSPECTION quests for machine copies shall be ful- lic File. REQUEST PROCEDURES filled at a location specified by the ap- To examine documents which are on plicant, permitee, or licensee, within file with the Federal Communications The Commission has ruled that the a reasonable period of time which, in Commission, pursuant to Section C. RETENTION AND Public File Shall be made available on no event, shall be longer than seven 73.3527 of Commission Rules. If there DISCLOSURE OF request, to anyone without appoint- days, unless reproduction facilities are are specific documents which are de- TRANSCRIPTS OF ment, without identifying their orga- unavailable in the applicant’s, permi- sired for inspection, please identify EDITORIAL AND nization, or without identifying any tee’s, or licensee’s community. The them below: PERSONAL ATTACKS particular document they wish to in- applicant, permitee, or licensee is not ______spect. You may ask the person is there required to honor requests made by While a licensee is not required to re- is something particular in the file he mail but may do so if it chooses.” ______tain transcripts or tapes of all news and or she wishes to see, but if he wants to public affairs programming, it is re- see the entire file, he must be allowed While the location, cost and method of ______quired under Sections 73.1920 and to do so. You may require that the per- reproduction are within the area of the 73.1930 that a script or tape of a person fill out an “Inspection Request” licensee discretion, the charges must ______sonal attack or political editorial en- form, a copy of which is attached to be reasonable and the material repro- dorsing or opposing a candidate for this memo. A conference room or oth- duced within a maximum of seven ______public office be made within seven er space must be made available for days. We recommend that you use the days to the person or group attacked the inspection. “Request for Reproduction” for so that DATE:______or the candidate(s) opposed or not en- an adequate record of the request and dorsed. In addition, the person must the charge will be retained. SIGNED: ______be advised of the date and time of the broadcast and given an opportunity to reply. Although the Commission voted, in December, 1987, to do away with 100 LEGAL

REQUEST FOR APPENDIX E 4. Most recent Equal Employment REPRODUCTION OF PUBLIC Opportunity Model Program FILE MATERIALS Public Inspection File Inventory— Yes No Commercial radio ______5. The Public and Broadcasting— A Request Date This inventory list is to be used by Field Procedure Manual Operations Bureau personnel to veri- Yes No Please reproduce the following de- fy the contents of the public inspec- scribed materials from your Public tion files of commercial AM and FM 6. A letter file for letters received from File: licensee. members of the public Yes No ______Licensee: ______7. A file for requests for time by can- ______City: ______didates for public office (May be emp- ty) ______State: ______Yes No

______Call Letters: ______8. Issues-Programs Lists Yes No Are the following documents in the No. of Copies ______public inspection file: Total No. of Pages ______I hereby agree to pay you at the rate of ______cents per copy at the time I ______place my order for duplication. It is understood that I will be called as soon ______as the material is ready to be picked up by me. 1. Most recent renewal application Yes No Name ______Address ______2. Most recent ownership report ______Yes No

Telephone Number ______3. Annual employment records filed with the Commission after the date that the station’s license was last renewed Yes No policy manuals NACB 1995 STATION HANDBOOK

Four 102 POLICY MANUALS cope. One of the best of these strate- become more permanent once they’re gies is to “write it all down” in the form in print. If there’s a doubt about of a station policy (or staff) manual. whether a given policy will assume a life of its own, leave it out until you’ve The advantages of a staff manual really thought it through. clearly outweigh the obstacles to making it happen. By committing your poli- Sections you should definitely include cies to paper, you have a definitive text in you station’s policy manual: of all station operation procedures and policies. You can ensure a swift, or- Your station’s mission, its goal, or its philo- derly, and complete dissemination of sophical reason for being. knowledge critical for your new staff Some sense of the station’s historical de- to have about how your station “works.” velopment, often interesting to people who This is especially crucial today: after are new to campus and to your station. WRITING A STATIONthe deregulation of the ’80s, all opera- A coverage map that’s been cleaned up by POLICY MANUALtors and licensees now have increased the graphic arts department. responsibility to comply with the re- An organizational chart showing the admin- maining FCC rules and regulations. istrative structure and officers of your station, including information about chain of But while this is all fine in theory, in command, officer titles, duties, responsibilities, selection processes, succession pro- INTRODUCTION actual practice you may have some- cesses, and length of term. thing that looks vaguely like a staff Staff turnover is a fact of life at most student-operated radio manual floating around “somewhere in All FCC policies that apply to your station, stations. Unlike commercial radio, where announcers may the transmitter room.” Maybe it hasn’t spelled out in detail. Examples might be the work for a single station for years, universities have a way of been revised for a while, or maybe need for an operator’s permit, noncommer- graduating your best staff right out from under you. Murphy’s some of the older staff got copies one cial underwriting rules, and station identification requirements. Law for staff management states that this point of departure year when you had the funds to run it usually happens just when staff members were becoming off, but you’ve run out of copies for the Any standing university policies that affect really effective. new staff. Sound familiar? There is your organization, such as the handling of hope, though. Here are some ideas for grievances, sexual harassment investiga- Some years, it’s even worse. You all endure what is politely writing a new policy manual for your tions, equal opportunity and affirmative action, policies promoting smoke-free work- referred to as a “rebuilding year.” Murphy’s other law for station, or for bringing the old one back places, the prohibition of bicycles or alco- staff management states that this will be the year when the to life. holic beverages in campus buildings, and friendly folks at the FCC will finally come for a visit. so on. WHAT TO INCLUDE Kidding aside, the continual turnover of staff in many school Basic work policies. How is staff hired? radio stations, and the constant need for organized, methodi- Whoever does the writing of your book, Fired? When are visitors allowed? What cal staff training that can withstand the scrutiny of an FCC be sure they observe one rule above happens if you miss a shift without calling inspection, can pose a great deal of organizational stress. all others: Be tight about the writing. the program director? How do you answer the phone? Who opens the mail and distrib- Fortunately, there are strategies that your station can use to Not only does long-windedness cost utes it? more to duplicate, but your policies 103 POLICY MANUALS While these topics are indeed the mi- are calmer, and get your revisions done to sign the station log, how to do an that’s the way it is.” Be sure the change nutiae of daily organizational life, they prior to the start of the fall semester. EBS test, and so on) tends to date the is truly necessary, but revise and re- seem to fit the “80-20 rule”: 80% of your fastest and is least useful once the new- visit as needed. Policy books have a headaches will come from this 20% of An alternative to paper, especially in comer masters it. Perhaps this mate- way of demonstrating the old “garbage your policy book. this day and age, is the computer. If rial could instead be covered in a sepa- in, garbage out” axiom of computer the handbook is written on computer, rate resource manual or handled on an programming. The more thought, care, If you have a small staff, and no one then it is easy to update and distribute individualized training basis. In the and attention you give your manual in has the time (or the writing ability) to (people just need to turn on the com- policy manual, it might be more ap- its initial formation, the more value pull a manual together, consider engag- puter). propriate to discuss why the station you receive as the management of a ing your department’s radio-TV man- keeps a program log or reads transmit- happy, effective radio staff. agement class to do it for you as a class DISTRIBUTION ter meters even though the FCC no project. There may be other depart- longer requires either. ments, such as English or Business Getting copies of your station policy Management, who also might agree to manual printed can be a burden on Before implementing any policy collaborate with you for course credit. your budget. manual, it would be wise to seek feed- If you have access to a computer, be back from a station advisor, faculty sure to ask for a disk copy of the final Have you considered getting your member, or some other qualified indi- submission from the class to allow you policy manual underwritten? Maybe vidual who can examine to see if any- to edit as appropriate to your own there’s a local copy store or printer who thing is missing or in error. Managers station’s needs. would be willing to defray some (or of nearby commercial outlets might maybe all) of the costs as a way of pro- even be willing to let you see theirs for KEEPING IT UP-TO- moting their business. Remember, the comparison, but don’t be surprised if DATE FCC restrictions on underwriting do they don’t have a recent one, either not apply to off-air promotional mate- (and don’t be surprised if they ask you One way to keep a policy manual up- rials, so you could even conceivably to help them update their own). to-date and attractive is to divide the sell ad space inside or outside the Remember the audience this publica- content into category areas with color manual as well. tion is aimed at: your peers. It’s sur- separated tabs. Or, print sections that If you can’t get the station or a univer- prising how fledgling radio executives are often updated as separate manu- sity department to underwrite the can formulate disciplinary policies for als. manual, and advertising isn’t going their staff that they would be absolutely well, there is another way. Some sta- outraged to have applied to themselves. Instead of having the final product tions require that students purchase Try to remain fair and dispassionate as If you’ve never had a staff manual, and stapled or bound, get it punched and their own copy of the station handbook you formulate or revise station poli- think you’d like to get one written, a use a removable report binder. That as they are made members of the sta- cies; heavy-handed management is very useful “how to” guide is available from the NAB. Station Policy and way, after the initial book is run, pages tion staff. rarely respected by anyone. Procedures: A Guide for Radio, by or entire sections can be revised or Donald Kirkley, is available at this replaced as the need arises. This keeps writing for $15 for NAB members (and THE FINAL DRAFT CONCLUSION NACB members) or BEA-affiliated your book current while minimizing institutions. The NAB’s 1988 Legal costs after the initial run. You might Some stations combine their policy After your policy manual is written, Guide to Broadcast Law and Regulation ($95) and its 1991 supplement ($65) are find it helpful to review your book each manual with what is really a “training” never be afraid to change something also helpful resources. year during the summer, when things manual. This kind of information (how just because “It’s in the policy book and operations handbook NACB 1995 STATION HANDBOOK

Five 105 OPERATIONS HANDBOOK offers a tremendous opportunity and with all laws, rules and regulations you’re very wise for taking advantage pursuant to the operation of the sta- of it. tion.

This manual tells you virtually everything you need to know about WGLS. SOME HISTORY It is designed as: WGLS-FM began broadcasting in 1963 1. A training manual for equipment opera-when the Federal Communications tion. Commission, FCC, granted an educa- 2. A guide to station policies and proce-tional license to Glassboro State Col- dures. lege. Originally, the station was locat- 3. A guide to the federal (FCC) requirements.ed in the Bole Administration Building 4. A tip sheet on how to get on the air,and and operated at 10 watts of power. In STATION OPERATIONSstay on the air. 1976, the College allowed us to move into a much larger space in the base- Each station member is expected to ment of the Savitz Library, and a grant have a copy of the operations manual from the Student Government Associ- and each station member is responsi- ation allowed us to raise our power to ble for being familiar with all of the 440 watts, convert to INTRODUCTION information contained in the manual. stereo, and upgrade the equipment. In January of 1993 we again raised the There is some time and effort neces- power (to 640 watts), and also raised Welcome to WGLS-FM, a non-commercial, educational radio sary for getting started at WGLS-FM. the antenna height to 150 feet. Today station licensed to the Rowan College of New Jersey Board But take the time and make the effort. the equipment list includes of Trustees. As you begin working at WGLS, you’ll find that You won’t be sorry. every effort has been made to create a professional radio professional compact disc (CD) players, environment. Here you’ll have a lot of fun, but you will also traffic computers, digital computer work learn the skills, techniques and discipline necessary to en- PURPOSE stations, and ter the professional radio field. a remote broadcast system. In 1995 WGLS The primary purpose of WGLS-FM is relocated to new studios in Bozorth Hall, As you no doubt already know, broadcasting is an interest- to provide a broadcast service in the and a permanent home in the Communica- ing, ever-changing field with job opportunities in many dif- form of information and entertainment tions Department. ferent areas. The training in audio production that you’ll programming designed to meet the receive here at WGLS will be useful not just in radio broad- public interest of the College and sur- Generally, broadcast licenses for casting, but also in TV or film productions, slide/tape pre- rounding communities. WGLS-FM is schools, religious institutions and pub- sentations, educational media productions, and pretty much responsible to the Board of Trustees of lic organizations are of the non-com- anywhere that some audio skill is needed. The more skills Rowan College of New Jersey for the mercial, educational type. Among oth- you can acquire and the better you are at each of these skills, day-to-day operation of the broadcast er things, this means that they are re- the greater the number of doors that will be open to you facility and to the Federal Communi- quired to provide informational, edu- when you start that great job search after graduation. WGLS cations Commission for compliance cational and cultural programming, 106 OPERATIONS HANDBOOK and, like other non-commercial or pub- est” and to be responsive to the needs In addition to the large market radio Our broadcast signal is picked up in lic radio and TV stations, funding of the community of license. Since our and TV stations in Philadelphia, other some surrounding counties including: comes from private grants, corporate signal covers more than just the col- local electronic media include: underwriting and public donations. lege, we must be responsive to the Camden County, which is a highly devel- Keep in mind that from the FCC’s point needs of both the college and the com- WNJC-AM 1360 oped shipping, commercial and residential of view, the primary goal of “education- munity. You’ll make your job a lot eas- Washington Township/Deptford area and is the home of the Kean Aquari- al broadcasting” is to provide educa- ier and sound a lot more professional 232-7077 um, the Rowan College Camden Campus, Rutgers University, Camden County Col- tional programming for the public. Our if you go out of your way to learn as WJIC-AM 1510 lege, and a commuter ferry to Philadelphia. goal is to see to it that this is accom- much as you can about your broadcast Salem plished in a professional manner. community. 935-1510 WSSJ-AM 1310 Atlantic County, which is to our east and Glassboro is located in Gloucester Camden boasts the Pine Barrens (home of the leg- STATION PROFILE County. The town of Woodbury is the 365-5600 endary Jersey Devil), casino gambling in county seat. Employment in the coun- WVLT-FM 92.1 Atlantic City and amazing quantities of blueberries and cranberries. Also home of WGLS-FM is Gloucester County’s only ty consists primarily of farming, light Vineland Stockton State College and Atlantic Coun- FM radio station. It operates at industry and service businesses. And 692-8888 ty Community College. 89.7Mhz on the FM band, approximate- while there are large oil refineries in WKDN-FM 106.9 ly 20 hours per day, 7 days per week nearby Paulsboro, New Jersey’s nick- Camden during the school year. With a staff of name, the Garden State, comes from 854-5300 Salem County, home of Salem County Com- between 90 and 120 students under the the excellent quality of the fruits and WRDR-FM 104.9 munity College, produces about 25% of the supervision of General Manager, Frank vegetables grown in South Jersey.Our Egg Harbor nation’s soybeans. In addition to agricul- Hogan, and Chief Engineer, Al Miller, county’s local daily newspaper is the 965-1055 ture, the county’s largest employers are DuPont and the Public Service Electric and WGLS offers a wide variety of enter- Gloucester County Times. Other area WSNJ-FM 107.7 Gas — PSE&G — nuclear generating plant. tainment, news, sports, public affairs print media include: Bridgeton and specialty programming. The sta- 451-2930 tion carries the ABC Contemporary The Courier-Post (Camden County) WBSS-FM 97.3 Cumberland County, home of Cumberland News Network, the Associated Press The Atlantic City Press (Atlantic County) Atlantic City County Community College, and the city of Vineland, the largest city in the state in (AP) Wire Service and Shadow Traffic. The Salem Sunbeam (Salem County) 825-2600 All full and part-time students are eli- WAYV-FM 95.1 square miles. Cumberland County contains The Daily Journal (Cumberland County) the largest Spanish speaking population in gible to sign-up for training and join The Bridgeton Evening News (CumberlandAtlantic City South Jersey and two of the county’s five the station. County) 345-3211 radio stations are Spanish language sta- WFPG-FM 96.9 tions. The Philadelphia Inquirer also pro- Atlantic City AREA OF LICENSE vides a great deal of South Jersey cov- 348-4646 erage. All radio stations are licensed to a par- Other regional electronic media in- SAYING IT CORRECTLY ticular city or town. In order to keep clude WHSP-TV, Channel 65 in Vine- the station’s license, the federal gov- land, and area cable systems Comcast, We are located in Gloucester County. ernment, through the Federal Commu- Jones Intercable and Garden State. That’s pronounced, GLAW-ster; two nications Commission, requires the syllables, emphasis on the first. Resi- station to “operate in the public inter- dents are sometimes offended (and 107 OPERATIONS HANDBOOK rightly so) at mispronunciation, so VISITORS RECORDS - CDS unless he or she is alone in the station, work at getting it right. And don’t be everyone should take it upon them- afraid to correct anyone you hear say- All visitors must sign-in at the front No records or CDs are to be brought selves to answer the door as quickly as ing it incorrectly on the air. desk, and are only allowed on the sta- into or taken out of the station without possible when the buzzer sounds or the Also, work to clearly pronounce the tion premises between Monday and written permission of the General door light flashes in the studio. letter, ‘W” in the call letters. It should Friday, from 9:00am to 5:00pm, or by Manager. All audio equipment and (NOTE: If you’re waiting to come in, sound like DOUBLE-YOU, not dub-ya. appointment. Appointments must be materials are the property of the State don’t lean on the buzzer. One or two When you first practice it, it will sound made in advance with the General of New Jersey. If you need tape, reels quick taps will alert the staff and some- fake and affected. But after a few tries, Manager. or cassettes, they can be purchased for one will open the door as soon as pos- the pronunciation will begin to sound cost from the Chief Engineer or at a sible.) natural and conversational. Some oth- No visitors are allowed on nights or local audio store. er local names you should become fa- weekends without prior permission MISSING AN AIR SHIFT miliar with are: from the General Manager, Chief En- BULLETIN BOARDS gineer, or Station Manager. A visitor is If for some reason you are unable to Wenonah (Wuh-no’-na) considered anyone who is not a cur- Important station information will be do a scheduled news, sports or air shift, Sewell (Sue’-uhl) rent member of WGLS as listed in the posted regularly on the station’s bulle- it is your responsibility to notify your Ewan (You’-in) station telephone directory. Each night tin boards. Each staff member is ex- department director as soon as possi- Malaga (Mal’-uh-ga) and weekend operator is responsible pected to read and be responsible for ble, preferably several days in advance. Aura (Or’-uh) for enforcing this policy and, if a prob- any posted changes in policy, proce- Carry his or her phone number with Almonesson (Al-ma-ness’-un) lem arises, is expected to contact cam- dures or regulations. you, and do whatever you can to help Fries Mill (Freeze Mill) pus security. Any violations of this arrange a substitute. Each station Mantua (Man’-chew-uh) policy may result in immediate sus- LOGS member must also provide the station Deptford (Dept’-ferd) pension from the station. manager with a phone number at Greenwich (Green’-which) Any log containing an error will be which they can be reached, in case of FOOD - SMOKING posted on the station bulletin board. an emergency or a problem at the sta- One of the best habits you can acquire Check the board each time you come tion. is to preread all copy before going on Eating and drinking are permitted only into the station. If you find a log indi- mic, and don’t be afraid to ask for help in the lobby and kitchen areas. Smok- cating you made an error, correct the CLEAN-UP if you’re not sure of a certain pronun- ing is prohibited in all Academic build- error and place the corrected log in the ciation. ings. Broadcast equipment is extreme- Chief Engineer’s mailbox. Log errors Keeping the station clean is everyone’s ly sensitive and may be ruined by must be corrected as soon as possible responsibility. Each person should not smoke and liquids. and by no later than your next shift. only clean up his or her own mess, but STATION POLICIES Failure to correct a log error will re- also be willing to help out whenever a sult in a minimum, two-week suspen- clean-up is needed. As a broadcast facility, we come under DRUGS - ALCOHOL sion. a number of FCC rules and regulations. As a facility licensed to the college, we The possession or use of drugs or alco- DOORS TELEPHONES are also subject to college policies and hol on the premises will result in im- procedures. In addition, we have a few mediate dismissal from the station. The front door is to be kept locked at Everyone is responsible for answering policies of our own that every mem- all times. While the on-air person is the phones as quickly as possible. ber must be aware of and must follow. not responsible for answering the door Never let the station phone ring more 108 OPERATIONS HANDBOOK than five times. Our announcers try the main studio operations notebook. comes to snow closings. Never an- Violations of the US Criminal Code or FCC to answer it in three rings. Obviously Please don’t remove these lists. nounce a class cancellation or school rules and regulations they can’t if they’re on the air, so help closing unless it has come from the Use or possession of illegal drugs and/or out and answer it yourself. When a phone line is ringing, its but- President’s office or from the Commu- alcohol on station premises ton will flash. Be sure that the flash- nity Relations office, and you have When answering the phone be polite ing button is pressed down before you called back to verify the information Other violations, which will result in and business-like. “Good morning, pick up the receiver, or you’ll interrupt to be true and accurate. temporary suspension, include: WGLS-FM, how may I help you?” If someone else’s call. If you do acciden- someone’s not in, ask if you can take a tally interrupt, don’t be rude; excuse Missing department meetings without an message, then remember to post the yourself and get off the line. WGLS CODE OF excused absence (1 week suspension) message in their box. CONDUCT Missing an air shift (2 weeks suspension) If you put someone on hold while Unauthorized guests (1 month suspension) Record companies frequently call ask- you’re looking for the person they’ve WGLS-FM is a volunteer organization Airing profane, indecent, or obscene ma- ing for our music staffers to return a called, don’t leave them forever. If you whose membership is open to any terial (1 semester) call. Explain that the policy is to avoid haven’t found the person in about a Rowan College student wishing to par- returning long distance calls if possi- minute or less, get back on, apologize ticipate. However, since the attitude ble. Our music staffers will post office for the delay, and offer to take a mes- and behavior of each individual volun- STATION hours next to the phones so you can sage. teer helps define the overall image of ORGANIZATION pass along their schedules to callers. the staff, the broadcast facility, and Ask if the record company has a toll- Our four lines are: Rowan College, all members are re- WGLS is organized into a number of free 800 number we can use. 863-WGLS : our request line. quired to adhere to a code of conduct. departments, including operations, 256-4633 or 256-4635 : These numbersAnyone, are who in the judgment of the music, news, sports, promotion, pub- Calling Directory assistance is very for station business and are not to be managementgiven of WGLS, behaves in an lic affairs, traffic and engineering. expensive. Under no circumstances out over the air. You may give these inappropriatenum- or unprofessional man- Each department is headed by a stu- are you to call the information opera- bers to businesses or news sources,ner and will have his or her station partic- dent manager/director, who is appoint- you can use it yourself when you’re calling tor. Phone books are available in the the station. ipation suspended for the duration pre- ed each year by the general manager. office. Use them. scribed below. Any station member (See Executive Staff) Each department 256-4704 : The WGLS Fax number. judged to be in violation of our code of holds regularly scheduled meetings, When receiving calls about college de- conduct may appeal to the General and each department head reports reg- partments, meetings or activities, be Keep all lines free as much as possi- Manager for a review and reevaluation. ularly to the general manager. All sta- as polite and helpful as possible. Try ble. They are for WGLS business only. The General Manager has the final tion members work in one or more to answer questions or provide infor- word. departments. mation, even if it’s in the form of other numbers they can try. The main SCHOOL SNOW CLOSINGS Serious violations, which will result in college number is 256-4000, and is permanent suspension, include: equipped with touch tone call routing. Our listeners rely on us for accurate Acts of physical or verbal abuse or violence Other useful numbers are campus se- information about school events and Acts of theft - intentional and unauthorized curity 256-4911, and the Student Cen- activities. Each staff member is expect- removal of station or staff property ter information desk 256-4606. A Col- ed to be extremely careful about check- Destruction or defacement of station or lege Departmental phone list is post- ing all information before announcing staff property ed on our news bulletin board, and in it. This is particularly true when it 109 OPERATIONS HANDBOOK

EXECUTIVE STAFF Reviews music logs for compliance SPORTS DIRECTOR Schedules monthly department meetings RESPONSIBILITIES Supervises all Monday through Friday day- Informs Operations Manager of procedur- time air personnel Staffs all sportscasts al problems Schedules monthly daytime staff meetings Provides on-air coverage and promotion of STUDENT STATION MANAGER Informs Operations Manager of procedur- all RCNJ sporting events al problems Prepares recorded promos for all broadcastSTUDIO OPERATIONS Supervises all station members sporting events Calls monthly executive staff meetings Schedules monthly sports department Responsible for all financial matters regard- NEWS DIRECTOR meetings ing grants Informs Operations Manager of procedur- OVERVIEW Maintains current operations procedures Staffs all news shifts al problems Responsible for station’s overall appear- Provides on-air coverage and promotion of The main studio is generally the source ance all campus events of all on-air programming. The main Fills out quarterly issues list Prepares all yellow, Campus Calendar PROMOTIONS DIRECTOR studio also designated as the transmit- Consults General Manager on operational cards for the on-air studio ter control point, is where the opera- problems Schedules monthly news department meet- Develops station’s on-air and print imagetor on duty observes the transmitter ings campaign meter readings and makes routine ad- Informs Operations Manager of procedur- Handles the creation and scheduling justmentsof all to keep WGLS operating OPERATIONS MANAGER al problems print promotion within FCC specifications. Writes and produces,“The Rowan Report,” Schedules all on-air contests Responsible for program content and pre- a weekly news program Informs Operations Manager of procedur-The production studio is used for resentation of the station al problems cording grants, public service an- Distributes station mail nouncements and other special pro- Supervises program production operation PUBLIC AFFAIRS DIRECTOR grams aired by the radio station. This Assists Station Manager in maintenance TRAFFIC MANAGER studio also serves as a back up in case and security Gathers data for events relevant to our of a major failure of the main studio. Schedules on-air personnel for available air community of license Generates daily program logs shifts Prepares all blue, Community Calendar Issues monthly bills The conference studio is used for live Handles all station on-air promos cards for the on-air studio Enters new schedule of grant announce-talk shows and recording various inter- Initiates disciplinary actions as needed Keeps the scheduled public service an- ments view programs. The conference studio Enforces station clean-up policy nouncements up-to-date Coordinates Metro Traffic report schedulesis available to both the on-air and pro- Checks and files daily program logs Keeps records of all talk show guests and duction studios. Note that all of the Consults Station Manager on operational topics microphones used in the conference problems Schedules monthly public affairs depart- studio are fed into the submixer which ment meetings SPECIALTY PROGRAM is located in the production studio. To Informs Operations Manager of procedur- DIRECTOR help identify each microphone, color ASSISTANT OPERATIONS al problems coded windscreens match each mic to (AOR/URBAN/JAZZ/METAL/ALTERNATIVE) MANAGER Writes and produces, “WGLS-FM Commu- its submixer pot. Please do not remove nity Affair,” a weekly public affairs program Authorizes music additions and deletionsor change the microphones or wind- Recommends daytime music additions and Reviews music logs for compliance screens. deletions Supervises department air personnel 110 OPERATIONS HANDBOOK The news studio is used for gathering use up to 24 different audio devices ed in the signal. Levels that are too and writing news. Air checks can be with each console. high may cause distortion. taken while announcing in the news studio by recording onto the cassette Note that the first 3 inputs are desig- CONSOLE OUTPUTS WGLS ON-AIR CONSOLE or the reel-to-reel machine. The news nated as microphone inputs, while instudio is also a good place to preread puts 4 through 12 are for other audio The primary purpose of the console CHANNEL ASSIGNMENTS material before going on the air. WGLS- devices such as turntables, tape decks, output is to amplify the audio signal 1A -Control Room Microphone 7A - Cart #2 FM is equipped with a teletype or wire and CD players. Conventional micro- and send it to the correct location. The 1B - Open 7B - Cassette #2 machine which provides news on a phone levels are extremely low, while program output, or channel, is used 2A - Guesters Microphone or headphones. #1 8A - Dalet twenty four hour schedule from the audio levels coming from tape decks, primarily for recording or placing the 2B - Open 8B - Tape #1 Associated Press (AP) . turntables, and CD players are fairly signal on the air. The audition and cue 3A - Guest Microphone #2 9A - News Booth high. Microphones are called “low-lev- channels are used to help the operator 3B - Open 9B - Marti Remote el” inputs while other sources are con- get something ready to record or play 4A - CD #1 10A - ABC Network sidered “high-level” inputs. When on the air. Here is a list of the various 4B - Left Turntable 10B - Production Stu- THE BROADCAST patching or hooking up equipment to console output controls: dio CONSOLE a console, always make sure to plug 5A - CD #2 11A - Conference Studio microphones into low level inputs and MONITOR VOLUME -controls the loudness 5B - Right Turntable 11B - Telephone The audio console, sometimes called other audio sources into high level in- of the speaker in the control room. 6A - Cart #1 12A - EAS Generator the board, in conjunction with turnta- puts. Using the wrong type of input MONITOR SELECT - determines whether 6B - Cassette #1 12B - Patchfield bles, cart machines, microphones, tape will result in the signal being distort- you listen to program, audition, cue, or an decks, and CD players, is used to cre- ed. external source in the studio speakers. ate the sound we hear on the radio. PHONE VOLUME - controls the loudnessPRODUCTION of STUDIO CONSOLE There are many types of consoles used A list of the inputs for each studio is the headphones the console operator is in the broadcast industry. They may found on pages 11 through 13 . wearing. CHANNEL ASSIGNMENTS be big or small and have many or few PHONE SELECT- determines whether you 1A - Control Room Microphone 7A - Cart #2 inputs and outputs, but each board is THE IMPORTANCE OF AUDIO listen to program, audition, cue, or an ex- 1B - Open 7B - Tape #1 ternal source (WGLS ) in the headphones. designed for a specific purpose. LEVELS 2A - Guest Microphone #1 8A - Dalet CUE VOLUME - controls the loudness of the 2B - Open 8B - Tape #2 One of your most important jobs as cue speaker. 3A - Guest Microphone #2 9A - News Booth CONSOLE INPUTS console operator is to maintain proper PROGRAM (P)- places the audio source on 3B - Open 9B - Marti Remote audio levels. When playing an audio the program channel. 4A - CD #1 10A - ABC Network WGLS has two, identical Wheatstone source into the console, the correct AUDITION (A) - allows you to preview an 4B - Left Turntable 10B - Main Studio consoles. Each console has 12 faders audio level is indicated when the nee- audio source on the monitor speakers be- 5A - Open 11A - Conference Studio fore putting it on the air. which control the volume of each of dle rides between 80% and 100%, with 5B - Right Turntable 11B - Telephone the signals (tapes, records, CD,s, mi- only occasional flashes above 100%. CUE - allows the source for a particular fad- 6A - Cart #1 12A - EAS Generator crophones, etc.) coming into the con- Most of the faders have been calibrat- er to be fed into a separate speaker. This sole. Associated with each fader is an ed to work with the pointers at 12. gives the operator on duty the ability to A/B input selector switch. Each input Sometimes the fader must be set con- monitor or cue up a particular source before putting it on the air. switch allows a selection of 1 of 2 avail- siderably higher or lower to achieve able inputs. This means that you can correct VU meter levels. If the audio EXTERNAL (EXT)- lets you hear what is go- levels are too low, noise can be creating out over-the-air in the monitor speak- 111 OPERATIONS HANDBOOK

6B - Cassette #1 12B - Patchfield is derived from the heart shaped pick- the turntable motor and the control years, many stations would take a up pattern. In the cardioid pattern mechanisms for changing the speed. brand new copy of a record and imme- minimum sound pickup is at the rear Turntables usually operate at two dif- diately transfer it to an audio cartridge. MICROPHONES and sides of the microphone. This pat- ferent speeds, 331/3 or 45 revolutions This was done to preserve the quality tern is the most common one used at per minute (rpm). of the recording. All of that has broadcast stations. changed since the development of the MICROPHONE PICKUP CUEING RECORDS compact disc or CD player. PATTERNS The other basic directional pattern found in broadcast microphones is the This is the procedure by which you set Compact disc players are different There are many different types of mi- bidirectional pattern. This type of pat- up the turntable so the selected music from other types of recording systems crophones used in the broadcast and tern has maximum pickup from the begins the second you hit the power since sound is encoded and stored in recording industry. One way a micro- front and rear and minimum pickup button. digital form. This form samples the phone is characterized is by its ability at both sides. This microphone is of- original recording and creates an elec- to pick up sound from certain direc- ten used for a two - person interview 1. Put the turntable pot into “cue” . tronic pattern of responses that encode tions, and to limit the microphone’s program. 2. Set the monitor switch at a comfortable level the sound, resulting in a response that response to sound from other direc- to hear the cue speaker. is far superior to tape or vinyl. In ad- tions. Another characteristic is the For special sound pickups such as pa- 3. Turn the cue level control all the way up. dition, because the CD player uses a maximum working distance of the mi- rades, sporting events and news con- 4. With turntable power off, place a record on laser beam to pick up the recorded crophone. If you were to speak direct- ferences, it is often necessary to use a the turntable and the stylus on the record. sound from the disc, scratches are not ly into the front of the microphone and special highly - directional micro- 5. Move the record slowly clockwise with your heard and there is no physical wear on slowly move away from the microphone. This type of microphone is fingers until you hear the first note of music, the disc. Other advantages are: the phone, you would reach a point at referred to as a shotgun mic, because then continue moving it slowly back and forth ease of cueing to any cut on the disc; which the random noise level would it is aimed at the sound source in the until you find the precise start point. the ability to skip forward or backward limit the usefulness of the microphone. same manner that you would aim a (NOTE: Be very careful with the stylus. If it noiselessly; and the greatly improved This is called the maximum working gun. The basic principle of all shot- bounces off onto the moving rubber platter, the sound quality that is the result of the distance of the microphone. gun microphones is that they cancel stylus can be ruined.) digital recording process. sound from all directions, except the 6. Finish with the record positioned approxi- TYPES OF MICROPHONES front. mately 1/4 turn back from the start of the mu- CD players are generally easy to use. sic. The loading drawer of a CD player An omnidirectional microphone picks 7. With the power button still off, set the pot to should be kept closed when not being up sound, equally from all directions. TURNTABLES 12. loaded or unloaded. Dust is the great The pickup pattern, called a polar pat- 8. When ready to play, hit the turntable power enemy of the machine’s laser pick-up tern, is circular. This type of micro- Prior to the advent of the audio car- button. system. phone is commonly used in broadcast tridge machine, cassette recorder, dig- Contrary to popular belief, CDs are not situations outside of the station when ital workstation, and the compact disc indestructible. They should be held the sound of the location needs to be (CD) player, most of the music played COMPACT DISCS carefully, by the edge. If a CD skips, picked up along with the D.J. ‘s voice. on the radio was from vinyl records. remove it and check for dirt, finger- A broadcast turntable is constructed of Radio stations that play music from prints or scratches. Use a soft piece of A microphone with a unidirectional a flat metal revolving platter, usually vinyl discs have always faced the prob- cloth or felt to clean the rainbow side (one-direction) pattern is called a car- covered with felt or rubber, all mount- lem of noise (pops or clicks ), that re- of the disc. Wipe in a straight line, not dioid microphone. The term cardioid ed on top of a base. The base houses sult from handling the records. For 112 OPERATIONS HANDBOOK circular, motion working outward from drive. This system operates just like a training director will demonstrate how sections before trying to install a tape reel. Pull the center of the disc. tape recorder, however, all of the work to use the test tone from the console upward on the top section and turn until the tabs is done with a computer mouse and to set levels and how to use the meter line up. Place the NAB reel on, then secure it keyboard. One of the advantages of switches and level adjustments on the by lifting up the top section slightly and turning. TAPING SYSTEMS this system is that, unlike tape, edit- tape machines. Turn it about 1/6th of a turn until it clicks. ing can performed over and over. 5. Check to make sure the adapter is secure by The reel-to-reel system is quite useful Splicing audio tape on these machines gently lifting up on the metal reel edge. It should in radio production work. It’s a quick, REEL-TO-REEL T APE will open up many possibilities. Mem- spring back tightly against the deck. If it is still easy way to make trial audio copies orizing the head sequences important. loose, remove everything and do it over cor- that will eventually become the fin- The reel-to-reel tape machine is an From left to right it is ERP, erase-record- rectly. ished product. Reels are easy to edit, important tool in the production stu- play. Try to remember it by thinking, cue and splice. Get to know the sys- dio, when it comes to producing grants, “easy radio production.” REEL-TO-REEL T APE tem and it will prove extremely worth- promotional announcements, and oth- THREADING while in your radio career. er special programs that air on the ra- To edit out a word or section, manual- dio station. The reel-to-reel tape deck ly rock the tape back and forth across To eliminate frayed ends when thread- Cassette systems have improved in in the air studio is usually relegated to the play head until you find the begin- ing reel-to-reel tapes: recent years and are widely used at playing back long programs or record- ning of the word to be removed. Mark broadcast stations. Their primary ing a show to create an air check. this location on the tape with a wax 1. From a full supply reel on left side, unwind drawback is difficulty in cueing and crayon or felt marker. Back the tape about 20 inches of tape. If the end is wrinkled editing. The tape deck is made up of two inte- up an inch or two until the spot you or torn, cut it off neatly. gral sections, the tape transport mech- have marked is on the erase head. Now 2. Thread tape in normal path around the heads The broadcast audio cartridge, or cart, anism and the electronics section. The record the new material you want. and posts. Wrap the tape end around the take- has been with radio and TV stations tape transport moves the tape at a up reel about 1/2 turn and hold it against the hub since the late 50s. The cartridge sys- steady speed across the tape heads, NAB HUB ADAPTER using the right-hand index finger. tem combines the best of convenience, which are arranged in a line, on the 3. Take up the slack in the tape path. To do this, economy and reliability. transport, between the left (supply) 1. Hold the outer plastic disc in your left hand. turn the supply reel gently clockwise while al- reel and the right (take-up) reel. When With your right hand, unscrew the silver inner lowing the tape end to slip under your index fin- Carts are the “bread and butter” of playing back a tape, the playback head ring. ger. Stop just before the end slips under your broadcasting for 30 and 60 second spots converts the magnetic signal on the (No more than two or three turns or the hub finger tip. because they are rugged, come in short tape into an electrical signal. This sig- adapter may come apart.) 4. Now use both hands to carefully wind up the lengths (10 seconds to 10 minutes), and nal is then fed into the amplifier sec- 2. Turn the hub adapter over and note the three take-up reel. The most important part is to get are designed as continuous loops. A tion, then to the tape deck output. small slots around the center hole. Make sure the end wrapped flat and neatly under the next cue tone at the beginning of the audio Reel-to-reel machines usually operate these line up and engage the three matching few turns of tape. After 3 or 4 turns, the layers instructs the cart to bring itself back to at either 7 1/2 IPS (inches per second) spindle pins on the deck. will hold the end in place. the beginning of the audio after play- and 15 IPS. Machines that operate at 3. Slide the adapter over the spindle, just to the ing. (Like the answer tape on tele- 30 IPS are sometimes used for maxi- pins. Rotate the adapter slightly either way. phone answering machines.) mum fidelity and ease of editing. When you are certain the pins are engaged, TAPE CARTRIDGE MACHINES push the adapter the rest of the way down. Hold Digital audio workstations store the Reel-to-reel machines should have the adapter firmly on the cork turntable surface. Audio cartridge tape recorders, more audio signal digitally (like a CD) on a their level and balance adjustments Tighten the silver nut, clockwise. commonly known as “cart machines” computer hard checked prior to each recording. Your 4. Line up the plastic tabs on the adapter’s two have been with radio and TV stations 113 OPERATIONS HANDBOOK since the late 50s. These machines use tice to bulk erase any and all tape be- click on the tape. To make a condensed, voice-only re- a special plastic cartridge that contains fore a recording session. 3. Insert the cartridge into the machine and cording, set the silver toggle switch on a continuous loop of audio tape. The press the “record” button. top of the machine to skim. At this carts vary in length, from ten seconds, Hold the ON button down while slid- 4. Hit the “play” button on the cart machine and point, the machine will run only while up to about ten minutes. One of the ing both sides of the tape in a circular about a half second later start the audio you the console pot #1 mic switch is turned main advantages of using audio car- motion over the top of the eraser. Then want to record. This leaves a space between on. tridges is that, after the cart has been pull the tape away at arm’s length, be- the cue tone and the message and it prevents (NOTE: You cannot fast-forward, re- played, the tape will not stop running fore releasing the button. the cart from making a noise when it recues. wind or play when the silver toggle until it reaches the beginning of the Be careful not to overheat the unit. It When you are finished recording, the tape will switch is set to skim. Normal opera- tape and detects an electronic “cue is designed for brief uses and you automatically stop back at the beginning of the tion will be restored when you move tone”. This tone is automatically in- should only keep the button down for tape. It is now “cued” and ready for play. the switch to cassette normal.) serted on the cartridge at the time it is 2 or 3 seconds to get a good erasure. Note: You should never put your voice directly recorded (Like the answer tape on tele- Allow a 20-second cool down time be- on cart. Always record it first on reel-to-reel REEL-TO-REEL phone answering machines.) Cart tween each use. and then transfer to cart. machines are available in models that (Note: Mechanical movement watch- If you want to record your air shift on will both record and playback an au- es may be affected by the magnetic the reel-to-reel machine, patch CON dio cartridge or for playback only. field created by the bulk eraser) AIR CHECKS OT (console out) to TAPE 1 IN. Make Audio cart machines are also available sure that the patch cords are aligned in both mono and stereo configura- RECORDING ON CART for proper phasing and remember to tions. Mono and stereo compatibility THE SKIMMER adjust the reel-to-reel input levels if in a cart machine can be determined To record on a cart, the first thing to needed. by checking the number of tracks on do is inspect the cart for good pads, The skimmer is a specially modified, the heads. Since there is a cue track smooth tape, and smooth moving parts. stereo cassette recorder used to audi- RECORDING TRAFFIC REPORTS in addition to audio tracks, mono heads (NOTE: Bad carts can usually be rebuilt. tion or air-check your program. It can have 2 tracks and stereo heads have 3 Don’t throw them out. Put them in the be used to skim only your mic an- To properly record our traffic reports: tracks. Chief Engineer’s box with a note describ- nouncements, creating a condensed ing the problem.) After you’ve inspect- recording of your show without the 1. Put the phone input switch on console fader Many radio stations today use audio ed the cart, bulk erase it. music, or to make complete recordings, #11 in the B position. cartridges for holding commercials, including the music. 2. Put fader #11 in the audition mode. ready station promos and jingles. Some sta- To properly record on to an audio car- 3. Put tape 1 on pot #8 in the off position. tions also transfer music from CDs or tridge: The skimmer is mounted in the main 4. Set the reel-to-reel record switches to record albums on to audio carts. studio equipment rack, below the EAS . 1. Check console and cart recorder input levels receiver. To record your complete 5. Set the reel-to-reel metering switches to THE BULK ERASER and balance. Turn the tone on, (fader #12, input show, load in a blank cassette and push record. B), and set the pot at 12. Move the fader slightly record and play at the same time. 6. Turn the speaker phone on and use the dual Since cart machines lack erase heads, back and forth to be sure it’s not in between Next, check the record levels on the tone to set the reel-to-reel record input levels. we must use a bulk eraser before try- “steps.” Set all levels so that the meters read cassette deck VU meters to make sure 7. Hit the record button and switch the meters ing to record new material onto carts. 100%. they’re peaking at 0 db. If necessary, to playback. (Check to be sure the meters are Reel-to-reel and cassette machines do 2. Locate the splice and place it to the right of adjust the record level knob. registering the tone on the tape.) have erase heads, but it’s a good prac- the record head. This is so you do not record 8. Leave the meters switched to playback to over the splice, which may cause an audible make sure you are recording. 114 OPERATIONS HANDBOOK

9. When the report is finished, rewind the reel- the cable is pointed forward (away AUTOPLAY SCREEN to-reel and cue to the beginning. (You only have from you). to back up a few seconds of tape. And, if you When this button is lit, the selections have been careful to keep the tape 1 fader in There are three buttons on the mouse. In either case, the Dalet Soundstation will be chained together(played in se- the off position for fader #8, you won’t be em- They are the A (left), middle, screen will appear. From there you will quence). barrassed by having the audio go out over the and B (right) buttons. For our purpos- be able to perform the various playing, air while you‘re cueing up.) es, we only use the A button. recording, or editing applications. This is the area where you will “drag 10. When ready to play back the recording, put When you move the cursor over a but- and drop” a selection to. Selections are fader #8 up, and hit play. ton on the screen, or OK. ThenA enterUTOPLAY editor as theplayed password in order, and from top to bottom click OK. the menu at the top of the screen, clicking (pressing) the A mouse To playback something from the Dalet RECORDER APPLICATION DALET DIGITAL button activates whatever button or system in either studio: WORKSTATION word the cursor is on. To record a selection on the Dalet, in 1. Type in DJ (all caps) where the screen says the production studio: The Dalet digital workstation is a sys- Dragging and dropping is done by mov- USER and click OK. tem in which a computer is used to ing the cursor over a song, PSA, 2. Enter deejay as the password and click the 1. Type EDITOR (all caps) where it says USER. record, play, store, and edit music and or grant at the bottom of the screen, OK button again. 2. Click the OK button. The soundstation window other short announcements. Because holding the A mouse button down, 3. From the top menu on the screen, click Glo- will appear. this system is made up of two comput- and moving the cursor up to the Au- bal, then click Run Application. Next, click 3. From the top menu click Global, then click Run ers connected together, one in the pro- toplay or Surfer window. When you Autoplay.app, then click OK. Now the Autoplay Application. Click recorder.app, then click OK. duction studio & one in the main stu- have the song where you want it on window will appear. The recorder window will now appear. dio, it is considered a computer net- the screen, simply let go of the 4. Drag and drop a selection from the bottom 4. Check the levels from the source you are rework. This means that anything you mouse button. The song will now ap- window to the dark gray area at the bottom of cording. To prevent feedback, make sure that record and store on the computer in pear where you “dropped” it. the autoplay window. Continue dragging until fader #8 (Dalet) is turned down. the production studio becomes imme- you have all of the selections you want to play 5. To record a selection, click the record button diately available in the main studio. TURNING THE COMPUTER ON in the gray area. The order of selections can be on the screen. This puts the recorder in a changed by dragging and dropping a selection “paused - ready to record mode.” The record COMPUTER BASICS Turn on the power button for the com- to another part of the list. button is now blinking. puter. It will take a few seconds for the 5. Open fader # 8A on the audio console. Click 6. Click the play button and start playing the The three main tools of the Dalet sys- computer to start or “boot up.” The the play button. audio source. The record button will light red tem are the mouse, the keyboard, and screen will ask you to enter a user and you are now recording. It does not matter the remote controller. The best way to name. As soon as you click the play button, if the source is started immediately because the become skilled with using the Dalet the first selection will start to play and dead space will be trimmed later. system is to practice, using each of the To play material already stored in the itDalet will disappear from the list. This pro- 7. Click the stop button when you are finished three tools. system, first enter DJ in capital letterscess and will now continue until all selec- recording. Turn up fader #8 and click the play click the OK button. tions are played, or you click the stop button to listen to your recording. USING THE MOUSE Enter deejay as the password and Clickbutton. OK. 8. If you want to save what you have just re- To record new material, edit existing mate- corded, click Spot from the top of the menu, then Move the mouse along a smooth sur- rial, or perform data base management, first click Save As. You’ll be asked to type in some face to move the cursor around the enter EDITOR in capital letters and click the information (title, artist, etc.) about the record- screen. Always face the mouse so that ing so the Dalet knows where to store it in the 115 OPERATIONS HANDBOOK database file. RCORDING/TRIMMING the mark-in button on the screen or push the rect connections. Patch cords, jacks 9. When you are finished saving, you can start left arrow button on the remote controller. Turn and patch bays work on the same prin- another recording by clicking Spot from the top To record and trim a selection in the the dial until the cursor line is at the end of the ciple. menu and then click New. If you are finished Production studio: part you wish to cut out. recording, click recorder from the top menu, 1. Type EDITOR(all caps) where it says USER, 2. If you want to save what you have just re- The main and production studios each then click EXIT RECORDER. Click whichever and click the OK button. The soundstation win- corded, click Spot from the top of the menu, then have jack fields. (A field is a double category at the bottom of the screen you saved dow will now appear. click Save As. You will be asked to type in some row of jacks.) Jacks are situated above the recording under. The new recording will 2. Click Global from the top menu and then click information about the recording so the Dalet and below each other in the same field now appear in that window. RunApplication. Click surfer.app, then click OK. knows where to store it in the database file. and are often connected together in- The surfer window now appears. 3. When you are finished saving, you can start ternally. When a cord is inserted, it SURFER APPLICATION 3. Check the levels of the source from which another recording by clicking Spot from the top opens the “normal” path and the equip- you are recording. To prevent feedback, make menu, then click New. If you are finished re- ment connected to that jack can have The surfer application lets you cut and sure that fader #8 (Dalet) is turned down. cording, click Recorder from the top menu, then its signal directed wherever you want paste a selection, without destroying 4. To record a selection, click the Record button click Exit Recorder. Click whichever category it to go. the original sound. Selections are load- on the screen. This puts the recorder in a (at the bottom of the screen) you saved the re- (NOTE: Our patch cords have a dou- ed by simply dragging and dropping “paused - ready to record mode.” The record cording under. The new recording will appear ble-tipped plug on each end. Make them with the mouse. The selection button is now blinking. in that window. sure to install them properly into a appears on the screen as a waveform. 5. Click the Play button and start playing the jack. You’ll notice that the jacks holes As you watch the selection play, you audio source. When the red record button lights PATCH CORDS & are spaced closer together than the see the play head move along the wave- you are now recording. It does not matter if the PATCH BAYS spacing between the jacks.) form in real time, as the selection is source is started immediately because the dead playing. There are many functions space will be trimmed later. During normal operation, most equip- Two cords will be needed when patch- that are provided to make editing eas- 6. Click the Stop button when you are finished ment in the studio is routed through ing stereo equipment since there are ier: quick preview, scrubbing, trim- recording. patch jacks. Patch bays are used to left and right channels. You must keep ming, expanding and shrinking the 7. Click Edit from the top menu, then click Trim. make changes in the normal audio all the plug grooves facing the same waveform, etc. All of the editing func- This will cut out the dead spaces at the begin- paths of a studio. When a path is to be direction, or you’ll cause something tions can be performed by using either ning and end of the selection. changed, patch cords must be installed called “stereo phase cancellation.” the mouse or the CSI remote control- 8. Turn up fader #8 and click the play button to in the appropriate jacks. ler. listen to your recording. For mono audio (one signal), you’ll To give you a picture of what we mean, only need one patch cord. Mono sig- THE CSI REMOTE CONTROLLER To Edit in the production studio: imagine you’re playing a record or CD nals include the ABC Network news, on your home stereo. The normal path phone lines, the weather receiver and FUNCTIONS 1. To edit the selection, look at the green wave- of the audio program is through your the 1,000 cycle test tone. F1 - undo form in the surfer window. This waveform rep- speakers, which are “patched“ into the Shift F1 - trim Left - mark-in resents the amplitude (loudness) of the selec- appropriate connection on your ampli- F2 - copy tion you just recorded. Turn the dial on the re- fier/receiver. If you “patch” in your EQUIPMENT UPKEEP Shift F2 - insert blank Right - mark-outmote controller unit until the cursor line is at the headphones, the audio signal is rerout- F3 - cut beginning of the part you want to cut out. In ed through your headphones. You We take great pains to keep our equip- Shift F3 - clear other words, move the red line left and right over could also reroute ment in top condition. You are expect- F4 - paste the green section on the screen. To mark the the signal through auxiliary speakers ed to be thoughtful and careful not to Shift F4 - overlap beginning point of your edit, you can either click or even your TV by making the cor- abuse or neglect the equipment. 116 OPERATIONS HANDBOOK Of course, there will be times when a equipment, be sure to pack a spare set only for the broadcast of regularly feed the entire program from the con- legitimate electronic or mechanical of batteries. Don’t forget to take along scheduled programs from the studio to trol room to the remote location. Be- breakdown occurs. Should that hap- the WGLS banner! the transmitter. An RPU may be a cause this is expensive, it is usually pen, first check carefully to rule out a Determining how to get the signal from hand-carried portable, a mobile unit done only at major market stations problem caused by an incorrect proce- the remote site back to the station is mounted in a car, or a base unit mount- dure or setting. If everything, as far as the next challenge. The first thing that ed at a fixed location. RPUs are often MARTI REMOTE you can tell, is properly set up, fill out has to be decided is what type of audio used for covering news and special a blue discrepancy form. Include as you are going to feed from the remote events, or they may be used for a re- WGLS uses a Marti remote transmitter much information as possible about the site. Because of the enormous amount mote broadcast in place of a program and receiver to broadcast remotes with- problem, and leave the completed form of equipment that would have to be line. The same type of unit is used for in 5 miles of the campus. This sys- in the Engineering Department box. taken from the radio station to the re- AM, FM, or the audio portion of a TV tem, also called an RPU (remote pick- The more information you include, the mote site, the music and recorded an- program. Video STLs and RPUs are up unit), enables us to send audio from faster we can locate the cause of the nouncements are generally played used in the same manner for the trans- an event back to the station, within a 5 problem. back at the station. mission of picture information. mile radius of the campus. The need for phone lines is eliminated through If a remote broadcast does call for the The least expensive way to accomplish use of this portable VHF transmitter. THE REMOTE music to be played from the site, one a remote is to use a regular dial-up Your broadcast license allows you to BROADCAST-ON way to send the signal back to the sta- phone line. You simply dial the radio operate the unit. LOCATION WITH RADIO tion is to order a program quality broad- station and have them patch their end cast line from the telephone compa- of the telephone into the studio con- To set up the Marti remote Transmit- Quite often in broadcasting it is neces- ny. This is a special line that can be sole. The quality of this type of remote ter: sary to take the station “on location”, ordered on a one-time basis, such as is satisfactory, if it is used for short cut- to provide live coverage of various for a remote, or on a full-time basis, ins or a sports broadcast. 1. Connect the antenna to the system before sporting events and other campus ac- such as for the telephone line that car- connecting anything else. tivities. Remotes provide a real chal- ries the audio from the studio to the In any type of remote broadcast, mon- Failure to do so may result in damage to the lenge because they are broadcasts per- transmitter. The cost is determined by itoring and communication with the Marti transmitter. formed “in the field” with portable the frequency response that is request- control room are extremely important. 2. Aim the front of the antenna (the end with the equipment, subject to pitfalls such as ed. The better the frequency response, Whenever possible, off-air monitoring shorter elements) at the station. This is where inclement weather, lack of power at the the more expensive the telephone line. is preferred. This can be done by con- the VHF receiver is located. Buildings and trees site, heavy traffic en route to the site, Because an FM stereo station playing necting a pair of headphones to a reg- absorb the signal, so try to position the antenna etc. music from the site would require a ular broadcast receiver. With this type for a line-of-sight transmission path. In addi- pair of program quality lines, it is an of monitoring the person at the remote tion, if you must transmit from inside a build- The best way to plan for a remote is to extremely costly remote. location will hear the entire program, ing, locate the antenna near a window to avoid survey the location at least two weeks including portions originating back at any signal loss from the steel and concrete walls prior to the broadcast and make a list Another way to send the signal back the control room. To get instructions . of equipment you will need. Make a to the station, is to use special radio from the studio, you can listen into the 3. Connect the microphones and power cord to note of where the AC power source and equipment instead of phone lines. The earpiece of the telephone and you can the Marti transmitter. You can plug micro- the telephone equipment are located. FCC licenses two categories of equip- talk back to the station through your phones into any the first 3 front panel XLR con- Test the equipment you are going to ment for this purpose: studio-transmit- mic when the remote is not on the air. nectors. (Input # 4 only works when driven by a use the night before the remote and, if ter links (STLs) and remote pickup Another desirable method of monitor- high-level source such as a console, mixer, or you are using any battery operated units (RPUs). The STL may be used ing is to have a separate telephone line tape deck.) 117 OPERATIONS HANDBOOK 4. Move the front panel function switch to “op- from the studio. There are 2 transmit- 75 Khz deviation limit are FM stations This is a device that detects the signal erate.” Make sure the frequency switch is set ters, the main transmitter which is the that broadcast an additional signal, from the radio station and uses a VU at F1. Turn the power on. To make sure the sig- one we normally use, and an auxiliary known as a Subsidiary Communica- meter to measure the average value of nal is being received in the studio, call the sta- or spare transmitter which we call the tions Authorization (SCA). This is a modulation. The monitor also has a tion and ask the operator to check signal level. “aux”. Instructions for how to oper- signal that is multiplexed on top of the peak indicator which lights every time This is read by pushing button #10 on the remote ate both transmitters is found in the main channel. It requires a special a modulation peak is reached. The control and observing the top scale. A 30% mini- next section of the manual. receiver to decode the information. An WGLS modulation monitor is located mum signal is airable. You should also ask op- FM station using this authority is al- in the “on-air” studio. erator to listen to the Marti in the cue position Other equipment found at the trans- lowed to increase the modulation lev- to make sure the signal is clean. mitter are devices that measure fre- el, up to a maximum of 110% total MOSELY REMOTE CONTROL 5. Before starting the actual broadcast, the FCC quency deviation of the carrier, the per modulation. UNIT requires you to say the transmitter call sign. The cent of modulation applied to the car- Marti call sign is KPL-764. Turn on one of the rier, and the output power of the sta- Overmodulation can cause distortion The Mosely Remote Control links the microphones and say “This is remote pick-up tion. The frequency deviation meter in AM stations and possible interfer- studios to our FM transmitter. The re- unit KPL-764 operating for program link pur- indicates how far away from the as- ence to other FM stations. The FCC mote starts up the station, shuts down poses.” You are now ready to begin the remote signed carrier frequency a station is states modulation limits in terms of the station, and takes readings and ad- broadcast. operating. The assigned frequency for “Peaks of Frequent Recurrence.” For justs power to keep within the FCC 6. Use the portable FM receiver and listen for WGLS-FM is 89.7 Mhz (89,700,000 hz). AM stations positive modulation must guidelines. the operator at the station to introduce the re- All FM stations have to stay within never exceed 125% while negative (NOTE: do not change the adjustment mote. When you start, make sure to turn down 2Khz (2000 hz) of their assigned fre- modulation is limited to 100%. FM sta- of the “zero set” and “calibrate” knobs the receiver to avoid feed back. Finally, don’t quency. Modulation refers to how loud tions are limited to 100% positive and on the front of the Mosely.) forget to give a legal ID at the top of the hour if a station is, and the level of loudness negative modulation, except for FM the station doesn’t do it. It’s “WGLS-FM, is indicated by a device called a modu- stations using an SCA. TRANSMITTER START UP GLASSBORO.” lation monitor. The output power of the transmitter and the antenna height Normal music and speech contains two 1. To turn on the transmitter, push in the chan- determine how far the signal of the sta- components: an average value or loud- nel #7 button and push “raise” for one second. TRANSMITTER tion travels. ness, and an instantaneous value as a The transmitter is now on the air. OPERATIONS result of any audio peaks. Audio peaks 2. Record a set of meter readings. (See meter MODULATION MONITOR can cause overmodulation and possi- readings below) ble interference to other stations. In 3. Sign on both the operating and the program TRANSMITTER Modulation in FM is accomplished by addition, with normal program mate- logs. Perform the EAS receiver check and log varying the frequency of the carrier at rial, audio peaks do not occur at regu- it. Fifteen minutes should be allowed for the A radio station is divided into two parts, an audio rate with the carrier remain- lar intervals. Some judgment must be transmitter to warm up before signing on. Take the studio or audio frequency (AF) sec- ing constant at all times. The percent used in deciding whether or not the readings immediately when you first turn it on tion and the transmitter or radio fre- of modulation is a measurement of this modulation peaks are frequent. The and enter the time as such. Be careful not to quency (RF) section. Depending on frequency swing, with a 75 Khz fre- dividing line for what is and what is run program material through the console dur- the location of the radio station, the quency swing equal to 100% modula- not frequent, is about one peak every ing the warm up period as it may be heard over transmitter and studio may or may not tion. The FCC places this limitation ten seconds. the air. be at the same location. The WGLS on FM stations to keep the FM trans- 4. After allowing the transmitter to warm up for transmitter and antenna are located at mission within the limits of an as- The primary device used to measure approximately 15 minutes, play the sign on cart the water tower, approximately 2 miles signed channel. One exception to the modulation is a modulation monitor. and begin your broadcast. 118 OPERATIONS HANDBOOK

ter stays within tolerance. This in- AUXILIARY TRANSMITTER MARTI SIGNAL cludes output power and modulation TRAMITTER METER READINGS percentage.) In the event of a main transmitter fail- Press button #10 on the remote con- ure, the operator on duty should im- trol and observe the top scale. A 30% VCC (COLLECTOR VOLTAGE)All broadcast facilities must operate as mediately switch to the back-up (aux- minimum signal strength is airable. To read transmitter voltage, push but- close to their assigned power as possi- iliary) transmitter. To do this: ton #7 and look at the 0 -10 scale. The ble, going no lower than 90% and no needle pointer should rest between 4 higher than 105%. Our licensed pow- 1. Press #7 and push the “lower” button to be TRANSMITTER OUTPUT and 5, (40 and 50 volts). Each small er is 500 watts, so our lower limit is sure that the main transmitter is off. POWER division equals 2 volts. Similarly, half 450 watts and our upper limit is 525 2. Press #1 and push the “raise” button to start of each division is 1 volt, and a quarter watts. the back-up transmitter. VCC VALUES (VOLTS) of each division is .5 volt. (For exam- 3. Press #2 and push the “raise” button to put 47.5 47.7 47.9 48.1 48.3 48.5 48.7 Icc (Amps) ple, 48 volts would be indicated when Power levels that are out of tolerance the back-up transmitter on-the-air. 18.2 517.3 519.5 521.7 523.8 526.0 528.2 530.4 the meter pointer is precisely one di- have been left off the chart. Most FCC 18.1 514.5 516.6 518.8 521.0 523.1 525.3 527.5 vision below the 5. A half below the field inspectors expect you to know the Once the back-up transmitter is on-the- 18.0 511.6 513.8 515.9 518.1 520.2 522.4 524.6 division is 49 volts and one quarter formula for figuring indirect power: air, you must take a set of meter read- 17.9 508.8 510.9 513.1 515.2 517.4 519.5 521.6 below the division is 49.5 volts.) ings. To do this: 17.8 505.9 508.1 510.2 512.3 514.5 516.6 518.7 P (IND) = EP X IP X F 17.7 503.1 505.2 507.4 509.5 511.6 513.7 515.8 ICC (COLLECTOR CURRENT) 1. Press button #2 and take a reading using the 17.6 500.3 502.4 504.5 506.6 508.7 510.8 512.9 To read transmitter current, push but- This says that transmitter power out- 0 - 2.5 scale. (approx 1800 volts) 17.5 497.4 499.5 501.6 503.4 505.8 507.9 510.0 ton #8 and look at the 0 -2.5 scale. The put equals plate voltage, times plate 2. Press button #3 and take a reading using the 17.4 494.6 496.7 498.7 500.8 502.9 505.0 507.1 needle should rest near the 1. (Think current, times the efficiency factor. 0 - 5.0 scale. (approx .190 amps) 17.3 491.7 493.8 495.9 498.0 500.0 502.1 504.2 of 1 as 10 amps and 1.5 as 15 amps.) Our transmitter runs at an efficiency 3. Press button #4 and take a reading using the 17.2 488.9 490.9 493.0 495.1 497.1 499.2 501.2 Each small division is 1/2 amp. of 59.84%. A different station will have % scale. Use the auxiliary transmitter power 17.1 486.1 488.1 490.1 492.2 494.2 496.3 498.3 A reading of one division above the 1 other values to put into the formula. output chart on the studio bulletin board to de- 17.0 483.2 485.2 487.3 489.3 491.3 493.4 495.4 is 10.5 amps. Two divisions above the termine the power out. 16.9 480.4 482.4 484.4 486.4 488.5 490.8 492.5 1 is 11.0 amps. A division and a half POWER CORRECTION 16.8 477.5 479.5 481.5 483.6 485.6 487.6 489.6 above 1 is 10.75 amps. If you need help STATION SHUT-DOWN 16.7 474.7 476.7 478.7 480.7 482.7 484.7 486.7 reading the meters, ask one of the oth- If your power readings are out of tol- 16.6 471.8 473.8 475.8 477.8 479.8 481.8 483.8 er qualified staff members or the Chief erance, you must make a power cor- 1. End programming with the sign-off cart. Take 16.5 469.0 471.0 472.9 474.9 476.9 478.9 480.8 Engineer. You must learn to perform rection. To do so, press in the channel all meter readings, then select the channel #7 16.4 466.2 468.1 470.1 472.0 474.0 476.0 478.1 this important function correctly. #8 button, then briefly tap “raise” (to button. Push “lower” for one second, making 16.3 463.3 465.3 467.2 469.2 471.1 473.1 475.0 bring power up to tolerance), or “low- sure that the reading goes to zero. 16.2 460.5 462.4 464.3 466.3 468.2 470.2 472.1 INDIRECT POWER CHART er” (to bring power down to tolerance). 2. Turn all console pots to zero and program 16.1 457.6 459.5 461.5 463.4 465.5 467.3 469.2 Once you’ve determined the Vcc and When you obtain new readings that are switches to neutral. Close and lock all doors. 16.0 454.8 456.7 458.6 460.5 462.4 464.4 466.3 the Icc values, you must use the indi- in tolerance, write them on the log with Check the doors from the outside to make sure 15.9 451.9 453.8 455.7 457.7 459.6 461.5 463.3 rect power chart in the studio to deter- a note that you made a power correc- they are locked. If the doors will not lock, con- 15.8 449.1 451.0 452.9 454.8 456.7 458.6 460.4 mine the output power. Then, enter tion. tact one of the station managers or campus se- 15.7 446.3 448.1 450.0 452.0 453.8 455.7 457.5 all three figures on your operating log. curity. Make sure all lights are turned off be- 15.6 443.4 445.3 447.1 449.0 450.8 452.7 454.6 (NOTE: Each licensed operator is re- fore leaving. 15.5 440.6 442.4 444.3 446.1 448.0 449.9 451.7 sponsible for making sure the transmit- (OUT OF TOLERANCE) 119 OPERATIONS HANDBOOK

TO ALL LICENSED OPERATORS: LEGAL OPERATIONS Since the date changes at midnight, the 10, July 10, Oct. 10). A narrative is provided that operator must sign-off the existing log describes five to ten public service programs FCC regulations stipulate that all op- and sign-on the new log (with both that the station ran during the preceding period. erators on duty shall maintain power PROGRAM AND OPERATING times entered as midnight). He or she 2. Operating logs (preceding 2 years). within legal limits (FCC 73.1560b). For LOG must also fill in all log heading infor- 3. All current station ownership reports. WGLS-FM the legal range is between mation, including EST or DST on the 4. Letters of complaint or praise from the pub- 450 watts (lower limit) and 525 watts Each operator must have a valid FCC upper right hand side of the log. The lic, as well as any responses by station man- (upper limit). Transmitter output license posted in the studio. Opera- operator must also perform and log an agement. greater than 525 watts or less than 450 tors are required to know how to turn EAS system check. (NOTE: A system 5.ing The FCC pamphlet, The Public and Broadcast- watts is out of tolerance and illegal. the transmitter on and off and how and check, not an over-the-air EAS test.) . You must immediately correct it as fol- when to take all meter readings. The 6. Annual FCC employment and ownership re- lows: operator is responsible for adjusting the Use the comments section on the bot- ports. power out to keep the station within tom of the operating log to indicate any 7. Engineering reports and data as required by Push Mosely remote position #8, low- the legal limits indicated on the station transmitter malfunctions. All other the FCC. er or raise as needed, then log the new operating log. All operators must sign- equipment problems should be noted 8. A record of any contributions made to assist readings. On the operating log, indi- on the program and operating logs on an engineering discrepancy sheet station operations such as underwriting. cate the power correction and include immediately upon starting a shift and and placed in the Chief Engineer’s 9. All expired station licenses, construction per- initials, date, and time. enter the same time as the preceding mailbox. mits as well as any renewals. operator. Every operator must take one This chart has been calculated using set of readings during his or her shift. Program log items must be checked off EAS-THE EMERGENCY ALERT the Indirect Method (FCC 73.267C) If the preceding operator neglected to as each is played. Be sure you run and SYSTEM VCC X ICC X F = sign-off, leave space for him or her to log the legal ID (WGLS-FM, Glassboro) TRANSMITTER OUTPUT fill it in later. The traffic department every hour, as close to the top of the Radio and television stations are re- POWER will review logs and require all opera- hour as possible. quired to participate in the EAS, Emer- F (EFFICIENCY FACTOR) = tors to correct any errors before the logs gency Alert System. The FCC insists 59.84% are placed in the permanent file. THE PUBLIC FILE that every licensed announcer know how and when to use this system, WGLS-FM STATION OPERATING LOG All station logs are to be filled out neat- The FCC requires each station to main- which is designed to pass important DATE: ly and correctly. Do not use pencil or tain a public file as proof of public ser- information quickly, in the event of a ALL TIMES ARE: EST DST any color other than blue or black. To vice performance. The file may be disaster. Natural/weather emergencies correct an error, draw a single line viewed by anyone, upon request, dur- include floods, tornadoes, earthquakes, EBS TIME / INITIAL through the error, enter the correction, ing normal business hours. The FCC etc. Man-made emergencies might be EBS RECEIVER CHECK TIME / INITIAL then initial and date it. The Chief En- will usually review the public file dur- war, bomb threats or a hazardous EBS TEST SENT TIME / INITIAL gineer will post a list of those who ing an inspection visit to the station. chemical release. EBS TEST RECEIVED TIME / INITIAL need to make log corrections, and any- Specific items that must be included Notes: one on that list will have one week to are: EAS can be activated by national, state correct the log error or risk being sus- or local officials as required. National CHIEF OPERATOR REVIEW: pended from the station. 1. A quarterly community issues/concerns list. level activation employs a code word Signature This required list is the responsibility of the Gen- security system to guard against false Date Anyone on the air through midnight eral Manager. The list must be placed in the file alerts. A sealed pink envelope contain- will be working with two sets of logs. by the 10th day of each quarter, (Jan. 10, April ing the code words is kept inside the 120 OPERATIONS HANDBOOK cover of the orange EAS instruction their EAS coordinator is Mr. Richard that time you should resume normal LEGAL CHECKLIST book. Stations must keep their EAS Archut. programming. materials at their main control point. Here is a list of some of the more com- Ours is attached to the left side of the EAS ALERTS LOCAL/STATE mon FCC danger areas, which on-air main studio equipment rack. A local or state alert will be received personnel can find themselves in if NATIONAL by the EAS monitor in the studio. Af- they’re not careful. Additional clarifi- EAS EQUIPMENT OPERATION A national alert is activated by the ter the alert is received, you have three cation can be found in the FCC Rules White House. We will receive it via the options: air the alert live, tape it and and Regulations and in the Federal You will receive hands-on instruction EAS receiver and an alarm on the AP play it back, or have a newsperson or Register notices. in all phases of the EAS system. It is wire machine. If you receive a nation- the operator on duty read the an- your responsibility to know and under- al alert, the first thing to do is not pan- nouncement. PAYOLA AND PLUGOLA stand its use. If you’re not sure how to ic. Push the reset button on the small use it, be sure to find out before you white box attached to the left side of In our case, you will probably play back Accepting cash, travel, meals or other start doing an air shift. the AP machine. This will silence the the announcement from the Revox. If benefits in exchange for playing cer- alarm. Then check the bulletin cate- so: tain records or plugging certain prod- We have 4 routine EAS obligations: gory to see if it is a test or an actual ucts or events on the air is illegal. Such alert. If it is a test, print out a copy of 1. Rewind the tape and cue it up to the begin- activities can expose the person in- 1. Check the EAS receiver once a day and log it. the test, staple it to the daily operating ning. volved, as well as the station, to fines 2. Send a test once a week and log it. log and initial the log at the time it was 2. Wait for the current song, PSA etc. to end. and imprisonment. 3. Receive a test once a week and log it. received. If it is an actual alert, look 3. Go on the air and say, “We interrupt this pro- 4. Retrieve EAS tests when sent over the AP wire on the AP screen for a code word. Next, gram because of a state/local emergency. Im- OBSCENE OR INDECENT and attach to daily operating log. open the pink envelope located inside portant information will follow.” MATERIAL the EAS folder and check to see that 4. Air the two-tone attention signal from the EAS And one less frequent but very impor- the code word for the date matches the generator. The broadcast of obscene or indecent tant responsibility: code word on the screen. If they 5. Play the tape. material is prohibited by law. The max- match, you have an actual alert; if not, 6. When the tape is finished, go on the air and imum penalty is a $25,000 fine, a one 5. React promptly, timely and effectively to a real a false alarm. In either case, contact say, “This concludes operations under the New year jail sentence, or both. There may EAS activation. station management as soon as possi- Jersey Operational area. All broadcast stations also be FCC administrative sanctions, ble. can now resume normal broadcast operations.” including fines and revocation of the Our EAS receiver is tuned to WKDN in (NOTE: the scripts for these announcements are broadcaster’s license. Camden. All emergency information If it is an actual alert, the next step is found on page 7 of the EBS checklist.) originated at WKDN is recorded auto- to interrupt programming immediate- 7. Resume normal programming. DRUG LYRICS matically on the Revox reel-to-reel. For ly. Then air the two-tone attention sig- 8. Push the reset button on the EAS monitor to actual emergencies, the tape can be nal and read the announcement on make it ready to receive the next alert. Licensees must exercise responsibili- rebroadcast from this machine. If nec- page 2, (paragraph 5), in the EAS ty and judgment in the screening of essary, the EAS receiver can be direct- checklist. After reading the announce- BE SURE TO LOG ALL TESTS AND ALERTS ON songs that promote drug usage. ly patched on the air. If you are un- ment, check both ABC and the EAS THE OPERATING LOG, AND SAVE THE TAPE sure of a situation, don’t hesitate to call monitor in cue, and pot up the appro- REELS FOR OUR FILES. our key station, WKDN for clarifica- priate source. Continue to air the news tion. Their number is 854-5300 and information until you receive an Emer- gency Action Termination from AP. At 121 OPERATIONS HANDBOOK

REBROADCAST OF T ELEPHONE STATION IDENTIFICATION sexual or excretory activities or order to receive that license, an applicant CONVERSATIONS ANNOUNCEMENTS gans.” had to successfully pass three exams, each exam representing a certain grade Before you either record or broadcast The FCC requires each station to make Since WGLS broadcasts to a wide-range of license, beginning with the Third any telephone conversation, you must identification announcements, (legal of listeners of all ages and backgrounds, Class, then Second Class, and then fi- clearly notify the other party and re- IDs), at the beginning and end of each we have traditionally combined “ob- nally the First Class license. A knowl- ceive that party’s broadcast day, and hourly, as close to scene” and “indecent” under the head- edge of the FCC rules and regulations permission to tape and/or broadcast the hour as feasible, at a natural break ing of “inappropriate”, which we define pertaining to station technical opera- the conversation. The only exception in the programming. This could be at as any language one would not normal- tion and an understanding of electron- is during a live, discussion/call-in pro- the end of a piece of music, between ly use in day-to-day conversation with ics were necessary to complete the gram when it can be presumed that the plays in a football game, etc. The offi- parents, grandparents or in a job inter- exams. caller is aware that he or she is likely cial ID must contain the station’s call view. Violations of this provision will to be on the air. letters, followed by the city of license result in immediate suspension from Today a broadcast engineer need only — WGLS-FM, Glassboro. the station for at least one semester. possess a Restricted Radio Operator CONTESTS AND PROMOTIONS Ignorance of the contents of a song or Permit issued by the FCC. This permit other recorded material is also no ex- is received by filing an application form A station cannot broadcast information WGLS-FM OBSCENITY cuse for the broadcast of inappropri- with the FCC stating that one can keep that misleads the audience about sta- POLICY ate material. All recorded material a rough log, is familiar with the rules tion conducted contests. The rules must be screened for lyric content pri- governing station operation, can speak must be made clear from the very be- The WGLS-FM policy regarding the or to broadcast. If you have any doubts and hear, and is legally eligible for ginning and the station must follow the broadcast of “obscene” or “indecent” or questions about any piece of mate- employment in the United States. rules to the letter. material is based on the US Criminal rial for your broadcast, consult with the There is no examination required. Code, the decisions of the US Supreme General Manager. LOTTERIES Court in the Miller v. California case of 1973 and the WBAI -“George Carlin” OBTAINING YOUR FCC Information that promotes a lottery case of 1978, and the FCC rules and FCC LICENSE LICENSE has, in the past, been prohibited by the regulations. REQUIREMENTS FCC. These regulations are currently As you no doubt already know, all ra- being modified and may be different Section 1464 of the US Criminal Code FCC rules state that whenever a broad- dio and TV broadcast operators must from state to state, so check with man- states that, “Whoever utters any ob- cast station is on the air, the station be licensed by the Federal Communi- agement for current policy. A lottery scene, indecent or profane language by must be under the control of someone cations Commission. Non-commercial is defined as the award of a prize, means of radio communication shall with the proper grade FCC license. In college stations are no exception. where the winner is selected by chance be fined not more than $10,000 or im- most radio stations, this requirement and where some payment or other con- prisoned for not more than two years is filled by requiring the “on-air” an- Your first step is to pick up a copy of sideration must be made to the promot- or both.” The US Supreme Court de- nouncer to obtain the proper grade li- form 753, Application for Restricted er by the contestants. fined “indecent” programming as, “lan- cense and serve as the licensed opera- Radiotelephone Operator’s Permit. It guage or material that depicts or de- tor on duty. is available from the Chief Engineer. scribes, in terms patently offensive as Carefully read both sides before sign- measured by contemporary communi- Prior to August 1981, the FCC required ing, and if you have any questions, ask. ty standards for the broadcast medium, that broadcast engineers hold a First The FCC will not process incorrectly Class Radiotelephone license. In or- 122 OPERATIONS HANDBOOK completed forms, but may keep your (Include a check, payable (For a non-commer- READ COMMUNITY CALENDAR (BLUECAPSTAN filing fees, so be careful. cial only to the FCC, for $45.) license, and re- CARD) / STOP SET #3 / READ SPA ”B“A (OR- revolving metal shaft on a tape deck, member include a signed statement.) ANGE CARD) cassette or cart machine, that turns the You have a choice of two types of li- GREEN SONG SONG#12 SEGUE SEGUEpinch roller and determines the speed censes. One type is free, but may only BLUE SONG SONG#13 of the tape’s movement. be used at a non-commercial station. WGLS-FM FORMAT NO TALK INTO LEGAL I.D. The other costs $45, but it makes you CARTRIDGE legal at all radio and TV stations. Both The element of a turntable assembly are good for life. So if you plan on go- DJ GLOSSARY that converts vibrations of the stylus ing on in the broadcast industry, (and DATE/TIME into electrical energy. if you have the money), get the $45 ACTUALITY license. On the other hand, if you only DAYTIME SPECIALTY SHOW TITLE/ARTISTThe recorded voice of a newsmaker. CARTRIDGE (CART)MACHINE plan to be involved in broadcasting LEGAL I.D. LEGAL I.D./SHOW INTRO Also called a sound bite. A unit that plays and/or records car- while you’re in school, by all means, ABC NEWS INTRO (NO TALK-GO DIRECTLY tridge tapes. go for the free one. (NOTE: If you get ABC NEWS INTO YOUR FIRST SONG) ADJACENCIES the free one now and later change your :60 PSA Commercials placed next to certain CARTRIDGE TAPE (CART) mind, you can always reapply for the $45 (Check schedule to see if there is a programming, e.g. news. A continuous loop of recording tape one at that time.) The educational li- local news/sportscast scheduled) housed in a plastic case. cense application requires you to in- TARGET WEATHER AFFIDAVIT clude a signed statement on station RED SONG / SONG#1 Sworn statement that commercials CASSETTE letterhead, which we will provide. NO TALK INTRO SHOW were aired in certain time periods. Two small reels of tape enclosed in a BLUE SONG / SONG#2 Quick DJ Rap Quick plastic case. After you decide which license you DJ Rap AIR MONITOR want, fill out the form. Leave the top GREEN SONG / SONG#3 A source on the console (external) that CHANNEL and middle sections together, but re- SEGUE SONG#4 monitors the sound of the station as it The route followed by an audio signal move the bottom section of the form READ LIVE REACH OUT (WHITE CARD)is received / over-the-air. as it travels through a system. Also, an and give it to the Chief Engineer to post READ TARGET WEATHER (NO SOUNDER) / input or output designation of an au- in the main studio. (This is your tem- STOP SET #1 / RECORDED SPA”A“ / NOAUDITION dio console. porary license and it’s only legal for 60 TALK INTO NEXT SONG A mode of console operation where the days. As soon as your validated, per- BLUE SONG SONG #5 SEGUE SEGUEsound can be fed into the cue speaker COMPACT DISC (CD) manent license arrives from the FCC, GREEN SONG SONG #6 without going over-the-air. A small disc that is recorded digitally be sure to give a photocopy of it to the WGLS HALF HOUR I.D. and is played back using a laser-beam. Chief Engineer.) Fold the top and mid- ORANGE SONG SONG#7 SEGUE SEGUE AVAILABILITIES dle sections together and mail in a busi- BLUE SONG SONG#8 time slots where non-program materi- CONTINUITY ness envelope to: READ CAMPUS CALENDAR (YELLOWal can be placed. Script for commercials. CARD) / STOP SET #2 / READ TARGET FCC FCC WEATHER (NO SOUNDER) BOARD CO-OP PO BOX 358295 1270 FAIRFIELD ROAD RED SONG SONG#9 SEGUE SEGUE Another name for an audio console. Money contributed by a manufacturer PITTSBURGH, PA GETTYSBURG, PA BLUE SONG SONG#10 Quick DJ Rap Quick to a store to help pay for an ad. 15251-5295 17325-7245 DJ Rap CAMPAIGN GREEN SONG SONG#11 Planned radio advertising drive. 123 OPERATIONS HANDBOOK cost per thousand (CPM) - Ratio of cost EAS (EMERGENCY ALERT MODULATION SATURATION for radio time to reach 1,000 homes or SYSTEM) The electrical imprint of a sound sig- Using a heavy schedule of spots to get listeners. A network used for broadcasting emer- nal on a radio wave. message across to as many listeners as gency information to the public. possible. COVERAGE AREA MONITOR Geographical area reached by a given ERASE HEAD Any speaker in a studio used to listen SEGUE (SEG‘-WAY) station, usually indicated on a cover- The part of the head system that re- to an audio source. The transition between two audio age map. moves recorded signals from a tape. sources played consecutively without PACKAGE PLAN interruption. CUE ET Some combination of spots, devised by To ready a playback machine so that it A recorded program or message on a a station and offered to advertisers at a SPLICING will play at the first point of sound. vinyl disc. special price. These are usually week- The process of joining together two Also, a channel on a console that ally or monthly buys. pieces of recording tape. lows you to audition a sound source. FADE To bring a sound source down on an PATCHING STYLUS CUT audio console at a given rate of speed. A method of changing the routing of a The portion of a turntable that makes A segment of recorded sound on disc signal through an audio system. contact with the grooves in a record. or tape. FIXED POSITION Spot delivered at a guaranteed, specif- PLAYBACK HEAD TAG DIARY ic time. The part of the head system in a tape Live announcement at the end of a Method of surveying radio audience recorder or deck that reads the patterns recorded spot. where person fills in the time he lis- FLIGHT created on the tape by the record head. tens to radio. Period an advertiser runs his spots. TAKEUP REEL PUBLIC AFFAIRS PROGRAMSThe reel on a tape recorder that pulls DISC FORMAT Programming that serves the public and collects tape during play. A vinyl record or compact disc. A radio station’s programming strate- interest. gy to attract a particular audience TOTAL AUDIENCE PLAN DONUT based on gender and age (demos). RATES Spot package consisting of a combina- Type of spot where live copy runs in Station’s charges for commercial time. tion of spots in each time classification between a musical open and close. HERTZ (HZ) that will hit all station’s listeners in a A unit of frequency measurement, REMOTE BROADCAST specified time span. DUBBING identical to cycles-per-second. Production done on location, rather Recording sound from one source to than in the studio. TURNTABLE another. LEVELS A system consisting of a platter, drive The volumes of signals, usually as read RUN OF STATION (ROS) mechanism, a tone arm, a speed con- EDITING BLOCK by a VU meter. Station schedules commercials at the trol, and an on-off switch, which is used A plastic or metal block used to align station’s best times available. Also re- to play conventional records. tape properly for cutting and splicing. MAKE GOOD ferred to as run of schedule. When a spot is not run due to error or VOICER technical troubles, the station runs it A story or report filed by a newsper- at a later date. son. 124 OPERATIONS HANDBOOK WIRE SERVICE A news network that supplies news copy and audio reports to broadcast stations, usually for a fee. sample handbooks NACB 1995 STATION HANDBOOK

Six 126 SAMPLE HANDBOOKS brought about by an irate FCC or KTSB warning of indecent programming business partner. The rules are ex- must be played each half hour during plained followed by the penalty in- this time. If you accidentally play curred for violating them. These rules something with indecency on it, you do not exist just for the purpose of an- may let it go after the first occurrence, noying you; rather, it is because as a but fade it out after the second. Please station required to operate under FCC be sure to mark it on the review and/ regulations, we cannot afford to pay the or the record as being indecent if it is huge fines the FCC levies at stations not already marked, and note it on the which violate its policies One simple Discrepancy Log posted on the engi- slip-up by any on-air person and we neering closet door – this will get you could lose a third of our entirely year- off the hook. If you do not mark an ly budget. accidental Indecency on the Discrep- ancy Log you can be held responsible DJ HANDBOOK: KTSBA. PROGRAMMING: RULES for it. Penalty: Two warnings, suspen- GOVERNING A SHOW’S sion, dismissal. CONTENT Obscenity. A song IS obscene, accord- 1. Our Obscenity/Indecency Policy: ing to the FCC, if it is “patently offen- Shit, piss, fuck, cunt, cocksucker, moth- sive and offers no political, cultural, THANK YOU erfucker, tit. The FCC explicitly says artistic or social value.” Obscene songs that the only source for these seven may not be played at all. However, al- KVRX-FM is the student-run and Thank you for volunteering to DJ at KTSB. This handbook’s words can be pre-recorded material. most none of our material IS obscene. operated station at purpose is to acquaint you with the rules and procedures Therefore, you may never use any of KTSB management reserves the right the University of you must follow both in and out of the control room. Please them at any time during your airbreak. to declare material obscene. Penalty: Texas-Austin. Formerly known as read it thoroughly. It is yours to keep, so you will be expect- You should also be aware of Section One warning, suspension, dismissal. KTSB, KVRX-FM ed to be familiar with all Its contents and know all of the 1464 of the U.S. Criminal Code: “Who- was granted a FCC non-commercial FM do’s and don’ts. ever utters any obscene, indecent or 2. Underwriting: Underwriting carts frequency in the fall profane language by means of radio must be played at the time scheduled. of 1993 and Also, find out the who’s who of station management. The comrnunications shall be fined not KTSB has a binding legal contract with subsequently changed its call directors are here for you and will be glad to answer any more than $10,000 or imprisoned for the sponsor to run a cart at certain letters. (So, anytime questions and receive any comments you may have along not more than two years or both.” Pen- times. DJs must write the times they you read KTSB, think KVRX.) the way. Word. alty: One warning, suspension, dis- actually run the cart on the program- missal. ming log. Underwriting carts should The KTSB DJ not be run outside of tneir designated handbook (only IN THE CONTROL ROOM portions from the Indecency. A song or any other prere- time. While any interruption of our original are corded material is considered indecent programming is bothersome, at least included) was written in 1992 and I. FCC AND OTHER LEGAL REQUIREMENTS if it contains any one of the above sev- we don’t have to play dozens of com- included in previous en words. An indecent song may only mercials per hour. Play the carts with- a previous edition of the NACB Station Breaking one of these rules will get you in trouble with KTSB be played between 11 P M. and 1. A.M. in three minutes of the appropriate :10, Handbook. and could lead to legal problems for you and the station (Safe Harbor Time). A disclaimer cart 127 SAMPLE HANDBOOKS :30, and :45 minute marks Penalty: Two native, 91.7 Cable FM.) But the phrase people to spend money on. You can Penalty: Two warnings, suspension, warnings, suspension, dismissal. “KTSB, Austin” must appear intact in and are encouraged, to tell people to dismissal the ID somewhere. Do not, even as attend a benefit for KTSB or purchase 3. Copyright Infringement: DJs who joke, identify the station with fake or KTSB items (bumper stickers, T-shirts). 3. Defamation of character – Slander: read portions of plays, poems or nov- someone else’s call letters. Besides be- In short, if it directly makes KTSB or Slander is “communication which ex- els on the air are considered to be put- ing “false communication” it is a par- another non-profit organization mon- poses a person to hatred, ridicule, or ting on a performance. As with any ticular FCC no-no. Penalty: Two warn- ey, it’s okay. Otherwise, it’s a call to contempt, lowers him in the esteem performance of copyrighted material, ings, suspension, dismissal. action. Examples of what is and isn’t a of his fellows, causes him to be permission must first be obtained to call to action: shunned, or injures him in his business put on the performance, else the DJ is 2. Call to Action: The FCC forbids a or calling.” The rule of thumb for this guilty of copyright infringement. noncommercial station such as our- Here’s the new single from MC Roach one is that whatever you say about Copyright infringement also occurs selves from issuing ‘calls to action.’ A Penis. Check it out” Fade up new MC someone had better be true and abso- when a DJ rebroadcasts another sta- DJ issues a call to action when he/she Roach Penis single onturntable one. - lutely provable. As well, the person tion’s signal (by playing a tape of it) or asks, urges, or suggests that the listen- – This is OK. You’re just pre-announc- you’re mentioning must be a public broadcasts a syndicated radio show er should perform some task which ing. figure who is fair game for such com- without permission or at a time other may result in a for-profit organization In your airbreak: “The new Doomicial mentary.demo Examples: “George Bush is a than the agreed one. Other offenses making money. This rule does not ap- is available at Waterloo Records and Soundtransvestite.” – fair game, since the include rebroadcasting sound record- ply to non-profit organizations, like Exchange” – not a call to action (purepresident in- is a public figure, but you ed from copyrighted television shows KTSB itself or, let’s say the Save Our formation). better have pictures to prove the state- or movies. Bootleg recordings of bands Springs Coalition. Calls to action in- In your airbreak: “The new Doomicial ment.demo “My friend’s roommate, Jack also may not be played without writ- clude: is available at Waterloo Records and SoundOnan, masturbates six times a day ten permission of the band. Copyright- Exchange, the best record stores in whileAus- looking at pictures of donkeys.” ed records, tapes, and CDs may be 1. Urging the listener to buy a record. tin” – a call to action (using superlativesJack for can sue you and KTSB out the a business establishment). played because permission to play 2. Urging the listener to go to a con- wazoo – he’ll have been slandered (as- them is given when the band gives us cert or other performance. In your airbreak: ‘“The new Doomicial sumingdemo Jack is not this way) plus he’s the record. You may assume it’s OK to 3. Mentioning the price of a record or is available at Waterloo Records for 4not dol- a public figure. Also see invasion play any material KTSB places in its concert ticket. lars” – a call to action (mentioning price)of privacy below. Penalty: Two warn- library. Penalty: Two warnings, suspen- 4. Urging the listener to patronize a In your airbreak: “Go check out KISS ings,at the suspension, dismissal. sion, dismissal. specific club or record store. KTSB/S.O.S. benefit. Cover’s only $5!” - OK only because it’s two non-commercial4. Invasionor- of Privacy: The KTSB stu- B. ON THE MIC: R ULES You are free to rave about how great ganizations. dios are capable of putting phone call- GOVERNING A DJ’S an album or band is; that’s only a “re- In your airbreak: “‘Toto is the greatesters band on the air. But doing so without AIRBREAKS view.” However, you cannot rave about in the world” – not a call to action. getting the permission of the caller is a business establishment, i.e. “Water- “Toto is fantastic live and they’re comingan invasion of privacy. Giving out un- 1. Legal ID: The FCC requires that an loo is a great record store.” That counts here to Austin at Liberty Lunch” – stilllisted not a phone numbers, full names, or FM station identify itself within five as a commercial. call to action. other personal, private information minutes of the top of each hour with • “l will definitely be at the Toto concert...”about a person without their permis- its call letters and city of origin. For Please note the phrases must refer to – still not a call to action. sion is also an invasion of their priva- us, a legal ID is “KTSB, Austin.” You a specific band, club, record, etc. Non- “... and I want you to be there too.” –cy. now Invasion of privacy also occurs can embellish this ID at your discre- profit organizations like KTSB are the it’s a call to action. when you tell a story about someone tion (e.g. This is KTSB, Austin’s alter- only entities you can specifically urge (to avoid slander) and that person IS 128 SAMPLE HANDBOOKS not a public figure. Penalty: Two warn- C. OFF AIR: OTHER THINGS you can’t fulfill an obligation on the of being hired, s/he will be suspended ings, suspension, dismissal. DJS M IN THE CONTROL ROOM log (because a cart or promo card is until they have passed it. missing) do not note that on the pro- 5. False Information: It is illegal tor 1. Programming Logs: DJs must cor- gramming log. II. KTSB RULES you to transrnit “false or deceptive rectly fill out the programming log, a communications by radio.” Example: written record of our on-air signal. The Rather, note the problem on the post- The following rules are in-house only. “Hi, you’re listening to KTSB and I just first important thing to do on these logs ed Discrepancy Log. Failure to prop- You will not be subject to hassles out- wanted you all to know that the Chi- is to sign in and out for your shift. All erly fill out logs: Penalty: Two warn- side of KTSB for violating most of them nese have invaded the U.S. I’m seri- 24 hours of our broadcast day should ings, suspension, dismissal. like you could for the above rules, but ous, dudes.” This is another rule the be signed for, or the FCC gets very up- they are still important and have di- FCC is really about. Penalty: One warn- set when they ask to look at our logs 2. Watching the VU Meters: The VU rect bearing on the current and future ing, suspension, dismissal. (which they can do at any time). While meters are the left and right channel fate of your show. you are signed on, you are responsible needle-monitors on the control board 6. Editorializing: ‘Editorializing’ means for all the equipment and recorded which show the overall loudness of the A. PROGRAMMING going out of your way to express your material in the control room and any signal our listeners are hearing. Try to opinion about a matter other than the damage resulting from theft, vandal- keep your levels at about 80° on the 1. New bin and local cuts: Each hour, music you’re playing, such as telling ism, food, drink, and smoke. Feel free readout; otherwise, the signal actually DJs must play five songs from the new the audience all about your beliefs on to order anyone to leave if you think sounds distorted to the listeners. (The bin, sections of newly released abortion. Editorializing is OK, but keep they may cause any damage or are just sound you hear in the control room is records/tapes/CDs separate from the these things in mind: 1) FCC rules pro- annoying you to the point where you not the actual signal going out over the rest of the library. The DJ picks which hibits non-commercial stations from cannot concentrate. The only people air The FCC can fine a station for ex- five from the front (right-hand side) endorsing political candidates; 2) You you can’t order out are directors per- ceeding l00% of licensed output pow- two-thirds of each new bin and places must ensure that it is clear to the audi- forming necessary station business, er more than six times in one minute the material in the back (left-hand- ence that what you are saying is your like the Technical Director and his/her (100% on our meters). So watch your side) of the respective new bin after s/ opinion, not that of KTSB as a whole staff performing repairs or diagnostics levels carefully. Penalty: Two warn- he plays them. To ensure KTSB can or TSP or UT, by playing the ‘editorial on the equipment. If directors or the ings, suspension, dismissal. give much-needed exposure to local disclaimer’ cart at the end of any spiel Broadcast Advisor are just hanging out artists, we also require DJs to play two you may go on; and 3) Try not to bore and being a nuisance to you, they too 3. Licensing: In a broadcasting radio Texas artists each hour. A Texas artist the audience with overly long politi- can be ordered out. Be diplomatic. station, all DJs must have an FCC 3rd is one born in Texas or who has estab- cal soliloquies. While we want you to class radio operators permit. We con- lished their musical base in Texas. A express yourself, keep in mind that the The programming logs also list various sider a DJ knowledgeable enough to new bin artist who is also a Texas art- listeners might not be as interested in things you need to announce (Legal ID, hold a 3rd class radio permit when they ist can count for both requirements. your opinions as you are. Think of the Personal ID, promos, etc.). DJs must pass a multiple choice test we admin- editorial disclaimer cart as your DJ record the actual time these items are ister. The test is currently administered Incidentally, there is a color-code sys- Opinion Condom. It protects KTSB and announced in the space provided. The by the Broadcast Advisor. When you tem in the library. It is posted in the UT from any legal problems from the legal ID is an FCC requirement. The have passed this test, we consider you control room and allows you to deter- FCC or other folks. Editorializing with- others are KTSB programming items licensed and passably knowledgeable. mine musical genres as well as Texas out playing editorial disclaimer cart: and are discussed later. Falsification of While we are on cable, you don’t have artists. Specialty shows are exempt Penalty: Two warnings, suspension, the logs (i.e. knowingly recording the to get the actual permit. If a DJ has from new bin and local requirements. dismissal. playing of a cart when it was not actu- not passed this test within two weeks Penalty: Not fulfilling new bin/Texas ally played), is an extreme no-no. If 129 SAMPLE HANDBOOKS artist requirements is grounds for not 1988 when KTSB went on the air, the bring an ID. You may give out the win- nouncements for KTSB events or pro- being rehired or getting a worse shift. Smiths might have still been really ner’s first name, but not his/her full grams. You may be asked to play a cart cutting-edge. Now, though, you can name unless they gave you permis- or read a promo card from the promo 2. Repetition: DJs are asked not to play probably hear Morrissey asking “How sion. NEVER announce to your audi- box or possibly the Promo Book. Un- any artist played in the previous shift. soon is now?” on two or three Austin ence that we failed to give away some- less otherwise indicated, you may play That’s the sort of thing boring Top-40 stations. Do yourself and the audience thing. This makes us look bad. Simply the promos at any time during the stations do. DJs should check the play- a favor by expanding the scope of mu- don’t mention the contest or try again scheduled hour on the log. Record the lists which cover the shift prior to their sic played on your show. Use your dis- by announcing you have another pair actual time you perform the promotion show before they pull records for their cretion. Example: Playing three Beat- of tickets, or whatever, to give away. If on the programming log. Promos are own show. This rule applies to both les cuts in a row is pretty lame, but you have not succeeded by the end of scheduled by the Traffic Department. Specialty and playlisted (regular) playing a Beatles cut sandwiched be- your shift, don’t worry. The DJ after Failure to attempt giveaways, read pro- shows. The exception is if a listener tween two Beatles covers by alterna- you will have the chance to give stuff mos, or do PSAs: Penalty: Two warn- requests an artist played in the previ- tive bands is much more interesting. away. Giveaways are arranged by the ings, suspension, dismissal. ous show. Penalty: Ignoring our repe- Playing stuff like Bon Jovi, Mariah Public Relations Director. No KTSB staff tition rules is grounds for not being Carey, or Paula Abdul is grounds for members are eligible to win giveaways, B. ON THE MIC rehired or getting a worse shift. execution. Penalty: Habitually playing except when there are extras or when mainstream-type music is grounds for winners do not pick up their prizes 1. Decrying Station programming and 3. Genre Diversity: Part of the appeal not being rehired or getting a worse within two weeks. Such situations will policy: In your air breaks, never speak of KTSB’s free-form programming is shift. be handled by the Public Relations negatively about a station promotion, the pleasure of being able to hear many Department. program, or policy. If you have a prob- sorts of music within the space of a 5. Ticket/Merchandise Giveaways: lem with KTSB, bring it up with man- show. And since there are many more Ticket giveaways are considered part 6. Public Service Announcements: agement instead of boring the audience types of music than rock, pop, or of a day’s programming. In the control PSAs are scheduled every other hour with obscure complaining that they grunge, we ask DJs to help expose the room is a gray Promo Book which has in three categories: A, B, and C. ‘A- PSAs probably don’t understand or care audience to the wide variety of mostly a sheet of paper for each giveaway. receive a heavy rotation, usually be- about. ignored types of music such as rap, Also, each DJ should check the list cause of their urgency, and C’ PSAs jazz, blues, ethereal, world, country, posted above the control board to see receive a light rotation. The PSAs are Also never deride anything you do. Do etc. Please try to play music from at if any other giveaways are available to located in a wooden index box. Take not cut off or otherwise disrupt (play least four different genres per hour. be done on-air. You may give the items the first PSA from the designated sec- at the wrong speed, etc.) a song you Penalty: Habitually playing a very lim- away anyway you want; conduct a triv- tion and read it or follow the instruc- don’t like, especially requests. In your ited number of musical genres is ia contest or just take the first caller, tions. Record which PSA you did (the airbreak, don’t speak badly about a grounds for not being rehired or get- but the contest must be open to all lis- highlighted section on the card indi- song you just played. Someone out ting a worse shift. teners. When you announce the give- cates the name) and the time you an- there might have liked it and will be away, be sure to announce all the in- nounced it on the programming log. thankful for the station’s introducing 4. Playing ‘non-KTSB’ music: Please try formation provided on the sheet and Then put the just-done PSA at the back it to them. If you don’t like a song, don’t to avoid playing music that is heard the phone number to call in (471- of the appropriate section. PSAs are play it. If you don’t want to play some- often on other stations. Most Austin KTSB). Write the requested informa- handled by the Community Affairs one’s request because you hate the radio is boring and repetitive, and we tion down for each winner on the ap- Director. song, that’s OK too (as long as you don’t don’t need to contribute to this prob- propriate sheet in the Promo Book and always turn down requests you don’t lem. Of course, what is considered ‘al- give the winner any necessary addi- 7. Promos: Promos, labeled PRO on the like). You can speak badly of a song ternative’ music changes constantly; in tional information, such as needing to programming log, are promotional an- you don’t play. That’s considered a crit- 130 SAMPLE HANDBOOKS ical review. Penalty: Two warning, sus- ing to be unavoidably late, call the DJ Also mark on the left edge of the mu- 6. Guests: Except during interviews, pension, dismissal. before you at least thirty minutes be- sic log when you did an airbreak. Pen- DJs may have no more than two non- fore your show and let him/her know. alty: Two warnings, suspension, dis- KTSB personnel in the control room 2 General airbreak pointers: We ask Being late twice by any amount and missal. with them. The DJ on duty is respon- that during your airbreak you consid- not informing the prior DJ is equiva- sible for anything their guests do in the er the following things: lent to missing a shift entirely. Penal- 4. Pulling Records/Tapes/CDs: Do not control room. This includes theft. 1) Try to mention the station’s call let- ty: One warning, dismissal. carelessly leave recorded material ly- ters once or twice each airbreak to ing around. When selecting records 7. Phone Use: Always answer by giv- make us stick in people’s mind. If the station is locked when you ar- from the library for your show, simply ing the station’s call letters. Be polite 2) Tell the audience who you are and rive, call the list of directors posted on pull the record out from the stack by a and helpful, but never feel obligated when you’re on so that if people like the door. They have keys to unlock the couple of inches. When you pull out a to cut your air breaks short to answer you they can keep tuning in and you station. It is not OK to skip your show record to play, partially pull out the the phone; the caller will understand. can build an audience. just because the station is locked! record behind it as well. The KTSB li- You should also politely ask to put the 3) Get on the mic every four or five brary is several thousand pieces strong, caller on hold when you need to cue a songs to tell people what they’ve been 2 Leaving: DJs may not leave the con- and it is vital that it stays organized. record or go on the air. Our air signal hearing. KTSB plays cutting-edge mu- trol room unattended. If no DJ shows When you go to put your record back, is always a DJ’s number one concern, sic and it’s critical for people to know to replace you and no one at the sta- it is infinitely easier to put back into and you will not be held responsible what it is you are playing. If you can’t tion is qualified or willing to assume place if you leave the record behind it for impatient callers. DJs should al- remember the last few songs you control of the board (by signing for it) as a marker. While the record is being ways answer the request line, but DJs played, then the audience probably and you have no time to wait or look played, keep the jacket and sleeve un- only have to answer the business lines can’t either – it’s time to let them know. for a sub, put a CD in, press ‘repeat and der the turntable. Mishandling of KTSB (471-5106) when there is no one else 4) Try not to be boring or overly self- play and then lock the control room. library material: Penalty: Two warn- in the station, or the other people there indulgent during your airbreaks. Hav- Leave a note in the DJ Director’s box ings, suspension, dismissal. are in a recording session. Do not give ing a personality or giving the audience and the Programming Director’s box to out home phone numbers to people interesting/relevant information is inform him/her that the next DJ did 5. Removing Records: New bin records you do not know. When DJs abuse the great, but babbling for five minutes not show. Do not announce over the may be removed from the library only phones/are abusive on the phones: about your love life or the test you just air that you are leaving the station by the Music Director. Records from Penalty: Two warnings, suspension, took is a guaranteed way to get people unattended. If no one else is in the sta- KTSB’s library may never be taken dismissal. to turn off KTSB. How many times tion, only lock the two outermost from the station, even just for home have you been listening to the radio doors. This rule applies 24 hours a day. taping. People who steal albums are the 8. No Eating, Drinking, or Smoking is and thought, “Wow, I wish the DJ Penalty: One warning, suspension, dis- lowest form of life. Permission to take allowed in the control room. One slip- would stop playing music so I can hear missal. home and review records not yet in the up with a drink or an ash could put us him/her blab more about the mundane library may be obtained from the Mu- off the air. Most of our equipment is details of their life?” 3. Music Logs: DJs should write down sic Director; as well. you may use the rickety enough – don’t jeopardize Penalty: Consistent failure to observe every song they play on the provided Production Room to tape KTSB music KTSB. We also remind you that the use any of the preceding guidelines is music logs. Besides the artist, album anytime the room isn’t in use for KTSB of alcohol in University buildings is grounds for not being rehired or get- and song title, DJs should note in the business. Anyone caught removing prohibited by the UT System Board of ting a worse shift. space provided the new bin number of recorded material from the station Regents. One warning, suspension, dis- a new bin record. and check the ap- without permission will be dismissed missal. 1. Arriving: DJs should arrive 20 min- propriate box for requests, Texas art- and criminal charges will be filed. utes before their show. If you are go- ists and the genre of the song played. 131 SAMPLE HANDBOOKS

9. Engineering Logs: Any technical 4. Not repeating an artist from previous 6. Make at least one public service problems such as equipment failure or show. announcement. malfunction should be reported to the 5. Not playing copyrighted material without 7. Write down all your music selec- Technical Director by phone immedi- permission. tions, noting new bins, Texas artists, and requests. ately if the problem is severe, or on an 6. Not alienating your audience. engineering report, found on the door 13. When you go on the air you must 8. Answer the request line (and the to the engineering closet, if the prob- be sure you don’t: business line if no one else is around). lem is minor. 1. Issue a call to action. 9. Fill out times on the programming 1. Arrive 20 minutes early. Park in a 2. Say an indecency. log. ‘B’ spot behind the station if you have 3. Slander someone. 10. Note technical problems on the a car and a permit. 4. Issue false or deceptive communications. engineering report sheets. 2. Inform the on-air DJ that you are 5. Deride a station activity. 11. Note traffic errors on the discrep- here. 6. Invade someone’s privacy. ancy sheet. (e.g. a cart you should run isn’t around). 3. Check your DJ box and the phone 7. Bore or otherwise alienate your audience message board for messages. by: 12. File records back in the library cor- 4. Check all applicable doors, windows, 1. Giving information that isn’t interest- rectly. and bulletin boards around the station ing. 13. Place material back in the new bin for new information. 2. Talking too long. correctly. 5. Check the program log to see what 3. Using obscure radio jargon. 14. Always have some music cued and underwriting, etc. you have. 4. Audible paper shuffling and button ready to go. 6. Check the promo list in the control punching. 15. As your show is ending, you may have room to see if there is anything to give 5. Speaking in first person singular too to start looking for a sub if the next DJ is away. often. going to be absent and you can’t stick 7. Check the music logs for the shift around. (Your show is over when you finish 6. Not clearly backannouncing. your last airbreak or your last music selec- prior to your show and note if any art- 7. Begging for requests. tion ends, whichever is last.) ists you would have wanted to play 8. Acknowledging or apologizing for were already played. mistakes. 16. Sign out on the program log. 8. Choose some New Bin cuts. 9. Talking off-mic. 17. Put your music log in the music log box. 9. Choose some library records. 10. Being too self-indulgent (‘DJ mas- 18. Remove any trash you generated. *(By now, it should be time to go on the air.) * turbation’). 19. Get out of the next DJ’s way. 10. Sign in on the program log and 14. Then throughout your show you must be 20. Have a nice day. make sure the prior DJ signs out. sure you: 11. Be sure a tape is in the recorder in 1. Try to give away things (if neces- the office if you want to tape your sary). show. 2. Legally identify the station (“KTSB, 12. When selecting your music you Austin”). must be simultaneously aware of: 3. Identify yourself. 1. Fulfilling your New Bin requirements. 4. Make necessary promotional an- 2. Fulfilling your Texas artist requirements. nouncements. 3. Not picking indecent songs (if you’re not 5. Run the necessary underwriting in safe harbor 11 PM-6 AM). carts. 132 SAMPLE HANDBOOKS 4. EBS test transmissions should be sent at least: a. once a week b.once a month c. once a day d.once a year

5. If the tower lights fail, the operator must notify the a. nearest Federal Aviation Agency office b. Civil Air Patrol office c. the Chief Engineer and Technical Director d. FCC office e. a & c above

6. If the modulation monitor peak indicator at KTSB were to indicate negative peaks of frequent QUESTIONS FORrecurrence in excess of 100% more than six times a minute what action should be taken by the OPERATOR PROFICIENCYoperator? TESTa. adjust filament voltage to normal b. inform the Chief Engineer and Technical Director c. reduce the audio level d. reduce the transmitter final plate voltage 1. Tower lights must be checked: e. b & c above a. at least once each week b. at sign-on and sign off every three hours 7. What’s the rule of thumb regarding broadcasting during emergency conditions? c. exactly one hour after sunset a. continue as long as the Red Cross is operating d. at least once every 24 hours b. continue until the mess is cleaned up c. continue until the area has 75% utilities 2. Corrections to the station’s program and engineering logs are made by: d. continue until the government has declared an emergency a. drawing one line through the erroneous portion and initialing the cor- e. continue as long as the Broadcast Supervisor OKs the broadcast material rection b. drawing one line through the erroneous portion and indicating the 8. Where should modulation and tower readings be recorded? date and time of the correction a. on to reel-to-reel c. the license of the station b. on the operating log d. making multiple lines through the error so that no one will ever be c. on the program log able to read the mistake d. on the maintenance log e. b & d above 3. The following must be included in thc station identification (Legal ID): a. call Ietters and city of license b. call letters and time c. call letters, city of license, and frequency d. call letters and frequency 133 SAMPLE HANDBOOKS 9. What action(s) be taken if you inadvertently play obscene material ? 14. A third-class operator on-duty is authorized to a. note it on the music playlist sheet a. adjust external controls to compensate for voltage fluctuations in the primary power supply b. note it on the CD/album/cassette cover, with an ‘X’ b. make transmitter adjustments to maintain the correct operating frequency c. note it on the discrepancy log c. repair an inoperative transmitter in an emergency d. note it on the engineering log d. replace defective final amplifier tubes e. b&c above e. make any minor adjustments necessary to internal controls

10. When the remote control equipment malfunctions and results in improper transmitter control, 15. The operating log must contain the a. the names of all sponsors of a sponsored program a. operation by remote control must cease b. the time of all recorded program announcements (e.g. specialty show carts) b. power must be reduced by 5% c. an entry of the time the transmitter begins supplying power to the antenna c. power must be reduced by 10% d. the time station identifications announcements and/or legals IDs were given d. station must be taken off the air e. notations concerning the maintenance of the transmitter e. the FCC must be notified 16. An operators permit may be revoked by the FCC for: 11. The antenna current meter or remote antenna current meter (where provided) should be read: a. knowingly transmitting false or deceptive communications a. during modulation peaks b. willfully interfering with other radio communications or signals b. prior to placing the station on the air c. willfully destroying his/her station s control room c. when program material modulates the carrier at the average level d. criticizing the FCC over the air d. when the carrier is unmodulated e. a & b above e. once each hour 17. Hz is the abbreviation for hertz, which is: 12. The primary concern of an operator on duty at an FM broadcast station should be to: a. the length of one cycle of a radio broadcast wave a. ensure that the transmittcr is operating within required parameters b. a measure of electrical energy b. ensure announcements are broadcast and noted properly on the program log c. a measure of electrical resistance c. keep the station on the air at all costs d. the number of cycles of a radio wave per second d. keep the chief opcrator advised of all problems encountered during his/her shift e. another name for radio frequency (RF) e. minimize “dead air” 18. An FCC field inspector knocks at your studio door after hours and properly identifies himself 13. Which of the following is not required to be recorded on the operating log? while you are the operator on duty. You should: a. plate voltage meter reading a. Ask him to return during regular business hours b. plate current meter reading b. call the Chief Engineer and Technical Director c. modulation monitor reading c. offer him a beer d. the time the station ceases to supply power to the antenna d. allow him to inspect the station as he desires and answer his questions as best you can e. e. b and c. allow him inside but do not answer questions or cooperate until the Chief Engineer and Technical Director arrive 134 SAMPLE HANDBOOKS 19. Power for FM stations can be determined by: a. a calibrated meter in the transmission line b. a calibrated meter at the base of the transmitter c. by using the equation P=Ep x Ip x F d. by using the equation P=l-squared x R e. a or c

20. The FCC s rules specify that an FM station s operating power shall not exceed the limit of: a. 125% of operating power b. 120% of operating power c. 115% of operating power d. 110% of operating power e. 105% of operating power 135 SAMPLE HANDBOOKS found on commercial radio stations THE NEW ROCK because our programming philosophy FORMAT emphasizes limited interruptions. Name recognition is a primary benefit The New Rock format embraces many you’ll receive by underwriting on 91- different rock musical styles. As a New ONE. Our listeners will remember Rock station, 91-ONE is on the forefront your company name and appreciate of the rock music scene. Nationwide, the fact that your company supports New Rock stations (sometimes called their station and their favorite pro- “Modern Rock”) are enjoying unprece- grams. dented success.

Businesses know that by supporting 91- The music played on 91-ONE includes ONE they are supporting Northeast such distinct artists as R.E.M., Peter Louisiana University. Underwriting on Gabriel, Red Hot Chili Peppers, Cure, SAMPLE UNDERWRITING91-ONE is one way of investing in the Nirvana, Duran Duran, Suzanne Vega, MEDIA KIT: KNLU-FMUniversity that also pays a dividend 10,000 Maniacs, and INXS. back to you in the form of the positive exposure your company receives. 91-ONE introduces Monroe to the latest music. The New Rock format has Your underwriting contribution to 91- flourished at big city radio stations like: WHAT IT’S ALL ABOUT ONE, a non-profit organization, may also have tax advantages for your busi- KDGE “The Edge” Dallas Let’s begin with a simple explanation about what underwrit- ness. WRAS Atlanta ing is. WZRH “The Zephyr” New Orleans A typical underwriting announcement KPNT “The Point” St. Louis un-der-writ-ing n 1: an on-air announcement acknowledg- might read something like one of these: WXRT Chicago ing a business which supports a non commercial radio sta- WHFS Washington tion vb 2: sponsoring programming on a noncommercial ra- World Cafe is brought to you in part by KROQ Los Angeles KNLU-FM is the dio station by a business The Red Radish, a health food store KNNC Austin student-run station and restaurant featuring natural and XETRA “91 -X” San Diego at Northeast Louisiana U. In exchange for your contribution supporting our service, vegetarian cuisine. The Red Radish is KEDG “The Edge” Las Vegas 91-ONE will recognize your business along with the program located at 110 Day Street. Their phone WXPN Philadelphia Unfortunately, their sales kit as you sponsor. We are a non-commercial radio station, but number is 555-1234. WRLT “Radio Lightning” Nashville designed with Federal regulations allow us to broadcast a non-promotional KEDJ “The Edge” Phoenix graphics would be KNDD “The End” Seattle too large to fit in this announcement acknowledging your donation to the station. This hour of 91-ONE programming is handbook. You’re probably already familiar with the underwriting an- made possible by Guys Photo Supply, Hopefully, you can nouncements aired on public television stations. an authorized Nikon and Cannon deal- The station also stretches the musical make use of the valuable information er offering one hour film processing. boundaries with its specialty programs. contained within the Many companies use underwriting as a cost-effective way to Guys Photo Supply located at 407 East For example, World Cafe, produced at text for designing your own sales kit. get their name out to potential customers. Your message Main Street, Monroe. WXPN, Philadelphia, offers a rich blend will stand out on 91-ONE and won’t get lost in the clutter of acoustic rock, rhythym and blues, 136 SAMPLE HANDBOOKS and world music, with instudio inter- OPERATING HOURS: Underwriting credits will air at the * All 91-ONE underwriting contracts views and performances by leading beginning and end of any 30-60 minute are written for 13-week quarters only; singer-songwriters. The Crossroads Monday - Thursday, 6 a.m. - 12 Midnight program. For longer programming these figures are provided only for program, with its relaxing acoustic new Friday, 6a.m. - 1 am. blocks, underwriting credits will be comparison purposes.) rock music, complements our week- Saturday, 7 a.m. - 1 a.m. announced at the beginning and end end offerings, and Cornerstone pre- Sunday, 7 a.m. - 12 Midnight of the program block and once each “This Program Is Made Possible By...” sents contemporary Christian music hour within the block. on Sunday rnornings. SPECIALTY PROGRAMS: Thanks to a 1984 FCC ruling on “en- Since the underwriting announce- hanced underwriting” credits, noncom- 91-ONE’s Audience World Cafe, Monday - Friday 9 a m - 1 1 a m and ments are technically acknowledge- mercial radio stations like 91-ONE can 91-ONE has a diverse listening audi- 5 p m. 7 p.m.; and Sunday 10 a.m. - 12 Noon ments of your donation to 91-ONE, we give identifying information in addi- ence, throughout the greater Monroe must receive your contribution before tion to a sponsor’s name, including area many of whom listen exclusively Jam Session (Featured Artist Theme), Monday we can legally air any underwriting your address and phone number, and to 91 -ONE. - Friday 12 Noon - 12:30 p.m. credit. a value-neutral listing of your primary product line or service. The beauty of this format is that it of- News, Monday - Friday, six times daily Here’s what’s available for underwrit- fers something no other area station Music Trax, Friday, 7 p.m. - 10 p.m. ing sponsorship: Such announcements may not contain has: a strong appeal to the active, up- comparative or qualitative descrip- scale 18-34 year-old audience. The Cornerstone (Contemporary Christian) Sunday, tions, price information, or calls to ac- New Rock format attracts a very loyal 7 a.m. - 10 a.m. EXCLUSIVE tion. audience and generates a very high Crossroads (Acoustic Rock), Sunday, 12 Noon - SPONSORSHIP Time Spent Listening, or “TSL,” which 12 Midnight Slogans used by businesses are permitted increases the chances that your target Mentions/Wk. Cost/Mention Cost/qtr. so Iong as they do not contain comparative market will hear your underwriting (“best in town”) or qualitative (“fabulous dining”) descriptions. message. THE BOTTOM LINE St'n Spomsorship 10 (Run-of-Schedule) Jam Session 10 (Weekdays 12 p.m. Addresses are acceptable. VITAL STATISTICS To minimize your bookkeeping hassle, - 12:30 p.m.) Phone numbers are okay too (“The phone all 91-ONE underwriting contracts are number is...” but not “Call 555-1234”) . written for 13-week quarters; write one ExampIes of a prohibited call to action in- CALL LETTERS: easy check and get three months of PARTICIPATION cIude “Stop by our showroom” and “Try our sponsorship of a 91-ONE program. A SPONSORSHIP product.” KNLU (FM) quarterly contract can start at any time. Mention of discounts specials or savings Frequency: 91.1 MHz World Cafe (Weekdays 9-11 a.m.) 15 percentage is forbidden. Power & Height: 8.5 kw at 716 feet The cost of underwriting on 91-ONE is World Cafe (Weekdays 5-7 p.m.) 15 Coverage Radius:Urban Grade Signal (60 dBu) much less than the cost of advertising World Cafe (Sunday 10 a.m. - 12 p.m.)Again, 3 underwriting works best if its = 26.5 miles on commercial radio. For what you’d Music Trax (Friday 7-10 p.m.)used 4 just to keep your narne before the Rural Grade Signal (54 dBu) = 39.4 miIes expect to spend for two weeks of ad- Crossroads-I (Sunday, 12 p.m. - 3 p.m.)public; 4 your image is what the audi- vertising on a commercial station, you Crossroads-II (Sunday, 12 p.m. - 3 p.m.)ence 4 will remember. Familiarity and can underwrite a 91-ONE program for Crossroads-III (Sunday, 12 p.m. - 3 p.m.)recognition 4 is the key. an entire 13-week quarter. Crossroads-IV (Sunday, 12 p.m. - 3 p.m.) 4 137 SAMPLE HANDBOOKS UNDERWRITING action or inducements to buy sell rent CONTRACT or lease. All underwriting acknowl- by: edgement materials are subject to the (for Underwriter) The following provisions constitute an approval of 91-ONE. (for 91-ONE) agreement by (Underwriter) to make a financial contribution in the amount The Undewriter’s donation provided OUR LISTENERS ARE WAITING TO of $.00 to 91-ONE KNLU, Northeast for hereunder must be received by 91 HEAR FROM YOU. Louisiana University (“91-ONE”) in ONE before any broadcast acknowl- support of: edgement of said contribution will be Underwriter information made. Station Sponsorship, consisting of five Business Location: underwritten hours of programming This agreement is not exclusive as to Billing Address: weekly. the business, products, or services of Business Name the Underwriter and 91-ONE remains Corporate Name Program Sponsorship of the program. free to solicit and to broadcast an- Contact Person nouncements of other sponsors wheth- Street Address This agreement covers a thirteen week er or not they are in competition with P.O. Box/Street period beginning and ending the business products or services of the City Underwriter. State An over the air announcement ac- Zip knowledging this donation will be If due to public emergency or necessi- phone made by 91-ONE at the beginning and ty, force majeure, restrictions imposed end of any thirty-minute or one-hour by law, acts of God, mechanical or elec- Primary Product Line/Service: program. For longer programming tronic breakdowns cancellation of the Slogan (Must be value neutral): blocks, underwriting credits will be program by the progran supplier, or for Special Instructions: made by 91-ONE at the beginning and any other cause beyond 91-ONE’s con- end of the programming block and trol there is an interruption or omis- once each intermediate hour. One an- sion of the program sponsored here- nouncement will be made by 91-ONE under, 91-ONE may make a substitute at the conclusion of any program less broadcast at a comparable alternative than thirty minutes in duration. time period.

All underwriting acknowledgments The Underwriter shall have the right must conform to §399B of the Commu- of first refusal for the renewal of this nications Act of 1934, as amended, and agreement upon its expiration under §73.503(d) of the Rules of the Federal the conditions then commonly offered Communications Commission. Such by 91-ONE at the beginning of such announcements shall be made for extended term. identification purposes only and may not contain comparative or qualitative Accepted and agreed this day of descriptions price information calls to 19XX. 138 SAMPLE HANDBOOKS 2. Attend the KJHK Board meetings. (PD) is done solely by the SM, and is 3. Help to ensure that the station is generally the first appointment. Be- operating consistently with the KJHK cause the Board must approve the se- constitution and faculty statement of lections of the executive staff and the purpose. programming staff directors, choosing 4. Monitor the performance of the sta- the PD first is advised. The PD must tion and management. be allowed time to appoint a jazz di- 5. Help the general manager represent rector, special programs director and the station. music director before the first Board meeting. After reviewing each of the RELATIONSHIP WITH GRADUATE PD applications, the SM will schedule TEACHING ASSISTANT and conduct one-on-one interviews with each of the applicants. Prior to the An essential relationship for the stu- interviews the SM will consult with the STATION MANAGERdent station manager is that with the GTA and the Faculty Advisor/General HANDBOOK: KJHKGraduate Teaching Assistant (GTA). Manager (FA) to construct appropriate Throughout this handbook, duties of and uniform questions for the appli- the SM are outlined. cants. The SM will take accurate notes during the interviews and will consult It is imperative to remember that these with the GTA and FA afterward to dis- STUDENT STATION MANAGER duties will not always be performed cuss results. Because KJHK is a learn- solely by the SM. The GTA will work ing laboratory, the SM will choose the The student station manager (SM) is responsible for imple- interdependently with the SM. There- PD. However, the opinions of the FA menting the policies and procedures established by the gen- fore, two qualities the SM must have and the GTA must weigh into the deci- eral manager and the KJHK Board. The SM may recommend are: sion. changes in policies and procedures to the general manager 1. the ability to work autonomously and the KJHK Board. In all cases the SM should seek consul- 2. the ability to work as a team mem- After the PD is chosen, the SM will This handbook was tation before directing change. ber work jointly with the PD to choose the written for KJHK-FM PD’s staff members: jazz director, mu- at U. of Kansas by The SM is the highest student authority in all non-academic In short, the SM must think and work sic director and special programs direc- Ann Peck (then graduate teaching matters and must be in frequent contact with the general on his/her own two feet but not do it tor. Interviews must be conducted with assistant) and was manager or his/her assistant. in a vacuum. The and GTA should go both SM and PD present. All interview published in the summer of 1993. over the handbooks for both positions results must be discussed with the FA In addition to operational duties, the SM shall also sit as an to better understand the responsibili- and GTA prior to an appointment. KJHK-FM is ex-officio member on the KJHK Board. ties of each position. operated by students with the OTHER APPOINTMENTS assistance of a The operational duties of the SM include, but are not limit- INTERVIEWING graduate teaching assistant and faculty ed to: The news director is chosen by a stu- advisor, and is a Each semester the newly elected SM’s dent committee picked by the News past NACB “Station of the Year” award 1. Assist the general manager’s graduate assistant with the first task is to appoint his/her staff. The Advisor. The sports director is appoint- winner. administration of the general staff meetings. appointment of the Program Director ed by the Sports Advisor. The promo- 139 SAMPLE HANDBOOKS tion director is chosen by a student er will take minutes of each meeting signs with slogans about KJHK (e.g., OTHER MEETINGS committee picked by the Promotion and distribute the previous week’s min- SPEED LIMIT 90.7). Ideas like this are Advisor. The development director is utes to each member. great for generating brainstorm ses- The SM will chair only executive meet- chosen by the Sales Advisor. The busi- sions—one of the most important rea- ings. However, this does not excuse the ness manager is appointed by the FA. Though the SM chairs the meeting, he/ sons for the retreats. Essential topics SM from keeping up on the status of The SM should consult with all the she must promote active participation are: scheduling executive meetings, other departmental meetings. It is the advisors prior to appointments. In from all attendees. planning progress report retrievals and SM’s obligation to serve as a front-line some cases the advisor(s) may need setting office hours. manager and leader. An absentee SM assistance in choosing the members of PROGRESS REPORTS is not credible, dependable or respect- their committees. BOARD MEETINGS able. If the SM cannot take an active Each member of the executive staff is role in the different divisions of KJHK, EXECUTIVE MEETINGS required to turn in a weekly progress The SM’s first experience with the he/she should find other work because report. The SM should schedule ONE KJHK Board will be his/her interview he/she does not belong in a manage- If the SM does not have good commu- time during the week when they are for the SM position. By the time he/ ment position. nication and leadership skills when due so that he/she may use them to she becomes SM, this part of the job appointed, he/she will probably ac- create the agenda for the executive will be old hat. The SM’s first Board The SM should make appearances at quire them during his/her appoint- meeting. For example, progress reports duty after appointment is to present the different departmental meetings ment. One duty that enhances these could be turned in by 5:00 p.m. the day the recommended executive staff and each week. Because the music an- skills is the chairing of executive meet- before the meeting. PD staff heads. There will be about two nouncers are not part of the academic ings. weeks between the SM’s appointment function of the station, the announcer EXECUTIVE RETREATS and the next Board meeting. After that, meetings, chaired by the PD, need the These weekly meetings serve as both barring any disaster or unusual occur- most guidance from the SM and GTA. a progress gauge and an “organization- At the beginning of each semester the rence, the Board will meet about twice The SM should try to go to every meet- al tune-up” to work on weaker areas. newly appointed executive staff will a semester. ing possible. Meetings of the sports and In preparation for these meetings, the meet for a day to plan events for the news divisions should be visited once SM must type a detailed agenda to en- semester and to understand its group The SM serves as an ex-officio mem- a month. Development and promotion sure that the meeting meets a purpose. dynamics. Both the SM and GTA will ber of the Board along with the GTA staff meetings usually take place dur- The GTA should assist the SM in mak- work to coordinate the event. It is pre- and FA. This means that the SM, GTA ing the scheduled class times. Class ing sure all areas of concern are cov- ferred that the retreat be somewhere and FA may contribute to the dialogue schedule permitting, the SM should ered in the agenda. Allow for time to away from the distractions of the sta- but may not vote. Voting members of visit these classes during the semester talk about old business, new business, tion and university. Topeka, Kansas the KJHK Board are the Dean of the as well. praise and accolades, a detailed plan City or Lawrence hotel conference Journalism School, the head of the of attack for the short term and a re- rooms work well (e.g., the Eldrige Ho- Radio-TV Sequence, two members of GRIEVANCE view of the general plan for the long tel in downtown Lawrence). student senate, a Radio-TV professor PROCEDURE term. Each department should have a and a student representative of the J- designated time to speak. All executive As with the executive meetings, a re- School. The grievance procedure is outlined in directors are present (GTA, SM Facul- treat agenda should be compiled. the station handbook and must be the ty Advisor, Program Director, News HAVE FUN WITH IT! Create a theme absolute rule when making decisions. Director, Sports Director, Development for the day. For example, one retreat The SM should not get involved in dis- Director, Promotion Director and Busi- had a travel theme. The front cover of putes unless and until they move up ness Manager). The business manag- the retreat packet had pictures of street the organizational chart to the SM po- 140 SAMPLE HANDBOOKS sition. All problems should be ad- ers for KJHK events, memos, music should help with the speaking engage- mean it is immune to the penalties of dressed at the level of the affected par- logs, Top 50 lists, campaigns, retreat ments as well. the law. ties. If the SM gets involved too soon, packets, photos from KJHK events, tension is caused by the alienation of specialty advertising items (e.g. PUBLIC RELATIONS KJHK discovered that in 1989 when it certain parties from the decision-mak- bumper stickers, key chains)—any- was fined $2500 for violation of donor ing process. thing that represents the station. When something eventful happens at announcement content. Therefore, the KJHK, it shouldn’t be kept a secret. SM must realize that he/she is running KAB AWARDS Another thing to remember is that TELL THE WORLD! The SM, along a REAL station. though KJHK wants the National As- with the GTA, should plan on serving Each semester the Kansas Association sociation of College Broadcasters as the voice of the radio station to the Part of KJHK’s obligation to the FCC is of Broadcasters (KAB) hosts a student (NACB) and the rest of the broadcast outside world. Information can be dis- to equip each radio announcer with a awards competition. Part of the educa- community to know about the station, seminated in several ways. Within the Radio Telephone Operator’s Permit tional experience at KJHK is being re- it is imperative that future KJHK staffs J-School, the SM may send information (Form 753). When mailed to the FCC, warded for hard work. KJHK is always have a history to look back on. Every- to the Dean’s office for publication in the application must be accompanied a prime contender in these competi- one wants to leave their mark here; the Monday Memo to the J-School fac- by an operator-signed statement that tions. However, it cannot win if it has therefore, at least ONE of everything ulty. University Relations will publish says he/she will only use the license nothing to enter. Therefore, the SM should be saved for KJHK archives. news releases for the area media and at a non-commercial station. For a fee must constantly remind executive di- Oftentimes, staff members live so related trade publications. Additional- of $35, the announcer has the option rectors and their staffs of the awards much for today that they forget about ly, these news releases will be distrib- of purchasing a license good for use at competition. Staff members should tomorrow. Not only is it fun to remi- uted to the hometowns of the highlight- a commercial station as well. Most an- save all their work, and should be no- nisce, but saving things is also very ed personnel. The SM may also con- nouncers choose the former. The SM tified well in advance of the entry dead- utilitarian. It keeps future staffs from tact media on his/her own. This also should mail ALL applications. This way lines. It is also the SM’s job, with the “reinventing the wheel”, and from creates a bond between the SM and when the licenses are returned, the SM help of the GTA, to put the entries to- making the same mistakes twice. information gatherer at the medium. may make photocopies of them for of- gether. Broadcast organizations and trade pub- fice records. RECRUITMENT lications want to know what is happen- NACB AWARDS ing also. The SM should give it his/her The SM serves as a gatekeeper of the To maintain a healthy flow of students personal touch by writing letters to the flow of licenses. Without a license, an KJHK was voted the number one col- through KJHK, the SM must spend editors of different trades. When these announcer simply may not announce. lege radio station in the country in 1991 some time recruiting. The SM should pieces appear in print, they should be The license should be kept with the and the first runner-up in 1992. Why? plan on making public speaking en- SAVED! announcer’s driver’s license. The FCC Not only because of hard work, but also gagements with area high schools and likes to make surprise visits, and the because of the retention of hard work. with organizations on campus (e.g., FCC LICENSES station could get into a heap of trouble What does that mean? It means the SM Black Men of Today, Black Student if an announcer is unlicensed. Until needs to be a PACK RAT! SAVE EVERY- Union, Women’s Student Union, frater- Many people do not consider KJHK a the announcer receives the permanent THING! KJHK didn’t win because of nal organizations). This not only en- “real” radio station, but it is as real as license from the SM, he/she needs to good looks and a great personality. It sures a full staff, but also a diverse and they come. The station operates under keep the temporary license with him/ won because the judges were able to well-represented one. The SM needs to the same regulations as any other non- her whenever he/she is on the air. put their hands on something tangible. share information about different staffs commercial radio station. Just because This means the SM should actively and application deadlines. The GTA it is in a university setting does not search out and save promotional fly- 141 SAMPLE HANDBOOKS THREE-SEMESTER RULE OPENING/CLOSING THE Office hours and location should be STATION posted at the Dole Center and at KJHK. The KJHK Board installed a rule that Even though the SM will most likely limits students to three semesters in During interim periods, KJHK goes off hold office hours in the Dole Center, it any one position. The people most af- the air (i.e., summer interim before fall is crucial that he/she allot time fected by this rule are music announc- classes, Christmas break). The SM throughout the week to visit the sta- ers and directors. The SM needs to rou- needs to coordinate with the GTA, pro- tion. tinely update the Macintosh file that gram director and engineer for the clos- tracks this information. The SM and ing and opening of the station. The SM The SM must be a front-line manager GTA should take the announcer sched- will have an outside key to the station if he/she wishes the respect of his/her ule each semester and add information to assist in these situations. employees. Visiting with the on-air to the file when needed. Once an an- announcers, and news and sports staff nouncer has worked three semesters SPINS RENTAL creates a more cohesive environment. as, for example, a rock announcer, he/ It becomes evident that the SM cares she may try jazz, special programs, etc. Occasionally, KJHK employees will about the workers and the station as a The Three-Semester Rule was created rent the spins unit for campus organi- whole. to allow participation from as many zation activities. KJHK has a long- students as possible. standing relationship with Gay and HAVE A GOOD Lesbian Services of Kansas (GLSOK). EXPERIENCE PARTICIPATION The SM must approve all spins rent- CONTRACTS als. It may be rented only by campus 1. This job will test your character. organizations. It is not to be used at 2. The SM can learn as much as he/ Because announcers are not part of the private parties. Employees may rent she wants about management. academic function of the station, they the unit, but must leave a $75 deposit. 3. The principles learned can be ap- must sign a participation contract that Rental is $50. The $75 deposit will be plied to any business. states they will work within the guide- returned when the equipment is re- 4. This is the place make mistakes and lines of the station’s operation as out- turned in acceptable condition. learn from them. lined by the J-School. The SM must keep track of these contracts as well The key to renting the unit is to be se- as an affidavit that each announcer lective. Nobody has a RIGHT to the must sign stating that he/she will not unit. If granted, rental is a privilege. accept consideration (e.g. money, mer- This is an expensive piece of equip- chandise) for a “plug” on the radio. ment and should be treated with great Personnel records should hold these care. documents. Records may be removed two years after an employee’s relation- OFFICE HOURS ship with the station is ended. Not only is the SM a manager, but he/ she is also an advisor and question fielder. The SM must be accessible to students during designated time slots. programming NACB 1995 STATION HANDBOOK

Seven 143 PROGRAMMING Maybe, the subject matter of the show ergy, presence and ability to ad-lib. Try interests them, and they’ll learn from your local drama department for eli- working on the project. And, of course, gible candidates. Try not to avoid hav- it will be a lot of fun. ing the producer acting as host, because it’s difficult to handle both posi- If all else fails, offer incentives. Buy tions simultaneously. your staff an occasional lunch. Give them station freebies (movie passes, Select someone who is familiar with CDS, posters). If the opportunity the show’s concepts. Tim Allen is not arises, tell them they’ll get to meet ce- gonna host a show about cooking and lebrity guests. Julia Child certainly wouldn’t be very handy on Tool Time. The person Most importantly, make others on your doesn’t have to be an expert, but don’t staff feel important. Treat your staff choose a dummy – choose someone PRODUCING A RADIOwith loads of respect. Give them titles who will be willing to educate him/ TALK SHOWand promotions when they do good herself and become an expert on the work. Always point out the positives. show’s concept.

Although it is important that the host CONCEPTS can talk, make sure s/he has some- There are two ways to produce a radio talk show. You can thing to say and that will make people throw it together haphazardly. Or, you can take an orga- A show should have a concept other want to listen. Some people just like nized and planned approach. The latter choice is prefer- than “talk show.” Larry King does to talk to hear their own voices… avoid able. world news. Sally Jesse Raphael does this at all costs. psychology. Dr. Ruth does sex. You What follows is a step by step guidelineto help you through can be flexible, but don’t be too gen- TOPIC the process. It need not be adhered to precisely, rather it’s eral. meant to provide some helpful suggestions in coordinating Now it’s time to brainstorm – the your show. Find a concept that won’t get stale. A show’s concept has been determined. “Producing a Radio show about dogs will get old, but a Let’s say the show is “Face the Cam- Talk Show” was written by Frederick show on animals has many possibili- pus.” Topics can range from date rape Levy, a graduate of STAFFING ties. A show devoted to Nirvana will and drugs to scholarships and univer- the University of grow tired. A show about Alternative sity groups. The bonding element , the Southern California. Frederick produced Before you begin, the most important thing to do is get help. Music could remain interesting for a concept, issues facing college students. two talk shows for Don’t try to do everything yourself. You’ll fail. You need to long time. KSCR (the student radio station at USC) find dedicated, hard working individuals to help you. This Here is another example. The show is that were also may be hard to do since your budget is probably zilch, and called “Comedy U”. One week the pro- distributed on U you can’t pay anyone. Don’t let this deter you. gram features stand-up comedians who Network radio, titled SELECTING A HOST “Then and Now” have crossed over to film. Week two, and “Celebrity DJ Why should someone work on your show? Experience. First and foremost, find someone who there is a special on “Saturday Night Party.” Maybe, this will help them prepare for their own show. can talk. They should have great en- Live.” Week three, features the best in 144 PROGRAMMING college comedians. Week four, exam- need to be in a studio? Is it live or is it Once the show itself is ready to go, monitor and talk on air, at the same ines comedy clubs. Week five, is an taped? make sure someone will hear it. Don’t time. On the other hand, the student in-depth interview with Dennis Miller. rely on others to just tune in. Put up was extremely comfortable with the And on, and on, and on. Don’t forget Follow up with phone calls. Don’t flyers. Do promos on your station. show’s concept, with the topic and the to involve your staff on topic sugges- harrass your guests, but don’t let them Have the school paper do an article individual guests. tions. Some of your best ideas may forget you exist. When contacting ce- about your show. Again be creative. come about that way. lebrities, more often than not, you’ll No one says the publicity needs to stay As you may or may not find out, ce- go through their publicist. These within the campus either. lebrities from the past are some of the people are hired by the celebrities to easiest guests to get for a radio show. GUEST COORDINATING handle their interviews. Don’t let them A PRACTICAL Finding them was the hard part. The intimidate you. Remember, befriend- EXAMPLE guest coordinating staff had to conduct Again, no one wants to hear the host ing a publicist can be extremely ben- hours of research tracking these people talk to themselves for the length of the eficial to you, especially if they repre- In college, an ambitious student pro- down. Once they did, letters, follow show. There should be interaction. sent other clients. The same goes for duced a very successful talk show up and more follow up continued un- You could have a listeners call-in, bring secretaries and personal assistants. called “Then & Now”. Here’s how it til the guest was in a studio. guests in-studio, contact expert for a The more flexible you can be with your happened. phone interview or incorporate previ- schedule, especially with celebrities, The show was a half hour long. It be- ously recorded interview segments. the better your chances will be of ob- The concept of the show was simple. gan with a short theme, a hosted intro- Or, you could combine all of the above. taining them. Guests also want to Nostalgia. More specifically, each duction – then, straight to the inter- know “who else has done the show?” week a celebrity with notoreity for view. The usual lead out to commer- Getting guests can be much easier than Therefore, don’t ask Madonna to be their roles on past programs was inter- cials was the theme song to their popu- you think. The easiest guests to ac- your first guest – it won’t happen. Start viewed. The host and guest would lar TV show. The return from the quire are people who work at your small, and gradually work your way reminisce about the highlights of their break was original theme music, or school. Professors themselves are bigger. The more people with recog- career, and find out what they are up another piece of music symbolic of great guests, but they are also valuable nizable names that have done your to now. their career. The program wrapped up resources for obtaining non-collegiate show and the more familiar the show nicely – a trivia contest question was professionals. University becomes to the public, the more easily The staff consisted of a producer, 4 asked based on the guest, final updates adminstrators are always fun. And, of guests will do your show. guests coordinators/researchers, and and thank yous on the guest were course, students have a lot to say. an engineer. The staff worked for free. made, and lead out with staff credits Their motivation was meeting and was read over a bed of theme music. Residents of your community. Politi- ADDED EFFECTS working with celebrity guests. No special effects were needed, but the cians. Sports figures, musicians, actors. Ocassionally the staff was provided music added a nice nostalgic touch. They are all at your disposal. You just As a polishing touch, a talk show is al- with free movie passes from the sta- need the right approach. ways a little more interesting when you tion. Publicity was an area that was tackled add a dash of music. Be creative. Get with extreme diligence. “Then and Begin with a good letter explaining the a theme song to open and close your The executive producer also served as Now” was syndicated by U Network, show’s concept and inviting the per- show. Do musical intros at commer- the host. It was a mistake. As the so the show was being heard on col- son to be a guest on your show. State cial breaks. If you have a song that is show’s executive producer, the student lege radio stations all over the coun- the time committment, and exactly relevant to your topic, play a bit of it. already had too much to do without the try. The school paper did numerous what you would need them to do. Can Use sound effects where appropriate. added worry of hosting. In addition, it articles on the show, as did several it be done on the phone, or do they was very difficult to give directions, national magazines. Press kits were 145 PROGRAMMING sent to major publications, and a few of them bit. The Museum of Radio and Television in New York has archived the show in their library.

CLOSING

Believe in your ideas, and believe in yourself. It seems like a lot of work, because it is a lot of work. But it is not impossible. Good luck. 146 PROGRAMMING If you have the time to go through all one-hour period. Include information the music, then you can explore. But on the artists for the DJs to read, espe- chances are that you will need to di- cially regarding availability of albums vide up the responsibility among a few on independent labels, etc. This way, others besides yourself. Of course, all bands can be introduced, new music jazz CDs can usually be handled by the gets played, and the listening audience station’s jazz director, the classical ones is impressed. by the classical director, and so on. For your alternative rock department, Depending on your station’s goals, you which will probably be somewhat big- can put a higher stress on regional and ger, you may want to have two or three local bands which send in music. people (directors or dependable DJs) Emphasize that small, independent to sample some of the music as well. and less-known alternative bands should be played more than bands that ROTATING IN NEW MUSICHOW TO SAMPLE: all the major stations are playing. You may then want to have two (or more) Listen to the album, single, etc., and add pools: one for heavy stress and read any artist/band bios that have one for light stress. been sent to you by the record company. (If none were sent, contact the ORGANIZING NEW MUSIC: As record companies keep sending new music to the radio record company and ask for some.) station, it’s hard to stay on top of things and keep the playlist Pick out the most appealing songs and CDs and records in your add pool up to date. Then it’s hard to make sure that your DJs are write them down, with reasons why. should be organized in a manner so actually playing the new stuff that comes in. Here are some Recommend how heavily the band that DJs can easily find them (by ei- guidelines in making your programming as interesting as should be played. Make note of songs ther a numbering system or in alpha- possible by adding new music to rotation and keeping an that may be offensive to the listening betical order, for example) and the in- even flow for what is played. audience and should not be played. formation about them, and so on. Make sure that every album is labeled Separate the music in current rotation WHAT TO DO WITH NEW MUSIC for its proper format. (You could at- from the normal music library so tach to each album/CD a standard people can access the new music Every week, your station gets flooded with mail, consisting sheet which has room for DJs to write quickly. Keep the readable informa- mostly of CDs... ones that usually come from artists and additional info.) tion about the artists/music together bands that have popped out of nowhere. Assuming your and categorized, preferably in a filing “Rotating in New Music” was station is diverse, wide-open and “alternative”-based, play- FORMING YOUR “ADD POOL”: cabinet, so that it can all be found eas- featured in a ing as much new stuff as possible should not be much of a ily. previous edition of problem. Your audience expects to hear just about anything, Meet with everyone who sampled the the NACB Station Handbook. This and will normally want your playlist to stretch out and be- music. Put all the CDs, records, etc., section was come as interesting as it can. Anyone who wants “the usual” in the “add pool,” which would be the originally written by Andy DiGiovanni, will just go elsewhere. Let them do so. “new music playlist” for the next then music director week...from which your DJs will select for Providence College’s WDOM. at least 4 or 5 songs to play in a given 147 PROGRAMMING

PROMOTING NEW has been played heavily for a long time that underground music lives and that LET THE PUBLIC KNOW THE MUSIC WITHIN THE on your station should be stressed less your station is there to support it. SCOOP: STATION to make way for the good new stuff. Most of all...if it’s good, play it! Make promos for on-air use, print and Before the audience can hear a new COMMUNICATE: distribute program guides, advertise in song, the DJ must decide to play it. campus and local papers and maga- And the only way a DJ will play some- CREATE A “NEW MUSIC” Communication within the station is zines, and invent different ways to pro- thing new is if s/he is aware that it PROGRAM: important for the promotion of new mote your station as a “new music” sta- exists and is worth playing. Therefore, music. Stay in contact with DJs to find tion. you should have a way to introduce Every week, a show to highlight brand out what is most liked among the new new music to your staff, and one of the new music is a good way to introduce stuff, and have a system for DJs to tell best ways is to have a “listening ses- the stuff in your “add pool” to the lis- each other what they like. (A small sion.” Get everyone together, have tening audience and get feedback marking board of some sort is useful.) some food nearby and go through each about the music. Plan each show After tallying up the most played songs new album that was sampled, allow- ahead of time, and be prepared to give for a given week, meet with your DJs ing for each DJ to get a few ideas of a good introduction to each song. Ask if some bands are getting too much or what bands s/he will introduce when listeners for their thoughts on the mu- too little airplay. that next show comes around. A lis- sic. The song with the best response tening session can be run in conjunc- could be your featured song of the tion with normal DJ staff meetings week. If there are some tunes that you TELL RECORD COMPANIES when all programming announce- are “not sure of,” or if your sampling WHAT Y OU’RE PLAYING: ments are made or when airchecks are leaves you with a pile of “weird and reviewed. questionable” stuff, have a “hodge- When you contact the labels, let them podge” hour where just about anything know what new albums they’re pro- PROMOTING NEW can happen. Be creative. moting are getting the most support on MUSIC OVER THE AIR your station. This way, they will send you more music to play, and maybe Each DJ should play new music on INTERVIEWING BANDS: even supply some promotional give- each show and include information aways if you ask nicely. Report to vari- about the artists. After the music is Bringing bands into the studio to play ous college music-oriented trade pub- introduced, DJs should ask for audi- and discuss their music over the air is lications each week, so that all the dis- ence response about the music. Seek a fun thing to do, and the audience eats tributors will take note of what your out what they like best. Try to sort out it up. Find out about local bands station is playing. Some labels that do the most unique and most requested through clubs, local indie record labels not have your station on their mailing music (gather the information from and independent record stores. Live lists may make an addition if they logs filled out by your DJs) and put interviews can help the bands, pro- know who you are. those selections in the next set of heavy mote their gigs and increase your rotation. The newer, more interesting, station’s audience. This is also a way different and appealing the music is, to get your station involved with local the more it should be played. What is clubs to hold “WXXX/KXXX nights”...a already popular otherwise and what perfect way to show the community 148 PROGRAMMING Some of the suggestions and ideas I’m ( ), guard for the Devils and brought up below are not new and you’re listening to Devils basketball many stations may already use them, live on (station).” After the ID, take but combined in one package on a con- time to reintroduce yourselves and re- sistent basis, you will have your PRO- set the scene. Even though you’re DUCTION. there for the whole game, the listener isn’t. Remember, you can never say the score or time remaining too much. PRE-GAME SHOW If you forget, develop a system. The ine I used for the baseball was the two- Think BIG. Do you just join the an- out method. As soon as the second out nouncers for the starting lineups and was made, I said the score. What if it’s the national anthem? How about a a long inning? Usually runs were custom opening for each game with socred in long innings so you were SPORTS: NOT JUSTtheme bedA music. Don’t just settle for updating the score anyway. Whatever GAME – A PRODUCTIONthe always available home team head works. BY WARREN KOZIRESKI, FACULTY ADVISOR, WBSU, SUNY-BROCKPORT coach, hit the phones a day or two in advance to get the opposing coach also. Do you have a statistician? It’s a great way to get new members involved with Put an announcer on the field/ the department and they’ll do a better Sports broadcasting is a tough business, especially in college courtside/rinkside for a weather/play- job than someone on the air (usually). radio. The DJs are mad because you keep “stealing their ing condition/injury report just before show,” the engineer is upset because the remote equipment gametime. Have an anchor back at the The key to radio sports is knowing is always breaking down and the Program Director doesn’t studio gathering other scores of the day BOTH teams inside and out. You must like sports and can’t understand why we need to carry so and set up a “other games we’ll be obtain the rosters from Sports Informa- many games especially if the team is losing so much. watching” segment along with updates tion a few days in advance and memo- throughout the game. What about a rize the names and numbers. Do not Sound familiar? In spite of all this, you must persevere and highlights show featuring the previous use numbers on the air however – they produce under all the pressure. game set to music – it’s alot of produc- are for your memorization only. tion work but it sounds slick and all If you didn’t already know, listeners enjoy sports on the ra- you need to do is record the game on Be descriptive when on the air. Sim- dio and even come to expect the college station to carry the rell back at the studion. Think BIG. ply saying “pass to Jones” is TV play- games and even the DJs can gain soem marketable experi- by-play. “Smith left side of the lane to ence through their board operator duties if you involve them Jones, baseline for Brown, back up top in the process. GAME for Farris” is just one fo the many ways to describe a basketball play for a RA- The process is the focus of this article. If you consider a Don’t just slip the IDs in. Be slick. Take DIO audience. Develop a list of de- sports remote as just a game, it will be. Treat every sports a tape recorder to practice with a script scriptive phrases for each sport and remote as a PRODUCTION, and you will see results. and ask the players and coaches to situation so you don’t say the same voice a few IDs or rejoiners for the sta- phrase every time. tion to use during their games. “Hi, 149 PROGRAMMING The siz most important items in play- POSTGAME by-play are preparation, score, who has the ball, where is the ball, time, and Take a break for a few minutes of com- your pacing/excitement level. mercials/PSAs to collect your stats and interviews. Keep it short and sweet It has been said that you should pre- with the interviews and maybe throw pare 3-4 hours for each braodcast you it back to your studio host for a wrapup do which includes memorizing rosters, of other sports events of the day. This your coverage with a Public Address Hookup withanouncement a local sports at teamthe game: for ticket “Listen to (the preparing your sportsboard, interview is also another opportunity to involve giveaways. station).” If you sell itAlso, as promoting during the youth game, promo collection, eyc. Each game is not to be your sideline mic or statistician as part and amateurother sports, sports you’ll broadcasts have a coming better up. Sports jumped into unprepared – the listener of the broadcast. Remember, you shot at gettingfans some usually of the like tickets to listen set toaside many different for community organizations. But use them will know. should constantly be training the next sports. Remember to plug your sponsors fro giveawaysseveral during times the games. as well. The teams group of announcers for your station write down the ticket seat numbers and will so they can continue all the great check for legitimacy. HALFTIME/BETWEEN things you started. A custom close PERIODS complete with the next Sports Broad- For announcers, nothing sounds worse than cast will bring you full circle. not knowing both teams names and num- The most difficult thing to keep is a bers cold. You shouldn’t say the numbers listener tuned in during long breaks in on radio, but preparation is everything. Re- member to paint the picture with the ball the action. The best method I’ve found OTHER NOTES location, team possession, score, time left, is to get that BIG INTERVIEW. Not the etc. and be consistent the whole game. Again, you’re there for the whole game, but coaches wife or the head trainer, but a Never send it back to the station for music chances are, the listener isn’t. major interview. If available, call for a during half-time or between games of a press pass to a local major or minor double header. It will throw the listener off. league game or practice and get an in- Instead, archive a couple of undated longer interviews for use during these or long in- Don’t imitate your favorite announcers. terview with a name player. If you jury timeouts. I once did a hockey game They became your favorite because they aren’t near such facilities, get on the with a 40 minute injury break to bring in the didn’t copy others – they developed their phone and work with the Public Rela- stretcher. With interviews stockpiled, we own style. tions department of any team. It takes were able to get through and it sounded good-not two people running at the mouth a little leg work but it will pay off. Write to fill time. for copies of the rpess guides for back- CONCLUSION ground information and go for it. The listener will be more inclined to keep Promo your ganes with on air spots Whethercom- you’re in Sports Broadcasting listening to an interview with Brook plete with play-by-play footage. Callfor your fun or a career, the work will pay Jacoy of the Cleveland Indians than the local papers (not just the student one)off and in better listenership, contacts for resident Athletic Director. Get them get your schedule listed on the day ofjob the possibilities and credibility. game. Type alive promo to leave for the to cut an ID too. jocks to read. Bring your banner to the game to get the fans thinking about your station when they can’t make the game. Get your Sports Information Director to include 150 PROGRAMMING tertaining and effective radio (audio) on the left and the other is on the right theater requires five basic elements: a then the audience needs to know that good script, a group of flexible voices – and you need to be sure it stays that willing to work for cheap, a fanatical way throughout the script. I’m not a producer/ director who knows how to big supporter of narrators. We don’t organize an dmotivate, a good record- have narrators in real life, dialogue ing/ editing engineer and a minimal between two or more people creates recording/ post-production facility. the narration for the audience. That’s Once you can learn to produce quality how I like to do it, although I have projects in simple two track mono ana- heard well-written narration which is log facilities you’ll find yourself paint- not intrusive, I guess that’s just a mat- ing masterpieces in digital stereo stu- ter of personal choice, but what’s not dios. up to youis leaving your listener in the dark. That can’t ever happen. At ev- STARTING YOUR OWNGOOD SOUND IS ery second, they need to know where AUDIO THEATER TROUPE VISUAL they are, who’s speaking and what’s goin on in the plot. If you loose them You need to always remember that the for a moment the magic is gone and canvas on which an audio theater art- the pictures in their mind will fade to ist paints is the listener’s imagination. black.” The first time I tried to produce a piece of audio theather, I The brushes and colors are words, was a sophomore in college. I had grand ideas of producing music and sound. A good audio script My rule is imple – either a script grabs “The Nutcracker” for radio. I’d done it in high school with produces picture so real you can not me and makes me want to produce it some six year olds, how difficult could it be on radio? I only see, but you can almost smell, because I can see, or it doesn’t. Don’t This article was learned with that very first project, (which by the way was touch and taste as well. How do you be afraid to rework something. The prepared by Sue Zizza, Operations the bug that bit more than 15 years ago and never let go) judge if a script is good or not? Can idea may be good, but the script may and Programming that difficulty wasn’t the problem. The problem was getting you hear it while you’re reading it? need some fine tuning. With the Coordinator for WRHU-FM at the audience to see what I was seeing with pictures. I was Does it conjure up pictures in your Hofstra Radio Theater Players I often Hofstra U. She is lucky to have studied with the late Jeffrey Kraus at Hofstra mind or does it leave you confused and ask others to read the scripts students also the co-creator U., one of the best production teachers around. He believed wondering where the action is taking and others submit to be sure I’m not and Advisor to The Hofstra Radio that “if you’re just starting up, you don’t need a studio filled place? George Zarr, producer and co- too close to the project. If they come Theater Players, as with state of the art stuff, in fact, you’re better without it. author of the “Visit New Grimston, back and say it works for them, then I well as host and Executive Producer Remember, it’s the word, the script, the actor, he effects that Anyway” and “Little Chills” series take it into the studio. of the nationally convey your pictures and that you can do with very little heard on National Public Radio, cur- syndicated “Radio equipment at first. Once you know what you’re doing, then rently writes for adult and children’s Remember, scripts full of gimmicks Worls” series. A national award it’s time to bring in the sound benders and digital editors, radio programs. His advice is “you may be nothing more than scripts full winning audio but first learn the basics.” need to make sure that there is no con- of gimmicks. If it takes a lot of sound theater producer/ director Sue also fusion about what the actos are read- processing to make something work, teaches introduction Learn the basics – that’s become my mottoe as I try to teach ing. The blocking of sound needs to take another look. Good theater is good and advance audio production at and work with local and national audio theater projects at be in the script – if it’s important tot theater, and a lousy script doesn’t work Hofstra U. Hofstra U. and across the country. What are the basics? En- he plot that the doctor of one office is any better because you process it to 151 PROGRAMMING death. As Marty Jenkins of the BBC is technical end helps the actors relate check. Coffee and donuts, check. your cast is good, they help to improve fond of saying “it’s the word that mat- better to the medium in which they are maps to the cast party, check. Air time on your suggestions and pictures be- ters, nothing more.” working. For example, a director may booked for the completed tape, gin to form in the listener’s mind. want an acress to stir her own tea on check...” You get the idea. The pro- mic. The sound effect then has the ducer is responsible to make sure that Other assistance you’ll need if your THE AUDITION right distance for the audience’s “ear” all the elements come together. project is going to be a success: – and works better with the action of Radio Acting is just as demanding as the voice if the actress does her lines Organization is the key to being a good Assistant Director: This person handles the stage or screen acting (except that you adn stirs at the same time, whereas if producer. Schedule all the elements line readings, technical rehearsals, sched- don’t have to memorize your lines). the stirring sounds are added in later needed to produce your project. Write uling, etc. Sounds need to be “blocked,” or laid out the rhythm, or ambiance, may be off everything down and make sure all Head Sound Effects Technician (or Foley Di- in terms of their distance to the audi- and might not sound right to the lis- cast members get copies of recording rector): This person is responsible for lo- ence, prior to recording. There are en- tener. times, editing sessions, etc. And del- cating all the live and recorded sounds trances and exits. There is motion. egate! Find students and community needed to create the effects. They can also be responsible for pulling a crew together, Every bit of emotion and meaning has Knowing what it takes to create he volunteers willing to help meet the goal teaching the actors how to do some of their to be conveyed to the listener by voice sound effect for hot tea for the mic isn’t of completing an audio theater piece. own sound effects, work with the mix engi- quality and inflection. always as simple as making a cup of Remember no to fall into the “I can do neer, etc. tea. There’s distance, duration, timing, it better myself trap.” Train other Voice casting is very important. What intensity, etc., to be considered when people early in the production process, Chief Audio Engineer: This individual works does character X “look” like in your stirring that tea. Remember in an au- from techincal to aesthetic aspects. with all your master recordings and often mid? What voice is going to convey dio theater troupe no one should be a Everyone benefits from having input is in charge of editing and assembly as well that picture to your audience? Your star, you all need to work together to in the final project – and your produc- as final mixing. actors and actresses should be good at create a finished product. tions wil be better as well. Productions Assistant(s): These persons “cold readings,” where they have no help with the handling of the scripts, works prior preparation, since most times a In addition to the producer, you’ll need with the continuity and sound effects engi- new troupe, or even one that’s been I’M TIRED... ARE WE a director. This person has the “vision” neers, keep track of actors’ takes, etc. around for awhile, doesn’t have time DONE YET? of the production which everyone for may rehearsals. They need to be works to acheive. Can an author be a able to do several convincing voices Somebody needs to lead any group. director? Yes, after years of learning THE BUZZERS AND and characters – although you Often the producer is also the director what it takes to work with actors and WHISTLES ARE NICE, shouldn’t turn away who only has one when working on an audio theater others’ scripts. New authors do not BUT... “voice”, it may be a voice that has hun- project, but sometimes you have the usually make good directors because dreds of applications. luxury of having these jobs accom- they are so close to the script and are A few years ago I was invited to study plished by different people. In either not willing to take feedback from the under Martin Jenkins from the BBC at It also helps to have actors who are situation, without a good producer actors about its flaws. The most im- the Public Media Foundation in Bos- interested in the techincal aspects of even the best project won’t get off the portant thing I’ve learned about direct- ton. This was a humbling experience producing: the editing, recording and ground. What does the producer do? ing over the years is that all you can because I learnd what Mr. Jenkins sound effects. Why? Because most Cheer you an 4 AM. Make sure the do is suggest to the actor/actress what meant by “it’s the word.” As part of audio theater troupes are so small that director has everything needed to pro- you think it should sound like, then week under his tutelage, we were ech people need to double up on what they duce the project. “Studio time, check. you need to trust their skill to bring it asked to create a scene from a play that do. Also, a working knowledge of the Engineer, check. Live sound effects, to life. Often, if your relationship with he had already produced. I was given 152 PROGRAMMING a wonderful narrative about a man who Prep your actors, sound effects and good actors that make audio theater was caught being able to fly and was foley artists and recording engineers, work. caged for his ability. I created multiple so everything is ready when you record layers of sound to run behind the nar- live to tape. Although ultimately, you As for funding – be creative. Go to the ration. Mr. Jenkins used nothing but may choose not to record this way, Student Government Association and the actor’s voice to convey the frustra- having the elements there for the ac- start a new club. Find small local mer- tion and fear the character experienced tors to hear and play off of is benefi- chants who are willing to donate while being captured. His was much cial to their performance. Sometimes, money in exchange for underwriting more effective than mine. Why? Be- if studio time is limited, you will want credits when the program airs. Collect cause my layers and layers of produced to record other elements as you lay dues from your actors for being part of effects took away from the most im- down actors’ lines, and sometimes you the group. A few dollars can go along portant part of the piece – the word. multi-track those elements in later, but way as long as your not in need of a it can be very helpful to the pacing of studio. As I learned many good scripts have a project to know how many times the been destroyed by the use of exotic phone is going to ring before it’s an- Most of all, have fun. Most people who sound benders, special effects units swered. are drawn to this art like to enjoy life and too many microphones. Keep it and see it from a slightly differebt bent simple. Especially when you first start Initially, try to produce in mono, even than the rest of the world. Yes, it can out. Use as few mics as possible and if you have stereo capability. Stereo is be hard work, and yes, sometimes effects only when they directly en- half again the sound, but eight times deadlines cause stress, but if you’re not hance the action. A basic production the headaches. You need to work about enjoying creating pictures in your facility should consist of three tape phasing, continuity of blocking and listener’s minds, if manipulating sound machines (mono or two track), two much more in stereo – so when you doesn’t thrill your ears, then this type turntables, a cart machine and a simple first start out, keep it simple. of production isn’t for you. mixer. Once you’ve learned how to make great radio from a single voice, When recording, make sure one of the If it all those things. then your skill then you can begin to add layers of production assistants and the record- keep growing and like many of my sound so it enriches the texture of the ing engineer slate all takes both on the colleagues, you’ll branch out into pro- production – not just because you can. tape and on the script. This will make ducing audio books, bits for morning post-production much easier. show DJs, commercials and all kinds of great radio. A FEW RULES Finally, remember this whole experience was supposed to be fun. So, after The audio theater artist must “re- your first production, even if it’s still hearse, rehearse, rehearse.” Anywhere. rough around the edges, have a cast/ If you would like to study audio theater You don’t need to be in the studio to listening party. Make sure everyone production, contact work with actors. if you want to work gets a few compliments along with the The MidWest Radio Theater Workshop, with mic technique, get a cassette ma- criticism. If the production is great call WRHU or chine. make sure everyone feels good about contact NPR their part in the project. It’s not just Playhouse for more information. 153 PROGRAMMING first thing to do is to go to the office are three general types of records jour- responsible for law enforcement/pub- nalists are interested in seeing: lic safety on your campus. BLOTTER OR INCIDENT REPORT This might be a public safety, security LOG or police office funded and controlled by the school, an office funded by the This is a daily summary of every inci- school but whose officers are affiliated dent the office responded to or was with a local police or sheriff’s depart- called about. It will usually give a brief ment or a branch of the city or county description of the incidents as well as police located on or near campus. the time and the place where they oc- There might be more than one such curred. Some police offices, especially agency for your campus–a campus se- smaller ones, may not keep a blotter curity office and a local police depart- or log of theses summaries. They may STATION ACCESSment, TO for example, both of which op- only keep the reports on which the CAMPUS CRIME REPORTSerate on school property. You will summaries are based, in which case probably want to try gathering infor- you will want to ask for an incident mation from both. report.

It is important to express to the offic- INCIDENT REPORTS Some officials at good old “State U.” would like you to be- ers, staff, etc., that you are not their lieve that you are going to school in a crimeless Utopia. These enemy, out to portray them in a nega- These are the more detailed reports same officials might try everything in their power to rein- tive light. Make sure they understand that are typically filled out by the of- force this overly pleasant image of their college or univer- that you are cooperating with their ef- ficer or officers who actually dealt with sity. Some may even go to the extreme of trying to suppress fort to minimize crime on campus. the incident. They will usually give information concerning certain aspects of campus crime. This understanding may lead to a more the names and addresses of the indi- open, cooperative relationship be- viduals involved in the incident, if As much as we’d like to believe in the stereotype of colleges tween the college media and campus known, and will provide a longer nar- being a safe, peaceful haven of academia, reality dictates police/security. rative of what happened. This is often that crimes do happen on college campuses. Murder, rape, the most valuable document for find- assault, robbery, etc., don’t stop at the college gates. Being Now that the police know what your ing the details of the incidents you part of the college student news media includes the respon- intentions are, what exactly are you want to cover. In some states where sibility to help make the campus a safer place. asking for? Upon arrival, identify your- incident reports are not public records, Updated for 1995, self and the station to which you be- the condensed version in the blotter “Station Access to long. Next, ask for whomever is respon- may be all that you will see. Campus Crime Reports” has been GETTING TO THE STORY sible for handling press inquiries or the published in person who handles the police blotter ARREST / BOOKING LOG previous editions of the NACB Station Imagine that it has been brought to your news department’s or incident reports. Handbook. attention that a specific crime has been committed on cam- Different police and security offices This is a record of all individuals who pus that should be reported to the campus community. The have different names for the reports are charged with crimes. Only police about crime that they keep. But there offices that have arrest powers will 154 PROGRAMMING have this kind of log, but if they do, it are covered under your state’s sun- ably have to use more creative meth- BEING PERSUASIVE can be an important source of infor- shine law, even if your security offic- ods of obtaining the crime information mation for stories about individuals ers do not carry guns and can not make and accept that the law does not re- Once you are armed with this neces- breaking the law. This log will give the arrests. quire these agencies to provide the in- sary information it should become name, address and age of someone ac- formation you need. easier to find the records you need to cused of a crime as well as the charge. FOR A PRIVATE COLLEGE OR see. However, this does not guarantee UNIVERSITY Sometimes it may be easier to get in- cooperation every time you wish to see formation if you point out to the offi- a certain report. You have the right to OPEN RECORDS LAW Find out if your campus police or cam- cials, police, etc., that it may be ben- take legal action if you feel you are pus public safety office has law en- eficial to cooperate and detrimental to being denied access for any reason. In some instances, the campus police forcement authority. Simply ask the decline. The recently passed “Student The Student Press Law Center gives themselves may opt not to release cer- public safety chief or check the school’s Right-to-Know and Campus Security alternatives to court in your effort to tain information for an assortment of administrative policy or bylaws con- Act” (20 U.S.C. Sec. 1092 [1990] ) re- persuade officials to open campus reasons. It is important, in these in- cerning the campus security force. quires public and private universities crime records to the public. Among stances, for the reporter trying to get The local police should be able to an- to compile statistics which relate to on- these are: this information to know the specific swer this question also. If the answer campus crime and make them avail- provisions of their state’s open records is yes, then your campus police should able to the public. If this is not done MAKE THE ISSUE OF ACCESS law. also be subject to the state open records accordingly, these same colleges and TO CAMPUS CRIME REPORTS A law. If you attend a private school in universities will lose their federal fund- REGULAR BROADCAST NEWS Each of the 50 states and the District either Massachusetts or Oklahoma and ing. Schools were required to begin ITEM of Columbia has an open records or your campus police does have law en- recording these statistics on August 1, “sunshine” law that guarantees access forcement authority, your state’s law 1991 and must have submitted their Editorialize about why the policy de- for the public to certain government explicitly says that your school is sub- first reports on September 1, 1992. nying access needs to be changed. records. These laws are the most valu- ject to the state open records law. As This will be an annual requirement for Many college stations (and newspa- able ally you have in your effort to of February 1992, similar legislation all institutes of higher learning. pers) are hesitant to make themselves uncover campus crime. The laws vary, was pending in other states, so check a focus of the news but remember that sometimes significantly, from state to your state law or call the Student Press While the law does not require schools it is your audience who are ultimately state in the variety of police reports Law Center to see if your state is in- to allow access to current police re- being denied information and they they cover. cluded here as well. ports, it is at least a first step toward who will suffer because of it. Get them uncovering information that was pre- involved. The Student Press Law Center recom- FOR A PRIVATE SCHOOL WITH A viously inaccessible at many institu- mends the following three steps to de- CAMPUS SECURITY tions. Some schools have done much ENLIST THE SUPPORT OF THE termine whether or not your state’s DEPARTMENT THAT DOES NOT more than required by this law and STUDENT GOVERNMENT AND open records law will give you a right HAVE LAW ENFORCEMENT have begun to open their records to the SYMPATHETIC CAMPUS GROUPS of access to campus crime reports: AUTHORITY college media and the public. A smart school administrator will realize that Include the faculty senate and women FOR A PUBLIC COLLEGE OR You might still be able to claim that being open with information about and minority student organizations UNIVERSITY: they are subject to the open records law campus crime is good public relations. whose members may have been the depending on the language of your victims of crime on campus. You should be entitled to campus crime state statute and the role the public reports to the extent any police records safety force serves. But you will prob- 155 PROGRAMMING

C ONTACT THE LOCAL NEWS announcements which include the city Try to convince the administration that the burdens campus police face in bat- MEDIA AND PROFESSIONAL police’s phone number and your office while publicity about crime might hurt tling it. PRESS ORGANIZATIONS number which encourages your audi- the school’s image, the appearance that ence to call when they are victims to the school is trying to cover up crime Start a regular “crime on campus’ spot/ Make groups such as the Society of help stop campus crime. (especially if you can document inci- segment in which you broadcast a list- Professional Journalists and state dents where students have been vic- ing of incidents that have occurred on broadcasting association aware of your INFORM SCHOOL OFFICIALS tims) will definitely tarnish the school’s campus as well as suggestions for fight- situation and enlist their support. Find THAT FAILING TO DISCLOSE reputation and its ability to claim that ing crime. Possible topics: bicycle out if they have had similar problems CRIME INFORMATION PUTS THE it cares about the safety of its students. theft, date rape, automobile vandalism, with the campus police. They might UNIVERSITY’S OWN By bringing crime reports out in the means for getting across campus at be interested in the records you seek POCKETBOOK AT RISK. open, the college or university can night, dorm security and hate crimes. and willing to join in your fight against demonstrate that it is trying to respond the school. Given the timeliness of the There is a growing number of court to the problem and make the campus issue of campus crime, they might also decisions that have imposed liability a safer place. run stories about your efforts. on universities for failing to warn students of repeated criminal activity on WRITE OR CALL YOUR LOCAL, campus. Finding an affirmative duty IMPROVING YOUR STATE OR NATIONAL to protect students, state courts have COVERAGE OF LEGISLATORS held both private and public educa- CAMPUS CRIME tional institutions liable for the crimi- These individuals might vote on fund- nal acts against students on campus by Assign an experienced reporter or edi- ing for your school, so tell them your third persons where it was reasonable tor to the campus police beat who will plight. Frequently, politicians rely on for the school to foresee that such con- make regular visits to the police office. student campaign workers and look for duct might occur. Urge them to look Let the officers know you care about student votes. They might be able to at: Mullins v. Pine Manor College, 449 doing a good job covering their work apply some effective pressure on N.E.2d 331 (Mass. 1983) and Peterson and that accuracy is important to your The Student Press school administrators. v. San Francisco Community College broadcast. Law Center can be reached for further District, 685 P. 2d 1193 (Cal. 1984). assistance by URGE STUDENTS WHO ARE Ask campus police officers what issues calling the Access to Campus Crime VICTIMS OF CRIME ON CAMPUS Once again, when asking for campus they think your audience needs to be Reports Hotline at TO MAKE IT KNOWN crime reports, do not make it seem like informed about to help them avoid 800/488-5242 or 202/ you are immediately ready for war. Be becoming victims of crime. Follow up 466-5242 from 9 a.m. to 6 p.m. Eastern Ask them to report any incidents to the courteous and cooperative and you on those ideas and take advantage of time, Monday local police (and not to presume that may accomplish your task quickly and the police as willing sources for your through Friday. campus security will do that for them) easily. In some instances, it may be stories. Student Press Law and to come forward to your station to necessary for you to remind your cam- Center relate their stories. Explain that the pus police and/or school administra- Request permission to walk or ride 1735 Eye St., NW, suite 504 campus community should know tors of federal and state open records with a campus police officer on his/ Washington, DC where and how crimes are being com- laws. Once the people you are dealing her rounds some evening so you can 20006 mitted so that they can take steps to with are aware of the laws, it should get a better sense of the crime prob- protect themselves. Run public service make all your jobs less difficult. lems your campus is confronting and 156 PROGRAMMING noted that some campus officials in- of the need to address this issue and has of- tentionally channeled criminal inci- fered to work with Congress in drafting an ap- dents into a campus disciplinary pro- propriate FERPA amendment that identifies and cess and did not report them to the balances these interests at various levels.” One police or security department in order might anticipate that the new Congress might to avoid public scrutiny. The Supreme be inclined to take this issue up at some point Court of Georgia ruled in 1993 that dis- later this term and that legislators would be in- ciplinary records were not covered by terested in hearing the thoughts of constituents FERPA and thus must be open to the on this matter. public under the student open records law. 2) “FERPA does not prevent an institution from opening disciplinary proceedings to the public.” The Department of Education has re- This statement is a surprising admission by the sponsibility for drafting regulations Department that FERPA only limits the release LAW PRESS UPDATEregarding how FERPA will be enforced, of education records or the information con- and on Jan. 17, 1995, it issued its regu- tained in them. Thus it appears that in those lations incorporating the 1992 changes states where a state open meetings law would in the law and dealing with the disci- otherwise require that campus judicial proceed- plinary records question. ings involving charges of criminal behavior be open to the public, the school cannot use FERPA The Student Press Law Center received word on Jan. 19, Highlights of those regulations and the as an excuse for closing those proceedings. 1995, that the U.S. Department of Education has finally re- commentary surrounding them fol- Undoubtedly, this will be the next front of litiga- leased its amended regulations regarding the Family Educa- lows. tion on this issue if schools continue to deny tional Rights and Privacy Act (FERPA), 20 U.S.C. 1232g, com- public access to campus crime-related disci- monly referred to as the Buckley Amendment. These regu- 1) “All disciplinary records, including those re- plinary proceedings. lations relate to the ability of the media and the public to lated to nonacademic or criminal misconduct by gain access to information about campus crime. students, are ‘education records’ subject to 3) “If a law enforcement unit of an institution FERPA.” Thus the Department has taken the side creates a record for law enforcement purposes As you may know, Congress amended FERPA in 1992 to ex- of those school officials that want to avoid the and provides a copy of that record to a dean, plicitly remove campus “law enforcement unit records” from release of disciplinary records, even when those principal, or other school official for use in a dis- the definition of “education records,” which schools could records relate to serious criminal behavior. ciplinary proceeding, that copy is an ‘education be penalized for releasing. The change reflected an inten- However, the Department went on to say that it record’ subject to FERPA if it is maintained by tion by Congress to allow colleges and universities to release recognizes that “the issue of full public access the dean, principal, or other school officials and law enforcement unit records as required by their state open to disciplinary hearing records concerning not the law enforcement unit. The original docu- records law or their own policy. criminal and other non-academic misconduct is ment created and maintained by the law en- an important part of the ongoing debate con- forcement unit is not an ‘education record’ and Department of After the changes to the law in 1992, debate arose regarding cerning safety on college campuses and be- does not become an ‘education record’ merely Education whether the records of campus judicial proceedings that in- lieves that, given the competing interests in- because it was shared with another component Releaser New FERPA Regulations volved accusations of criminal conduct could be considered volved, these issues need to be aired and ar- of the institution.” Thus campus police or secu- law enforcement unit records like those of a campus police gued in the legislative arena. Therefore, the rity officials cannot refuse to release crime re- department. Many student media organizations and others Secretary [of Education] has notified Congress ports simply because they may pass them along u/x form NACB 1995 STATION HANDBOOK

Eight 158 U/X FORM Program Name ______Description (25 words or less)

genre (pick one of the following) __ animation __ children’s __comedy __ documentary __ drama __educational __ experimental __ film/movie review __gameshow __ health __ interview/talk __music __ music video __ music concert __news U/X: LISTING YOUR__ sports variety PROGRAMProducer/ Contact ______Title ______Station/dept. ______School ______Address ______U/X – the U Network Program Exchange – accepts submission forms of student produced work for annual listing in the directory. Students/ student stations Phone ______wanting to list their program must fully complete the following information. Fax ______Programs for listing should be of broadcast quality and general appeal. All Program length ______program listings must be resubmitted each year. # of breaks ______#of programs (in library) ______SUBMISSION INFORMATION Production frequency ______Please include the following information for each program you would like listed Cost ______in the U/X Directory: Program distribution ______

Send your completed submission form to:

U/X Listing NACB 71 George St. Providence, RI 02912-1824 ethics NACB 1995 STATION HANDBOOK

Nine 160 ETHICS THIS SECTION WILL the PBS series “Ethics in America” to CONSIDER: adhere to a “categorical imperative.” Act, he said, as though your principles The nature of ethics: What the field ofwould eth- become a universal rule fol- ics is and how ethics relate to journalisticlowed by everyone. decisions.

Ethics in the newsroom: How the principlesA former managing editor (my editor, of ethics are utilized in typical scenarios.in fact) once masterminded a contro- Codes of ethics: What they say, and versialwhy. investigative piece about a judge who was involved in a series of bizarre scandals. After the story broke, THE NATURE OF ETHICS the judge committed suicide. The editor, in recalling the incident, main- The field of ethics (which we will de- tained that he was guided by the utili- ETHICSfine in a moment) is becoming inex- tarian principle of “producing the great- tricably linked with the practice and est good for the greatest number.” It study of journalism. While journalists was troubling and tragic that the judge usually don’t spice their newsroom had killed himself, but this was a le- debates with quotations from philoso- gitimate story about a public official. phers such as Kant, Bentham, and Ar- In the long run, more people were While journalists in the United States enjoy Constitution- istotle, some do — and even if they helped than hurt by the story. ally-protected freedoms, we realize that from a practical don’t cite classical ethicists by name, standpoint freedom of the press is not and cannot be abso- journalists often invoke the principles Both cases illustrate classic methods of lute. There are various restrictions of an internal and exter- that make up the infrastructure of eth- ethical reasoning, and also portray how nal nature that combine to draw lines on how far a news ics. the fields of journalism and classical organization can go in covering a story, or how much pri- ethics are being melded with increas- vacy must be accorded a subject, or how a wronged person If all this is beginning to sound remote ing regularity. And indeed, those ethi- This section on can seek redress against the press. and abstract, it is not. The ability to cal principles make an examination of Ethics was written by Carl Hausman, think aboutethical terms and concepts newsroom ethics a more ordered and President of the For the sake of discussion, we can lump most of those inter- is becoming part and parcel of a orderly affair. I believe that an under- Center for Media in nal controls under the broad category of ethical constraints, journalist’s daily routine, and debate standing of the underpinnings of ethi- the Public Interest in New York, a non- while external controls over the media are generally imposed about the ethics of journalism is liber- cal thought can be much more useful profit media studies by the government, usually the court system, in the form of ally sprinkled with terms you would than a case-by-case rote memorization agency. Carl also teaches journalism laws. Those categories, of course, are not definitive nor com- more commonly expect to find in of how journalists “resolved” various at New York U. He pletely mutually exclusive; they’ve been invented simply to dusty, leather-bound volumes — in- quandaries. is the author of nine books about the provide an initial frame of reference. stead of in journalism trade journals mass media, and or in works of media criticism. Con- First, a definition of terms: What do has testified before sider these examples: we mean by “ethics?” Well, there are Congress on media ethics issues. at least two definitions of ethics, the Former CBS News President Fred Friendly recently advised viewers of 161 ETHICS first being “the branch of philosophy turies, built frameworks for analysis of difference if he saved me out of the quences, or simply to motives, but to which studies questions of right or ethical dilemmas — and those frame- goodness of his heart or because he “rational principle...that principle by wrong.” The second definition com- works are still very much in use today. wanted to get his picture on the six which the man of practical reason prises the more common understand- The stuff of those dusty philosophical o’clock news. I was saved, and that’s would [make a decision].” ing of the term, and identifies “ethical” tomes has a real impact on understand- all that counts. behavior with “good” behavior. ing modern media decision-making. Consequentialist, non-consequentialist Non-consequentialists, on the other and golden mean thinking are used The word moral is sometimes used An initial point of analysis, and a wide- hand, contend that results are not the every day in analyses of ethical prob- synonymously with ethical, although ly- accepted one, begins with the two standards by which we should judge an lems. Here is an example. morality usually refers not so much to camps into which philosophers tend to action; motives are. Immanuel Kant philosophy as much as to prevailing fall when discussing ethics: they usu- was the most widely recognized non- Most broadcast news departments do customs. We have a tendency to use ally are termed consequentialists or consequentialist, and his philosophies not air the names of suicide victims if the word “moral” in matters dealing non-consequentialists. Some gravitate still guide those who advocate adher- those people are essentially private primarily with those customs and not toward the middle, advocating an ap- ence to the “categorical imperative.” persons and the suicide an essentially with fundamental questions of right or proach that adds up the pluses and the The categorical imperative means that private act. That is a non-consequen- wrong. For example, we would be far minuses and produces an average, or each person should act as if his or her tialist rule, grounded in the quite de- more likely to describe marital infidel- mean, that balances the two extremes. “maxim should become a universal cent categorical imperative that fami- ity as “immoral” as opposed to “unethi- law.” Kant might argue, for example, lies have already suffered enough at cal.” Another point of usage: “Ethics,” Consequentialists generally believe that you have no right to steal food this point, and there is little to be when used to refer to the branch of that instead of attempting to judge even if you are lost and starving. Steal- gained by dragging the name of the philosophy, is usually treated as a sin- whether an act itself is right or wrong, ing is wrong, he would contend, un- victim out into the public spotlight. So gular noun, i.e., “Ethics is a controver- the judgment should be predicated on der any circumstances. It cannot be- we just won’t use the name of the vic- sial subject.” When referring to indi- the outcome. John Stuart Mill and come right when it proves convenient, tim, ever. vidual collections of ethical principles Jeremy Bentham were noted conse- because if everyone adopted that — “My personal ethics are quite flex- quentialists. They advocated a type of handy and painless approach to eth- But things don’t always work out so ible” — the word takes a plural form. consequentialism called “utilitarian- ics, we would see theft become ram- neatly. Let’s assume that the suicide ism,” the course of action that produces pant as people bent their ethics to fit victim was a popular young man, the Having disposed of those matters, let’s the greatest good for the greatest num- the situation. captain of the football team, a person return to the idea that the study of jour- ber, or as Mill put it, “the greatest hap- who seemingly had everything going nalism and the study of classical eth- piness.” (Note that I’m oversimplify- Ethicists who have taken the middle for him. A consequentialist might ar- ics are becoming melded, as we probe ing a bit; Mill and Bentham shared ba- ground essentially put their trust in the gue that this is a case that merits break- some of the ethical dilemmas that have sic ideas but there are differences in individual’s judgment. In other words, ing the rules. Why? Because it shat- recently grabbed the attention of the their philosophies which are beyond a person attempting to come up with ters the myth that only lonely, reclu- listening and viewing public. the scope of this chapter.) an ethical solution to a problem would sive people take their own lives. Teen- aim for a point halfway between excess age suicide is indeed a growing prob- We’ll relate some contemporary prob- In short, consequentialists will argue and deficiency. Aristotle called this the lem, and potential suicide victims of- lems to this crash course in classical that the ends justify the means, and golden mean. He claimed it was the ten drop hints or display symptoms ethics. If nothing else, this will illus- that motives are not a particularly rel- quickest path to excellence, and that disclosing that they are at risk. Those trate the fact that ethical problems did evant factor in that analysis. If some- virtue is the mean between extremes, symptoms, though, are frequently ig- not begin to surface yesterday. one saves me from drowning, a conse- a mean that can be determined not by nored by friends and family members Thoughtful people, have, through cen- quentialist might argue, it makes no blind adherence simply to conse- who find it impossible to believe that 162 ETHICS popular kids kill themselves. “Sure,” a But what’s the point of “illuminating Those are the arguments non-conse- We are not hidebound to a set of in- consequentialist might argue, “using our thinking patterns” or determining quentialists use to bolster their case. flexible rules. We can adapt. the victim’s name will cause the fam- the rationale from which we are argu- But their opponents can peck away at ily pain, but in the long run we’ll save ing? Simply this: once we understand that logic. We can look past the immediate situa- lives.” why we reason a particular way, we tion and do what will provide the great- can take a step back and gain a clearer Arguments opposed to non-consequen- est good forthe greatest number. An advocate of the golden mean might perspective of our thought process. We tialism. For instance, critics of non- search for a reasonable middle ground. can also, by examining our thinking consequentialist reasoning argue that We do not anticipate consequences Perhaps the story could be handled in and the well- established criticisms of clinging to a categorical imperative is, while at the same time pretending to such a way as to avoid identification non-consequentialist, consequential- in itself, logically inconsistent. Why? ignore them. of the victim. Family members, if they ist, and golden mean thinking, search Because a non-consequentialist says were willing, could be unidentified and for flaws in our ethical reasoning. that consequences don’t count — but Arguments opposed to consequential- be interviewed in silhouette, and at the same time, he or she is antici- ism. Consequentialists also take their thereby pass along their valuable albeit Here are some examples of ways in pating consequences. By imposing a lumps in ethical analysis, though. As tragic experience to family and friends which we might sift through our rea- rule prohibiting the use of suicide vic- mentioned above, the consequential- of other teens. soning process. tims’ names, for example, aren’t we ist argument about “preventing teen- predicting consequences — assuming age suicide” sounds appealing, but how (There are some serious problems with NON- that we will besmirch the name of the do we really know what they outcome any compromise approach, and they CONSEQUENTIALISM: victim, disgrace the family, “glamorize” will be? Will breaking our rule and will be pointed out shortly.) PRO AND CON suicide, and so forth? running the story deter teenage suicide? Maybe. Those are the most simple, and admit- Arguments in favor of non-consequen- Also, it is arguable that we are indeed tedly simplistic, approaches to one tialism. Non-consequentialism is a phi- blocking an act of good will — bring- Maybe not. common ethical dilemma. You will losophy with a noble heritage, and ing the issue of teenage suicide more find those rationales (consequentialist, within the context of our example (the directly into the public spotlight — by Doesn’t it make sense to base our de- non-consequentialist, and golden suicide victim) it offers many strong blind adherence to a rule. Perhaps cision on the premises of which we are mean) served up at some point through points. Why should we suddenly de- these are special circumstances that sure: Our policy which, for good rea- during almost every ethical debate. cide to break a rule because we think should cause us to change our think- son, protects the privacy of the fami- But remember that they are not fool- it will produce some benefit? What ing. We cannot adapt to unfolding situ- lies of terribly disturbed people who, proof formulae. They hardly could be proof can we offer that airing the name ations if we are obsessed with follow- confronting their own private demons, foolproof, since consequentialism and of the suicide victim will prevent fur- ing the rules. take their own lives? non-consequentialism are diametri- ther suicides? cally opposed to each other. At least, CONSEQUENTIALISM: though, they help to illuminate our And another point follows: If we’re not PRO AND CON THE GOLDEN MEAN: thinking patterns. We can shed light going to stick to a rule, what is the point PRO AND CON on whether we are thinking and argu- of having it? Rules are meant for the Arguments in favor of consequential- ing from a consequentialist, non-con- tough choices; you cannot simply ism. Basically, the above-stated rebut- Arguments in favor of golden mean sequentialist or golden mean point of choose to invoke them only in the easy tals to non-consequentialism serve as thinking. The best we can hope for is view. cases. the consequentialist’s platform when to make a rational decision based upon he or she defends the concept that the what we know. Instead of trying to ends justify the means. predict the outcomes, and instead of 163 ETHICS clinging to an inflexible rule, we must ETHICS IN THE tration because it clearly depicted how anonymous ones. Most news organi- add up pluses and minuses and come NEWSROOM there often is no easily identifiable zations require that a story based on to a reasonable decision halfway be- right or wrong in a given situation. unidentified sources must be backed tween the extremes. There is no precise right or wrong in a up by two or more such sources, or that situation such as the one presented, The same holds true for some of the the tip must be verified some other Arguments opposed to golden mean and experienced news people can and more typical topics of debate in jour- way. That procedure, of course, is not thinking. While the idea of adhering do take opposite sides in the debate on nalism ethics: truth, objectivity, fair- always possible. Experienced journal- to a golden mean is appealing, there breaking the rules and using suicide ness, conflict of interest, and sensation- ists sometimes feel justified in proceed- are self-reference problems involved. victims’ names. And while our intro- alism, and misrepresentation. ing with a story based on a tip from a After all, if you are the one making up duction to consequentilism, non- con- single, unidentified source. the two extremes you can still wind up sequentialism and golden mean think- TRUTH with a distorted mean. (“How many ing won’t solve the problem, it at least Richard Petrow, the journalism profes- people will I murder today, one or ten? gives us an insight into the thorough Truth is almost a sacred tenet of jour- sor and former network news producer, Oh, let’s compromise and make it processes involved, and provides a nalism, but truth is not always an easy encountered just such an ethical di- five.”) more ordered way to evaluate our term to define. There are many shades lemma when he worked as a television thinking. of truth, and fundamentally correct journalist in New York. He received a On a more realistic level, let us also information can be used to convey a tip from an a source informing him that note that a compromise is not always Incidentally, the case outlined above false impression. A school board can- a local politician was about to be in- the best solution. Since this is first and is not entirely hypothetical. It is based didate, for example, could rightly con- dicted on criminal charges. foremost a journalism text, we need to on an event that occurred in Minne- tend that half the reading scores in the point out that there simply may not be sota, and the arguments used mirror district are below average, and might Petrow could obtain no further infor- a reasonable middle ground when re- many of the contentions made by insert this in a press release that os- mation. And the clock was ticking. porting an event of this nature. You members of the news media in the tensibly “proves” that education in the could not hedge indefinitely; it would Minneapolis-St. Paul market as they city is substandard (obviously the fault Now, before letting you in on his deci- be ludicrous to write a story about “the tried to sort out the quandaries in- of the incumbent!). An average, of sion, let’s briefly note that using an captain of the Central High School foot- volved in this sensitive issue. (The course, is typically taken to mean the unattributed source is risky because ball team, whose name is being with- details presented in the discussion are point where half are above and half are people will often provide inaccurate held.” Also, if the event occurred in a basically identical to the actual situa- below, so of course half the students’ facts —either accidentally or on pur- public place, and many citizens wit- tion. Some news organizations initially scores will be below average. pose — when they know that they are nessed rescue units dashing to the high withheld the name, while others used not going to be held publicly account- school, you would show poor judgment it. Eventually, after the identity of the This is a case in which the candidate able for those statements. The jour- by going on air at noon with a story victim became common knowledge, probably knew the truth but was un- nalist in the middle, therefore, must saying, “a student died by suicide this the name was used by most of the willing to tell it. Or, perhaps he or she decide on the veracity of the item and morning at Central High” and not nam- media.) is a statistical illiterate and did not have the source. ing the student. That could start a the ability to understand why the state- panic among parents. Quandaries are in long supply in most ment is misleading. Petrow decided to run the story. His newsrooms. The suicide story, which ethical reasoning process (fundamen- primarily hinged on a question of pri- In either event, willingness and abil- tally a consequentialist rationale for vacy (privacy is a weighty issue and as ity to tell the truth are major consider- running a story much less confirma- such is addressed more fully in the next ations when weighing the contribu- chapter) was used as an opening illus- tions of any sources, particularly 164 ETHICS tion than he would have like to have I will not use this as a forum for my CBS Evening News with Dan Rather, had) was this: personal views.” opened with video footage of a woman slumped across the seat of an auto, 1. He knew the source and felt the source But other problems with “objectivity” while emergency medical technicians had no ax to grind.” In other words,run the far deeper than sorting out elec- attempted to remove her from the ve- source of the information did not standtion to issues. In partisan politics, we’re hicle. benefit by the revelation of the embarrass-generally familiar with the whole field ing information. The source, then, was willing to tell the truth. of events, and therefore have a pretty The story unfolded this way: clear idea of what a “down the middle” 2. Petrow also knew that the sourcereport had will be. In other cases, though, Video of paramedics working to extract woman access to the indictment proceedings,we’re and pulled and tugged by issues about from auto. had been truthful when providing pastwhich tips. we may not be consciously Also the politician had been involved inaware. pre- Brief shot of police department emergency vious dealings that Petrow characterized as being on the “outskirts of legality.” switchboard. For example, can a reporter shed his or her ethnic, social, and economic Close-up of car phone. The story proved true, by the way, but background when working on a story? Petrow’s station never used it. (“Cau- Can the journalist always maintain a Photos, side-by-side, of Chuck and Carol Stuart, tious lawyers,” he maintains.) Petrow lofty perspective when dealing with both smiling. gave the story to a newspaper, which stories that hit uncomfortably close to did run it. home?

OBJECTIVELY Those were some of the questions that have come to haunt the news media An “objective” reporter is supposed to after the post-mortem of press cover- report “just the facts” and keep his or age of the Stuart murder case, an inci- her personal opinions out of the piece. dent you may remember well. Briefly, Sometimes, this is relatively straight- the facts are these: forward. If you are a Republican reporting on a Democratic candidate, On October 24, 1989, CBS News broad- there is generally no insurmountable cast a report of a horrifying incident problem involved in keeping your per- that had taken place the night before sonal perspective out of the piece. in Boston. The piece, according to That is because the issues are relatively some observers, including former CBS clear-cut; you can sort them out in your News President Fred Friendly “set a mind, saying, in effect, “I don’t agree national agenda” for what would be a with what Politician A says but I will disturbing blow to the accuracy and report it without overloading my story objectivity of the news media. with my sentiments. I may call her statements into question if there is a The television report, prepared by CBS clear error of fact or interpretation, but reporter Betsy Aaron and aired on the music licensing NACB 1995 STATION HANDBOOK

Ten 166 MUSIC LICENSING

MAY I SEE YOUR LICENSING AND LICENSE? COLLEGE STATIONS

Licensing organizations were created There are a ton of artists that are played to solve the enormous problem of ar- on college radio and nowhere else. ranging the rights to every song indi- BMI is in the forefront of recognizing vidually and determining the royalty the contributions of college radio be- payments. The three current organiza- cause it collects data from college ra- tions which handle this task are BMI, dio. The implications are significant in ASCAP, and SESAC, Inc., a private, fam- at least two ways. First, most of the ily-held company. music industry sees that college stations play artists first. The licensing Each organization handles its licensing procedure can validate that assump- agreements differently. They each set tion with a mathematical formula. MUSIC LICENSINGtheir own licensing fees and terms of Subsequently, the role of college sta- payment. tions in their minds of the managers, agents, venues, etc., will be more pub- SESAC licly known and appreciated.

SESAC uses the charts from various publica- There may be a time when you or someone on your college tions, such as Billboard, Cash Box, and R&R station will want to use “That Song” by That Group either to (Radio & Records). Artists are paid for making broadcast directly or for background music. This is permis- these charts, how long they stay there, and if sible, only if your station has paid the necessary licensing they cross-over to other music charts. fees (or is covered by the school’s blanket license). BMI ASCAP “Why must we pay licensing fees for the music we use?” you American Society of Composers, may ask. Licensing is divided into two areas: performances BMI relies on each station to provide logs (even Authors, & and recordings. Artists, songwriters, and publishers all re- college radio stations are asked to fill them out). Publishers ceive royalties for the music they perform and record. How- Stations are simply asked to list continuously all One Lincoln Plaza New York, NY 10023 ever, money from the sales of recorded and/or sheet music songs, artists, and – of course – songwriters, 212-595-7542 are a small percentage of an artist’s income compared to aired on the station over a period of several BMI performance rights. days. Broadcast Music, Inc. When a song is played on a station, heard in an ice skating ASCAP 320 West 57th St. New York, NY 10019 rink, bar or dance club, as background music during a TV or 212-586-2000 radio show, or even when a business phone is put on hold, ASCAP tabulates the airplay of music on broad- SESAC, Inc. that’s a music performance and it’s legally required for the cast stations through monitoring stations. Tapes 156 West 56th St. user to have licensing rights to it. are made of stations’ broadcasts secretly, then New York, NY 10019 ASCAP employees identify them and the proper 212-586-3450 royalties are determined and paid out. 167 MUSIC LICENSING

and a publisher, or any business agent, which record a song that has been previously commer- allows the songwriter the right to have access cially recorded with authorization, as long as to the publisher’s books and records (usually they pay at least the royalties set by the Copy- once a year), so that the songwriter can deter- right Royalty Tribunal. The royalty rate for the mine the accuracy of the publisher’s account- 1990 and 1991 is $005.7 per song for each record ing practices. or tape made and distributed or $001.1 for each minute of playing time, whichever is greater. The Author: The creator of “Intellectual Property,” rate is adjusted every two (2) years, based upon such as literacy, musical and dramatic works; the Consumer Price Index (CPI). choreography; pictorial, graphic and sculptural works; audio/visual works and sound record- Controlled Composition: A composition written ings. Therefore, the word author can denote or co-written by the recording artist (and some- composer, lyricist, record producer, choreogra- times the producer per the artist contract) un- pher, artist, photographer, writer or other cre- der an exclusive recording agreement. Typi- A GUIDE TO MUSICator (see Work for Hire) cally, the recording company will pay 75 percent PUBLISHING of the minimum statutory rate on only 10 sides TERMINOLOGYBackground Music: Music used (other than as per LP and two sides per single, regardless of feature or theme music) that creates mood and the actual number of side or length of the supports the spoken dialogue of a radio program composition(s). or supports the visual action of an audio/visual Administration: The supervising for a fee (generally a percentage of in- work. Copyright: The exclusive right, granted by law come), usually by a major music publisher, of a smaller music publisher’s for a stated period, usually until 50 years after financial and copyright matters regarding one or more songs or an entire Blanket License: For an annual fee, radio and the death of the surviving author of the work, to catalogue. The administrator does not necessarily own a share of the copy- television stations, public broadcasters, cable make, dispose of, and otherwise control copies right, although one co-publisher could administer another co-publisher’s stations, restaurants, universities, subscription of literary, dramatic, musical, pictorial and other share. music services, etc. can acquire a “blanket li- copyrightable works. The exclusive right is set cense” from a performing rights organization. forth in the 1976 Copyright Law Section 106. Advance: The payment in advance of royalties to be earned in the future, This “license” gives them the right to perform and recouped by off-setting those future earned royalties against the money every piece of music contained in the respec- Copyright Deposit Registration: To register a advanced. Advances are usually non-refundable. tive repertoire as often as they wish during the musical work under the 1976 Copyright Act: term of the license. • Send a request for an application to the Copy- A&R (Artists and Repertory): The department in a record company that right Office, Library of Congress, Washington, selects and deals with new artists, songs and records. Bootlegging: Unauthorized recording and sell- D.C., 20559. To order an application by tele- ing of a song. phone, call 202/707-9100. Audio/Visual Work: An industry term for film, television or any other visual • When an application is completed, send it back production. Catalog: The most commonly used word in ref- to the Copyright Office with: erence to the collection of songs owned by a a. one copy of manuscript, lead sheet or tape if Assignment of Copyright: The transfer of ownership of a copyright from publisher/ songwriter. unpublished one party to another, which must be done in writing to be effective. b. two copies of manuscript (sheet music) or Compulsory Mechanical License: A license pro- tape if unpublished Audit Clause: An important clause in any agreement between a songwriter vided by the Copyright Law allowing anyone to c. the appropriate registration fee, currently 168 MUSIC LICENSING

$10.00, by money order, bank draft or check, in the entertainment/music industry to protect Lead Sheet: A hand-made (usually) reproduc- record and release a specific composition at an made payable to Registrar of Copyrights. one’s established salary or royalty rate. A fa- tion on paper of a newly written song. agreed-upon fee per unit manufactured and vored nations clause may provide, for example, sold. Copyright Royalty Tribunal: The 1976 Copyright that no one can be paid more than the contract- Library: A collection of musical compositions Law established a Review Board–The Copyright ing party for talent or material similarly used and that are licensed by the publisher or adminis- “The 19 Year Extension”: The term of copyright Royalty Tribunal (“CRT”). This tribunal periodi- if someone is, the contracting party will receive trator for use as background, theme, or score for works registered under the 1909 Copyright cally review and adjusts the statutory compul- the same treatment. music, on radio, broadcast and cable television, Act was extended, under the 1976 Copyright Act, sory royalty rate, i.e.: mechanical, jukebox, dis- films or video promotions. so that copyrights, if renewed, will be protected tant signal cable television, public broadcast- Featured Work: On television, a performance for 75 years – an additional 19 years from the ing. The Tribunal presently consist of three that constitutes the main focus of audience at- License: A license is a grant to a “user” permit- time of the original copyright. Under the prior members appointed by the President of the tention at the time of the performance. The voting use of a copyright from any of the follow- copyright law of 1909, the term of copyright was United States, subject to confirmation by the calists and/or instrumentalists, respectively , ing: two 28 year terms, or a total of 56 years. Senate. must be on camera except where the music is • Mechanical (records, tapes, CD’s) used as part of a choreographic routine that • Non-dramatic performance (public perfor- Non-exclusive Rights: The performing right held Derivative Work: A work derived from another constitutes the main focus of attention. On ra- mance of a song over radio/TV/club/hotel/con- by American performing rights organizations work, such as a translation, musical arrange- dio, a performance that is the sole sound broad- certs) are non-exclusive, because at the same time ment, sound recording or motion picture version. cast at the time of the performance. • Grand rights (dramatic performance of a mu- that the organizations have the right to license sical work, musical comedy, play, opera, oper- performances of the works, the writers and the Direct License: In reference to performing Grand Rights: Grand rights is the term used to etta, or ballet) publishers have the right to license them directly rights, a license obtained by a music user di- describe “dramatic” performing rights. This • Synchronization (the use of a musical compo- to music users. Other rights may also be granted rectly from composers and publishers allowing would cover performances of musical comedies sition on the soundtrack of an audio/visual work on a non-exclusive basis. the user to publicly perform the licensed work. (Broadway and Off-Broadway), operas, operet- for theatrical exhibition or television) tas, ballets, and renditions of music in a dramatic • Print (sheet music, folios, songbooks or other Notice of Copyright: When a work is published Exclusive Rights: The right of a copyright owner setting where there is narration and a plot. The printed editions. The grant is usually made for (publicly distributed) a notice of copyright should to exclusively authorize recording, performance, copyright owner has the exclusive right to is- a specific period of time and for a designated be placed on all copies. Since March 1, 1989, dramatization or other uses of his works, as set sue licenses and collect fees for grand rights. territory). the use of a notice is optional. If a notice is used forth in the Copyright Law. The use of a music work in a non-dramatic pub- • Commercial (the use of a musical composition it should contain three elements: lic performance is not a grand right: it is a small as part of an advertisement) • The word “Copyright,” or the abbreviation Exclusive Songwriter Clause: A contract be- performing right licensed through a performing “Copr.” tween a publisher and a songwriter where the rights organization. However, if the performance Logs: Schedules prepared by radio and televi- • The year of first publication songwriter assigns all songs written during the consist of more than one song or an aria from sion stations for BMI indicating by title, writer • The name of the copyright owner term of the contract to the publisher in return an opera, operetta, or musical show, or more and artist all music performed on the station for a percentage of royalty income. Such an than five minutes from a dramatic or dramatic- during a particular time period. Used as a basis PA Form: The form used to register a copyright agreement usually involves advances paid by musical work that is a ballet accompanied by of payment by BMI to a writers and publishers. with the Copyright Office. PA stands for “Per- the publisher to the songwriter. dramatic action, costumes or scenery from the forming Arts.” work, it is a grand right. Master: A completed recording of a song from Exploit: When used in relation to publishing, which multiple copies are manufactured. Parody: A satirical imitation of a literary or mu- “exploit” refers to encouraging the licensing and Infringement: A violation of the exclusive rights sical work. Permission from the owner of the commercial use of a particular copyright. granted by the copyright law to a copyright Mechanical License: The license issued by a copyright is generally required before the com- owner. publisher or his agent, usually to a record commercial exploitation of a parody. Favored Nations Clause: A term commonly used pany, granting the record company the right to 169 MUSIC LICENSING

Per-Program License: A performing rights li- Registration Form RE must be obtained from the through the performing rights organization. In pany to protect the fixation of sounds on that cense agreement available in lieu of a blanket Copyright Office, promptly filled out, and re- the United States, these are BMI, ASCAP, and recording. license for broadcasters that bases its fee upon turned, with the required fee, to the Copyright SESAC. Performances of individual musical income from only those programs using music Office. works on radio and TV, at hotels, restaurants, Statutory Copyright: A work protected by U.S. licensed by that company. • The notice of renewal must be filed by De- on background music services, and in concerts Copyright Law. cember 31 of the 28th year of the Copyright. If a are “small” performance. These performing Piracy: Unauthorized copying of a record or work that must be renewed is not done so in rights cover individual musical works used in Statutory Damages: Monetary damages obtain- tape. time, the copyright falls into the public domain. non-dramatic renditions are to be distinguished able by a copyright owner of a work for its in- • There are no original and renewal terms of from “Grand Rights.” Note that when individual fringement. The amount is at the discretion of Print Rights: The exclusive right conferred by copyright, and no renewal filings, for works cre- musical companies are used in a dramatic set- the court, but ranges from $500.00 up to the Copyright Law to print sheet music, folios, ated after January 1, 1978. For such works, the ting, with action, scenery and dialogue, as may $20,000.00 for each infringement, and up to band parts and instrumental arrangements. general term of copyright protection is the life be the case in a “revue,” it could be considered $100,000.00 if the infringement was willful. If of the author, plus 50 years. a “dramatic” performance and not covered un- actual damages and profits attributable to the Publication: Defined by the Copyright Act as der a performance rights organization license infringement would be greater than statutory “the distribution of copies of phonorecords of a Sampling: When sound bytes are removed elec- (see Grand Rights). damages, the copyright owner can choose to work to the public by sale or other transfer of tronically from a master recording and through seek for those instead. ownership, or by rental lease or lending. The technological imitation placed within the con- Songshark: A purported music publisher who offering to distribute phonorecords to a group text of another composition. The length of the charges a fee for exploitation services to Statutory Mechanical Royalty Rate: The com- of persons for purposes of further distribution , bytes can be limitless and contain lyric and songwriters that a legitimate music publisher pulsory royalty rate has been in existence since public performance, or public display, consti- music in combination or in part from any seg- would bear himself. Songsharking is not illegal, the 1909 Copyright Act. The statute places a tutes publication.” However, merely perform- ment of the score. Depending on the length of but is considered highly unethical in the music ceiling –per record, per song– on the royalty a ing a new song in public doesn’t “publish” it. the bytes and how they are used unauthorized business. copyright owner can obtain (the royalty of 2 sampling could be held to be a copyright in- cents remained the same from 1909 to 1978). Public Domain: Refers to the status of a work fringement of the sound recording from which Songwriter: The men and women who con- Provision was made, under the 1976 Copyright having no copyright protection and, therefore, they were taken and from the musical work they ceived the lyrics and music to create songs. Act, for a Copyright Royalty Tribunal (CRT) to belonging to the world. When a work is “in” or first appeared in. review the rate. Such a review took place in has “fallen into” the “public domain” it means it Songwriter/Publisher Contract: An agreement 1980, whereby the royalty rate was increased is available for unrestricted use by anyone. Score: The music that is used in synchroniza- entered into between the two parties that sets, in yearly increments. The statutory rate for 1990 Permission and/or payment are not required for tion to an audio/visual work, or the body of mu- among other things, the terms under which the and 1991 is $005.7 per song for each copy of the use. Once a work falls into the public domain sic composed for a dramatic-musical work. composition(s) is transferred (assigned) and in- record or tape distributed or $001.1 per minute (“PD”) to can never be recaptured by the owner. come is earned and divided. of playing time, whichever is greater. Through Single Song Agreement: A contract between s the joint efforts of the National Music Publisher’s Publisher: A person or company that publishes publisher and songwriter(s) here the songwriter Source License: In performing rights, a license Association (NMPA), The Songwriter’s Guild and exploits songs, scores, or compositions, assigns to the publisher the copyright in one granted by the copyright owner to the person, (SGA) and the Recording Industry Association usually acquired from the author via an assign- particular song in return for a percentage of roy- producer, or organization being licensed to of America (RIAA) the rate per song will be re- ment of copyright. alty income. Sometimes referred to as a “one- record the work, (e.g., in a taped program) so adjusted in proportion to the Consumer Price off” contract. that the performance of the recorded work Index (CPI) every two years until January 1, 1996, Renewal of Contract: A registration by the Copy- needs no further license. regardless of changes in the (CPI) the rate can- right Owner in the U.S. Copyright Office that re- Small Performing Rights: This term is used to not decline below 5 cents nor exceed the previ- news for a second term a copyright originally describe the non-dramatic public performing SR Form: Copyright registration form for a sound ous rate by more than 25 percent for any two registered prior to January 1, 1978. The Renewal rights that are represented by and licensed recording, usually obtained by the record com- year span. 170 MUSIC LICENSING

Sub-Publishing: A contractual arrangement the employer is considered the author of the between an original publisher of a song and a work under the Copyright Law (and unless the foreign publisher to handle the exploitation, li- parties agree, otherwise owns all the rights in censing and collection for the song in that for- the work). eign publisher’s territory.

Synchronization Right: The exclusive right of a copyright owner, granted by the Copyright Act, to authorize the recording of a musical work onto the soundtrack of an audio/visual work. The song is synchronized with images on the screen, hence the name.

Synchronization Royalties: The amount of money earned by the publisher (and, conse- quently, divided with the songwriter) for the use of a song for which a synchronization license has been issued.

Video Buyout: An agreement by which the buyer (user) agrees to pay the licenser a flat fee for the use of a song, with no increase based on the sales of videocassettes/discs.

Video Rollover: An agreement by which the buyer (user) agrees to pay the licenser a continuing fee (either in advance or based on sales as per agreement). Every time a specific sales point has been reached, the fee is “rolled over,” i.e., paid again.

Work For Hire: As defined in Section 101 of the 1976 Copyright Law, this is a work prepared by an employee within the scope of his/her employment, or a work specifically ordered or commis- sioned for use by another person in accordance with a written document as a contribution to a collective work, motion picture, audio/visual and certain other types of works, the nature of which is specifically defined in Section 101 of the Copy- right Law. In the case of a work made for hire fundraising NACB 1995 STATION HANDBOOK

Eleven 172 FUNDRAISING However, many local foundations may and instructions on application proce- be interested in giving to a particular dures. Many foundations only give in station in the area or to support a par- particular geographical areas; these are ticular station program. The first chal- good targets for college stations. lenge is to identify likely donors. This identification process is a very complex Foundations tend to be very selective one in and of itself. To begin, there in their donations, and contacts in the are several resource books available organization are very helpful in mak- that detail basic information on grants. ing your proposal stand out. If you know someone in the organization or Search out the reference section of ei- know someone who might know one ther a public or university library. The of those contact names, use them to most pertinent books in this section initiate the contact or make a support will be large volumes listing founda- call or letter on behalf of your proposal. GRANTStions according to different categories, including location and interests. Some Look at the grant proposal guidelines of the books will list even more details, carefully, which list what priorities such as the various grants each foun- should be presented in your grant pro- dation donated to specifically in the posal. This will help you tailor your past year. The directory will often in- proposal to better match that particu- This topic gets even more involved than on-air fundraising, dex foundations by the types of lar foundation’s goals. If these guide- but any station – TV or radio, cable or broadcast–has a shot projects funded. Look for foundations lines are not available, write to the if it qualifies. Despite the current economy, there is still that have given in categories relevant foundation directly and ask for them considerable charitable giving being done by foundations, to you (“Communications,” “Media” (you are not asking for money in this government agencies and corporations. Try to tap your and “Education” are three appropriate initial letter), as well as for a copy of school’s development office for professional grant fundraising headings to start). But that alone the annual report, if available. Once expertise as to how to write and present a grant proposal. doesn’t mean it should be on your “A” you have these materials, you can bet- U.S. House of Representatives members can give discretion- target list. By examining the specific ter prepare your grant application. ary grants of up to $5,000 for projects in their district – col- projects funded, you can eliminate When approaching a foundation, make lege radio and TV upgrades among them! Corporations that some unlikely ones and more easily de- sure all correspondence is professional employ a large percentage of workers in your area are also termine the foundations most likely to and well-written. excellent targets because they want to keep up a good public donate to your cause. Virtually all relations image in their home communities. Supporting the foundations will send their full appli- Another way to pursue grants is to con- local college’s radio or TV station is a highly visible gesture cation guidelines and other descriptive tact the school’s development office. of goodwill. pamphlets free of charge. These fundraising pros could give a great deal of guidance. Attempting to receive grants can require a great deal of Once you’ve targeted some good pros- knowledge of the fundraising system. One of the most diffi- pects, check the complete listing on And don’t forget that approximately cult hurdles in applying for grants is finding a foundation each particular foundation. Besides 80% of donations to non-profit organi- that will likely donate money as most foundations deal with information mentioned above, you’ll zations is by individuals. Therefore, larger organizations than college radio or television stations. see contact names, giving restrictions, you should be seeking to build contacts 173 FUNDRAISING with people, not just foundations, to increase donations.

Some of the references to look for when planning to raise money via the grant/foundation approach are:

The Foundation Directory This is a very complete volume that contains comprehensive information on over 6,600 corporate, independent and community foundations. You can look up particular areas of giving and identify which organizations would want to give your station or organization money.

National Directory of Corporate Giving The Foundation Grants Index The Foundation Center National Telecommunications Information Administration National Endowment for the Arts

Sources for Funding Assistance

The Foundation Center 79 Fifth Avenue New York, NY 10003 phone: 800-424-9836 212-620-4230

The NEA media arts program has been known to fund programming projects in both radio and TV. Call 202/682-5570 for their application.

The NTIA’s Public Telecommunications Facilities Program (PTFP) grants give to stations wishing to upgrade their equipment/ facilities. Call 202/377-5802 for an application. 174 FUNDRAISING

staff commitment is higher when MUSIC MAGAZINE people feel they have a part in the plan- SUBSCRIPTIONS ning of the project. And once you pull it off, the boost in station/staff morale The publisher lets you sell them at a that follows such broad-based efforts significant discount off retail, and your yields incalculable benefits. station keeps the difference. Since these publications focus on new mu- When engaging in any fundraising sic, it’s a good match for the audiences project, always think: am I utilizing of most college radio stations. SPIN all the resources available to me? Us- already has such a deal in place, other ing your own air time to push the magazines–desperate for revenue–will station’s fundraising-oriented promo- work with you if you ask. tions is obvious. But what about en- listing the business department profes- MOBILE DJ SETUPS GREAT FUNDRAISINGsor who’s a fundraising consultant to IDEASarea corporations to advise you? Or A couple of turntables, danceable mu- maybe some marketing course would sic from your record library, a mic and take on your station’s promotion/im- a mixer are all you need to get started. age positioning as a class project. Per- The initial outlay is relatively small, haps the journalism school would con- and the payoff is quick. Your station The perennial college station problem: big goals for the sta- sider placing their students as news can make its investment back many tion, but no money to achieve them. Maybe the problem is anchors–and bring the local bank with times over in a year. If you already a lack of solid station fundraising ideas. Here are some them as the program sponsor! The VP have such a system, are you market- fundraising ideas successfully implemented by college sta- at a local commercial station might be ing it properly? You may be playing tions around the country, large and small. flattered to sit on your station’s advi- campus bashes, but what about off- sory board...if you asked. Consider the campus fraternities, local clubs, high Remember that a good promotion is often a good fundraiser, wealth of knowledge and resources school dances, weddings, bar mitzvahs and vice-versa. So when you think you are doing a promo- outside that could be tapped by your and confirmations? Make your service tion, think about how (with minor modifications) you can station. known (yellow pages, penny shopper make it serve as a fundraiser also. That gives you double- publications, local arts newspapers, impact for the same amount of effort. LEGAL COMPLICATIONS etc., and over your own airwaves). By slightly undercutting the prevailing KEEP IN MIND THE BASICS When promoting any events that bring competitive rate, you can do well. cash directly back to the station – and Any fundraising idea works best if it involves a large num- your station is an FCC-licensed non- WXXX/KXXX NIGHT AT ber of station volunteers. That means working with every- commercial station, consult NACB’s LOCAL CLUBS one right from the start with the idea-generating brainstorm- legal section in this handbook for those ing sessions all the way through implementation. Though things you can and can’t say on the air. Every nightclub has at least one slow that may seem time-consuming, the fact is that your project night of the week (usually Monday or will be much more successful because 1) you’ll get a greater Tuesday), and they may not even be variety and quality of ideas from wide participation and 2) open. Your station can offer to promote 175 FUNDRAISING that night as “(Your Call Letters) Night,” PROGRAM GUIDE POSTCARDS merchants can donate food, drinks or with special bands (e.g., breaking al- money to have their banner present at ternative acts from record labels you Do you publish a monthly or quarterly Print postcards with your call letters the event. have good relations with) or DJ ser- program guide? If so, do you sell space and a funky design and convince local vices that you can provide. You make in it? It’s a great value-added option to merchants to carry them at their cash- CREATE YOUR OWN EVENTS a deal to take admission at the door and induce people to advertise on your sta- ier counters, selling for 25 to 50 cents the club keeps bar sales income, or tion (i.e., something extra when they each. Record how many cards you Things with high community visibility vice-versa. This can turn around busi- buy an on-air sponsorship package). gave each merchant, and at the end of that match your station’s pre-existing ness for the club and yield great pro- Local clubs, restaurants, campus hang- a month or semester, collect the money strengths (e.g., jazz or folk festivals), motional benefits for your station. outs, etc., will usually carry them free and the remaining cards to insure or political or social importance (e.g., if you ask (nicely). It’s a great promo- you’re not cheated. lecture series or public affairs forums VENDOR CO-OP ADVERTISING tional boost for the station, too. with area experts debating) will bring FUNDRAISING STAFF in revenue from: gate admission, event Most college stations aren’t aware that DISCOUNT CARDS REQUIREMENT program guide ads, and other under- franchisees or local branches of na- writing/advertising. Plus you can tional/regional store chains (food, More for promotional value than Make it a requirement to keep one’s trade out spots for hotel rooms, food, auto, carpet, etc.) have dollars for ad- fundraising, those plastic discount air shift that all staff must devote X venue rental, etc., to cover most all vertising or underwriting that they cards distributed to students, etc., al- hours per week to fundraising. That event costs. For example, organize a never spend. It’s called vendor co-op— low them to get a percentage off all doesn’t mean they must sell a certain Music Business Convention–a one-day where the national office provides purchases at participating local mer- amount in ads, but they must show event bringing experts from all sides from 50%-100% of the cost of advertis- chants. Your call letters are promi- they tried. Stand behind your commit- of the music industry to explain how a ing at the local level. The spot can be nently listed on the front, with the ment to the importance of fundraising band could break into the business. anything the local manager wants, as merchants’ names and addresses (or to the survival of the station and your Their contacts with successful artists, long as it includes a few key words phones) on the back. DJs will do more for the station than managers, agents, record label reps, (e.g., name of products) specified by just DJ. area commercial stations, etc., made the national office. That’s free adver- PSA-STYLE SPOTS lining up the panels easy. Marketed tising money in your market, which SPORTS as a benefit event for the station, no may go unspent unless you remind the You know those “Company X reminds panelist was paid. Promoted mainly local store it’s available. you to give blood...A public service This programming is probably the easi- on the station’s airwaves and in trades message from Company X, serving the est thing to sell. Local merchants love with local arts magazines and newspa- BUMPER STICKERS tri-state area...” messages. They’re paid tie-ins to sports promotions and will pers (reaching the target audience PSAs, legal to run on any station. Com- advertise to be involved. Add a “high well), door revenue made it highly Want to increase awareness of the sta- panies do the calling to local busineses school game of the week” to your profitable. tion and make easy money at the same and send you the scripts to air, and give schedule and watch how much local time? Try printing bumper stickers a percentage of the revenue to your parents who own businesses will ad- CONCERT CO-SPONSORSHIPS and placing an ad on the peel-off la- station. Some of these paid PSA place- vertise to insure they can hear their bel. The vendor who sponsors the ment firms are sleazy, others do it well. children’s games! This can get tricky, but if you’re dedi- stickers should also be more than But you could also do it yourself. Ei- If your station is really ambitious (or cated to becoming a major new music happy to provide a space at their out- ther way, it’s a neat twist on the regu- just wants the cash), try setting up a force in your market beyond just play- let for distribution of the stickers to lar ad package that may turn around a tailgate party at a highly visible loca- ing records on the air, it’s worth the their general clientel. previously-reluctant local merchant. tion outside of the sports arena. Local effort. Start small (especially if you 176 FUNDRAISING have practically no money). You may you think you can generate enough good promotion can also be a good best chance of success only if: 1) you end up filling large stadiums with ma- calls. fundraiser. When any of your staff at- have a large potential audience (i.e., jor acts! tend a community festival or major over-the-air stations; it’s tough for cable AUCTIONS campus event, make sure they take a or closed-circuit stations) and 2) your RESTAURANT WXXX PLATE few shirts to sell (and wear them staff is fairly large, willing to put in SPECIALS Visit area businesses of all types to themeslves – that’s the best promo- beyond-the-norm time and effort, and donate an item for your auction. Even tional tool of all!). It’s worth the effort can work as a team. Does your station or students in gen- cash-strapped local merchants can af- to recruit an art student to make a eral have a good relationship with a ford to give a pair of theatre tickets, a catchy design. TAPPING THE STUDENT local pizzeria or other area restaurant? dress off the irregulars rack, or a COUNCIL Then approach the manager with your slightly dented piece of office furni- ALUMNI version of the “WXXX Plate Special.” ture. Then solicit bids at local malls, If you get a portion (or all) of your bud- Ask the participating restaurant to cor- in the student union, and, of course, Does your station hold an event for get from your student government, don off a few tables where diners over the air. A final round, over-the- visiting alumni during homecoming or you may think that dollar figure is a (warned in advance) were treated to air bidding war occurs on a pre-desig- reunion weekend? The refreshments static amount that, if anything, can an unusual meal served by substitute nated day and time where you actu- need not be expensive. Your school only go down. Wrong. Some college WXXX-supplied waiters. If you want a ally sell the donated items. may be willing to photocopy and in- stations have successfully lobbied their napkin, you pay a dollar. Utensils? sert a flyer about your event in the student councils for a greater annual Another dollar. One variation of the auction is the pack sent to all incoming alumni. Just funding allocation and money for spe- “Buy-A-Watt” program. Offer one-watt make sure your station looks neat and cial projects. Make sure you have a A less offensive (and possibly more “share certificates” of the station over allow for alumni to have fun sharing well-prepared written and verbal pre- lucrative) version of this is to convince the air. Of course, the more watts, the recollections over the air and “guest sentation (if you can, produce a pro- the restaurant to offer one standard more shares to sell. Of course, the cer- DJ” a record or two—even if that means motional videotape to bring along – menu entree one night each week as a tificates are not real shares, but give interrupting regular programming. you are media, after all!) that states a “WXXX Special” (which you promote listeners a sense of ownership of the Have staff available to run station tours, case for why your station is important at the station) whereby a dollar of the station they loved to listen to. This idea frequently and conveniently sched- to the students and the community. meal cost is donated to the station. can also be used as part of on-air uled. Maintain a database of graduat- Focus on your successes and potential fundraisers. ing station alumni (the school’s alumni for growth. Things you may take for ENTERTAINMENT PHONE Another variation is to “auction” djs relations office may already have a way granted – such as airing PSAs about HOTLINE from the station. The highest bidder to do this) and mail a newsletter peri- ecology, date rape, etc.– are important gets an evening out on the town in a odically. People will give to their old services your station uniquely pro- Though non-commercial stations can’t chauffeured limo with a station dj. The station if they feel the money won’t be vides, and should be highlighted. In run full-fledged commercials on air, publicity or hype created by this type wasted — and a regular newsletter addition, offering your student govern- they can run them completely legally of event is enough to entice vendors shows you’re responsible. ment a talk show or coverage of their over the phone. It’s usually done as a to provide those prizes you want for important meetings (live-remote or music concert hotline with spots pre- the top bidder. ON-AIR FUNDRAISING tape-delayed) may help sway them ceding the information. However, a big your way. sponsor might pay enough for you to T-SHIRT SALES This topic deserves a whole article on run it as a toll-free number (though a its own, but it’s not for everyone. An normal local phone # is fine). Or do it You may think of t-shirts simply as an on-air marathon/begathon (college ra- as a 900# and make money per call if in-house promotional goodie, but a dio) or telethon (college TV) has its 177 FUNDRAISING

THE CANADIAN In Canada, there are a lot of arts grants PERSPECTIVE that are available, so grant writing is a real art for most station managers. GG: So let me go to Jeff to talk about SCMO (subcarrier) side-band rentals some interesting fund raising ideas that are popular in a lot of stations, espe- they do in Canada that hopefully we cially in larger markets with high can apply to our stations here. power. There are little things like sound equipment rentals and studio JW: We had a little session yesterday rentals. Make sure your university with a number of stations, and threw knows what you have available. around some ideas about what people They’re always looking for places to did to raise funds, and surprisingly produce slide shows, and things like enough a lot of the things we do in that. We do raffles and a lot of lotter- Canada are very similar to what is be- ies. Stations are really getting into EDITEDing done south of the border. There these little KENO games, and stuff like TRANSCRIPT OFare also some other interesting things this-and making some money off of FUNDRAISINGwe do, which I find that you are not that. These are the basic kinds of able to do in the United States, such as things that campus radio stations in PANELon-air bingos. The general kinds of Canada are doing. 5TH ANNUAL NATIONAL CONFERENCE OF COLLEGE BROADCASTERS NOVEMBER 1992 things such as on-air fundraising drives are very big on most Canadian stations PV: I was going to ask Cary about the now. Some of the stations are earning legality of American stations doing lot- upwards of one hundred thousand dol- teries and bingos on air. I thought it GG: We want to talk about not just underwriting which you lars per year, just with on-air pledges wasn’t allowed. probably all know about, but other kinds of creative fund from their listeners over a period of two Speakers: weeks. CT: I would strongly recommend that GG = Glenn raising that you can do whether you’re carrier current, Cable Gutmacher, FM, a small college TV Station, or a big over the air [station]. you do not broadcast lotteries or bingo Executive Director, There is a lot of things that any kind of station can do, re- Canadian stations are very fortunate, games unless you are on an Indian NACB (moderator) from what I understand. The Stations Nation-affiliated college, broadcasting PV = Pol VanRhee, gardless of your market, regardless of your size, to make Station Manager, money. We know in the ‘90’s it’s become really tough. Sta- get core funding from student bodies. on an Indian Radio Station. That is KSJS -FM, San Jose For instance, the station I work at is about the only exclusion in the United State U. (CA) tions are having their budgets slashed by the Administra- CR = Caroline Riley, tion, Student Activities Boards – it’s crazy, you need to make guaranteed about $80,000 per year, just States if your operating out of an In- Senior Account sure that they know you are an important resource on the from students. That’s a really good dian Reservation, and the station is li- Manager, The Interep Radio Store campus, and you deserve your funding. But that is another amount of money; you can run your censed to an Indian reservation. But CT = Cary Tepper, story about how to make those kinds of pitches. core operations on that. So, the kinds no bingos, and no lotteries south of the Communications of fundraising that we are doing are border. Attorney for NACB JW = Jeff Whipple, Besides preserving the funding you have, there are neat ways basically meant to supplement the President, National money that we already have. I made a JW: Government funding really does Campus & to make money on the side, and we’ll talk about those here. Community Radio list of them. not come in to play for campus stations Association of in Canada. But there is a lot of gov- Canada (NCRA) ernment funding available for start up 178 FUNDRAISING of what we term community stations, EXAMPLES CD. We sell KSJS buttons for 50 cents; make sure you weren’t crossing the and they are non-profit broadcasters we offered that as a prize if you made boundaries. who are not campus-based. There are PV: Our station does a wide variety of one CD in. You had to pay a dollar to a number of those, especially minor- fundraisers. We try to do as many pos- throw three CDs. And we gave used GG: Cary’s main role here today is to ity language stations. There are a lot sible things that we can to raise money, CD singles and doubles of CDs sent to make sure any ideas we give you for of Francophone stations in the Prov- because we like to spend money, and us by record companies as prizes if you fundraising, are legal. ince of Quebec, who are heavily subsi- you can’t spend, unless you have it. got two in or three in. We were averag- dized and supported by the Quebec One thing I was talking to Glenn about ing $300-$400 per day, doing that for a CT: I try to take the fun out of every- government. And there are a lot of last night that our station tried out just couple of hours. A lot of people like to thing. Francophone stations outside the Prov- this year that has been very success- do it. ince of Quebec, who are heavily subsi- ful – is a CD class at our remote broad- GG: We don’t want you to get caught dized by the Canadian government, by cast. We do a lot of remote broadcasts CT: Do you ever ask local merchants on anything. How about some other different provincial governments un- in different areas. It is something that to get involved and give prizes? things, Pol, that work well at KSJS? der different programs. Also, you can you can do, that’s not on the air, so you usually get money, if your station has don’t have to worry about legalities of PV: We do ask local merchants. Every- PV: We’ve done ‘ Bowlathons’, or a a lot of minority interest programming, what you say, and how you say it. thing we do at our station is free. We couple of years now, and its getting for instance, ethnic programming is a People really like to do it. get local merchants to either pay for kind of big. We’ve also done runathons big thing. Our station broadcasts about it, or donate it to us. and walkathons-every kind of a “-thon” thirty hours per week ethnic based, GG: Why don’t you give us some spe- you can imagine, but the Bowlathon third-language programming. cifics? CT: The question about local mer- seem to be hitting it big. I don’t know chants giving prizes, to give away the if it’s just because it is San Jose, and its We get some money from different PV: KSJS is the voice of San Jose State, merchandise, do you recognize them the bowling capital of California. We multi-cultural organizations, and from and we have this Big Mouth that says at all over the air waves? Do you give started out asking our staff to get a little the provincial and state governments, the “Voice of San Jose State.” We cut them any credit for goods? NCR (carbonless triplicate) form who to support that programming. The out a hole where the mouth was-so it wanted to bowl, to go over and get a more diverse your programming is, the was nice and open. We started by mak- PV: No, not in that kind of situation. certain amount of pledges for the more diverse your funding base can ing it out of cardboard. We have some That kind of situation is mostly off air. amount of pins they would knock obviously be. made out of wood, since it turned out All we saying on air is “we’re at a re- down in three games. So they would so well. mote broadcast, doing our famous CD go out and collect the money after they GG: That’s an excellent point, and we toss. Why don’t you try our CD toss?”. bowled, and we got a bowling alley to don’t have nearly as many government We brought a cardboard front, and put provide free lanes. Frankly, none of sources as Canada does. The govern- a box behind it, and stuck it two or CT: That’s something that is very im- them are on the air, and you make a ment doesn’t contribute nearly as three feet behind our booth, and stood portant, if local merchants, or anybody lot of money. We made about $500 in much of a percentage. But there are out in front of our remote and said gives your station merchandise to use one day of bowling. many Grant giving bodies on the State “Three throws for a dollar, toss your as prizes, you cannot give them ac- level and the Federal level, that Col- CD. Don’t try this with your CD’s at knowledgments over the air where the GG: Now, did you have some kind of lege Stations can apply for. home.” It’s amazing how many people merchandise came from, if it’s in a charity that this was partly going to? want to throw a CD, and make it land prize situation. That’s indirect adver- into this box. It almost didn’t matter tising as far as the FCC is concerned. PV: We have had charity ones. The what kind of prizes we offered , be- That’s why I asked that question, to last one we did wasn’t. cause people just wanted to throw the 179 FUNDRAISING GG: So, you went out and said “this is commercial college station might be some kind of promotion. These are promotion. As KSJS was saying, let’s money going direct to the station...” able to try? kind of fun. I know another station go down to a used car salesman, and CR: There are so many goofy promo- had a huge promotion going where have them give away a used car, where PV: That was our pitch. We have done tions that stations do...when they give they got a junk from a used car you have promoted an event that is some things, where we collected away a car. They have everyone come dealership, and actually got people to taking place on a commercial piece of money or food for local food kitchens, down and put their hand on the car. pledge, not for the car, but for some- property like a shopping mall, you etc., but this isn’t one of them. The last person, over how many hours body from the station to drive the car can’t encourage people to come on it is, that still has contact with that car, in a demolition derby – and they made down. You just tell people “this is PROMOTIONS wins whatever, and they all donate a a whole bunch of money. They just where we are broadcasting from”– pe- certain amount of money they pledge. painted their logo on the car, and drove riod. No calls to action. I would be GG: I‘m going to switch gears here to Their family members and their it around. careful if you are doing a remote from Caroline Riley, who I think will have friends would pledge towards it. Three a commercial zone and you are encour- many great promotional ideas that days later a mother of three is still MOBILE aging people to see the beauty of your commercial stations are doing – since standing with her hand on the car. BROADCASTING remote system – don’t encourage she talks with them on a regular basis There are just amazing things that people to use your services, when you – that also can be good fundraising people are willing to do to be able to GG: How many people have a mobile are actually broadcasting from a com- ideas for college stations, if we apply raise money. You know the DJ set-up that they use to raise money? mercial property. When you are in a them to our level. Maybe there are a walkathons: If you have a building that This is not too hard. It’s a small up- studio, I would say that’s a better time couple of things you’ve seen that work has a really good stairwell – that’s a front expense to get a turntable and CD to do it. well that maybe a college station could really big thing with many of our sta- put together. You might be able to bor- try to take on. tions across the country. Running to row the units that you have in the sta- GG: So, normal promo spots just run- the top of the Prudential Building is, tion and take it out. You can do frater- ning in rotation should be fine for your CR: Now that Cary’s pointed out that again, a contest, plus the pledges, etc. nity parties, local weddings, bar mobile DJ? It’s just when you are ac- you can’t mention an advertiser – that Those are very easy to do, you don’t mitzvahs, etc. If you can underprice tually doing a remote broadcast, don’t usually runs into some problems, but need anything other than the building the markets slightly, you can do a lot be hyping the mobile DJ service. I think things like KSJS does are so and the stairwell. of business in DJing events. You have basic; it’s the perfect way to go about the record library – that is such a big CT: You have got to understand the it, I mean, that’s an easy way to make GG: The car is not too practical as a advantage, think of all these other DJs FCC has not specifically ruled on most money. Most of the programs I am prize for college stations. It’s probably – they have to pay to get their music. of whatever we are talking about. They involved with on a national level are possible for you to get a deal with a So you have the possibility to do an don’t pay a lot of attention to non-com- directly advertising related, that, again, travel agency, for a free trip, and use alternative thing for one place, and a mercial broadcasting. Only when they is back to the basics of their selling a that as the prize...you’ve got to keep top-40 thing for another place, because decide they want some money, and product, and they are only doing it to your hand on the vacation picture, etc. you have such a broad variety of prod- they fine somebody $5,000. Then they get mentioned, so a lot of the stuff I So, scale it down to make it work. uct. If your music just sits on the shelf, tell you, “well, we never really ruled work with, would not be applicable it’s a waste. on this, but you did it wrong, and if there. PV: Actually Glenn, there are a lot of you have a complaint then challenge GG: How many stations can run full used car salesmen that want to have Audience: Can stations promote their us.” Glenn and I are always talking to commercials, here in the audience, as some kind of exposure, that will be own mobile DJ services on-air? people at the FCC, and a lot of what in non-underwriting?... OK. Why don’t willing to have you come to their lot, we advise you, suggests our gut feel- you at least give one example that a and do a remote broadcast, and would CT: Yes they can, but they have got to ing as to how the FCC may react. Be- be happy to give out a junk car, for be careful where they are doing the cause there aren’t a lot of decisions out 180 FUNDRAISING there on most of what we’re talking not adjusted, and I would just be very can make this a profitable night for to make a profit for somebody other about. cautious. your club,” because remember, they than the station. Audience: What about mentioning are paying rent every night of the week Audience question inaudible. dollar amounts for listener donations? for the place. They would love to be GG: So what, if they just stated a fact able to turn their dead nights into like the band names that will be play- CT: I would say that’s fine, but then GG: During an official fundraising something. ing that night. again you have to be careful to exactly period for a non-commercial station what you’re saying during the promo- you are allowed to fundraise to the So tell them, “Monday night will be- CT: That’s fine, if there is going to be tion. Don’t give brand names of your limit. Am I right, if it’s a designated come WXRK alternative night ,” and no entry fee you can promote them a mobile DJ equipment. You have to be fundraising period? you guys come in and DJ it. Or you little bit more. real careful. bring in a band or two from the area, CT: Right. who will play just for the exposure, and PV: What happens if there is an entry Audience: Can you mention how you can bring a lot of people to this fee, but the entry fee is all going to the much the mobile DJ service costs? GG: So, just during that time, the offi- kind of thing, You can also be promot- station? If you are going to have a cial fundraising marathon, you are al- ing them on the airwaves, because this WXXX night, you’re going to want to CT: I would not, I would just say, “for lowed to hype the heck out of every- is a station promotion – again, under make some money out of it – right? more information call...”. The Commis- thing, and say amounts for donations some legal limits. So the club can work sion gets very nervous when you start and all that stuff. with you to promote it through fliers CT: The one decision the FCC has talking dollars over the air about any- and other off-air things that are totally made in this area is that if there is any thing. PV: The way we have interpreted it is legal, and make this a win-win situa- entry fee, you can’t promote; you can that our promotional spot is a desig- tion for everyone. Because if you can just state where the event is going to GG: Would it be better to say, “ for nated fundraising time. So we say that bring traffic into that place, they are be. I would surmise – this is just my more information, the number is”?. you are allowed to say anything you going to thank you in a big way. But guess–that if all of the money collected want during that designated 40 sec- go ahead, Cary, tell us what might be a at the door is going back to the station, CT: That’s true. onds. So we announce everything dur- problem. then you could probably promote it ing that time, we tell people “call us more, but the FCC has not ruled spe- PV: Actually, can’t you? This is for now” – we go the full limit. CT: OK, a possible problem is that they cifically on that, and you have to make your own profit. It’s not for anyone are going to charge an entry fee. If they sure that every penny is going back- else, it’s for our station’s own profit- CT: I would not recommend that. are going to do that, you have to be that you are not going to charge an making services. You should be able really careful as to how you promote administrative fee for a bouncer, or to mention price. You should be able CLUBS that event over the air. If a fee is going anything. 100% of that money has got to mention calls to action, directives, to be charged, you should just merely to go back to the station. qualitative-anything you want. We GG: How about station rights at local say, “Monday night is WXXX night at have the best DJ service of this service clubs? How many of you do that? A the Bayou.” That’s it. If there is no Audience: What if it’s 51% of the door? in town. station night at a local club-WXXX Club entry fee, the FCC has given you a little Babyhead. OK, not too many. You’re bit more flexibility, you can promote CT: If any amount of money is going GG: He’s saying that the station is a not renting out a civic center here. them just a little bit more, but your still to the club, you cannot promote that non-profit organization, and non-profit Your just going to a local club that you going to have to be careful, because event on air. You can just state in very can run commercials. see one night a week just isn’t doing you are encouraging people to go down bland terms: “Monday night is WXXX CT: That’s true, but then again, these very much business, and you say to to an establishment where obviously night at the Bayou.” are unusual things that the FCC have them: “Hey, we can help you out, we alcohol or other beverages can be sold 181 FUNDRAISING Audience: Can a campus radio station have to be careful. I would say the can’t promote the profit-making enter- pieces, and usually the way you use promote concerts coming to campus, same thing would apply. prises of the merchants. radio is to combine them and to men- that tickets are available at the box of- tion “look this Sunday for your coupon, fice? You’re allowed to give public service GG: These are fine lines kinds of look this week for your direct mail announcements about free concerts in things, and it gets confusing, and that’s piece.” If your college paper has an GG: You want to promote a concert the community, so why not for the probably why you should a communi- advertiser that’s always advertising, on campus. Is your station sponsoring school? That’s OK. cations counsel help you out. and use the college station to back up: that concert, or is there sponsors by “look for the coupon in the school another group on campus? Another Audience: We have a station remote MIXED MEDIA newspaper on Friday, and use it at the group. at a local bar/club. Can we mention bookstore.” prices for drink specials? GG: How about program guides, how CT: You can identify it, but you can’t many stations publish a program It’s backing up what they’ve already urge people to attend. Even if your GG: Prices? No, no prices. guide? OK, of those, how many have spent their money on, and maybe they own school wants to broadcast an- advertisements in it?...Not bad. Now are not quite happy with the newspa- nouncements on the courses and the Audience: We want to say every Tues- the ones of you who don’t, or the ones per, so now you have got them to use costs of those courses, they can’t do day and Thursday drink specials. who do guides but have no ads...why the radio to help them, but also help that. The FCC has specifically ruled not? It’s off-air, which means there is you by buying radio. A “cross-promote” on that. That’s because it’s not really CT: I wouldn’t do it. While you are no restriction at all on advertising, this is what we call it, and you are always promoting the radio station, it is pro- there, you’ve got a greater responsibil- is not FCC territory at all, so it’s just trying to cross promote with other moting the parent, which has nothing ity to not encourage people to go to the an extra bonus thing that you can mediums. You’re now keeping the to do directly with the radio station. location of the remote....A way to get throw in for underwriters as a package bookstore happy, by saying,” go to the around the problem of profit tie-ins: thing: They are buying underwriting bookstore and use it ! “, you’re keep- PV: Even if it was a non-profit school? If you are having a remote from a pub- spots on your station and they get an ing the client happy by using the cou- lic park, and let’s say a Domino’s Pizza ad in the program guide. Its just an- pon, and the newspaper may give your CT: It doesn’t matter...If the station is is supplying some food, and the super- other way to get the message across, station a free ad if you work with them. sponsoring the concert, you get more market is supplying some soda, you which makes it more appealing to ad- leeway, as long as all the funds are can encourage people to come down vertisers. I’m sure Caroline will vouch, GG: Again, we have to be careful on going to the station. If the station spon- to the remote at the public park, and the more mixed media you can get in- the phrasing and the calls-to-action, but soring it and 90 % of the money is go- eat and drink this free food, and men- volved, the better it is. these are other things to tie in: the ing to the school to pay for salaries, if tion the merchants’ names, because local merchants, book stores, and cam- the money is not really going to the you’re not encouraging people to go to Caroline, don’t worry about whether pus newspaper. You really should be station, then you’ve got a problem. It those stores, you are encouraging them we are talking college or commercial, trying to figure out how you can use really becomes an issue of accounting. to go down to the park, and there is no but what other kinds of media have you these other media and other outlets to fee to get in. That’s a way to get around been able to tie in on promotions to make your promotions and your Audience: What about student govern- it. make it more effective for an adver- fundraising more effective. ment sponsoring the concert? Techni- tiser? PV: We did a thing with Caroline cally, they’re non-profit. Audience: Even if there is no charge, CR: We are really looking towards the through the Interep College Radio Co- you can encourage people to go. future of trying to get advertisers to operative. The Thro-Yo product from CT: Well, it’s not my ruling, it’s the combine media. We work with cable Kid Power. They paid us to run some FCC’s ruling, which I interpret, so I CT: You can use some stronger lan- TV stations, commercial TV stations, spots, basically, that said, “Watch for guage, if there is no fee, but you still newspapers, couponing, direct mail this remote day, we’re going to give out 182 FUNDRAISING these Thro-Yos, and we’re going to they give. So it’s one of the premiums the FCC Complaints & Compliance commercial, is responsible for broad- demonstrate them for you,” and it that you give out. staff about a month ago, just on this casting a certain amount of program- worked out pretty good. very topic. They don’t quite know how ming that is responsive that is respon- GG: During the freshman orientation, to handle it. They think it is probably sive to local community interests and DISCOUNT CARDS at the beginning of the school year ba- OK. They’ve encouraged us to make a needs. That’s done either through talk zaars, if you don’t do on air marathons, request for a declaratory ruling letter, shows, roundtable discussions or spe- GG: How about discount cards? Do this is also a good time to get the cards and we will probably follow through cial programs on issues, and part of the any of you have a deal with local mer- distributed. There are definitely ways with it. My guess is, it is probably OK, way to approach that responsibility is chants that there is this KXXX card, and to do it: just think of where high traf- as long as the phrasing of the tie-in to through PSAs. I would highly recom- they give a discount if anyone shows fic is on and off campus and hand them the local merchant is kept very bland. mend that if you are enticed into an that card when they come into the out, and over the air during the on-air arrangement where you’ll get these store. No one has done that? Well, it’s marathon. GG: The reason I don’t like them is fancy PSAs, make sure that all of your totally legal, the problem is just how because the companies that sell these PSAs don’t turn into these underwrit- you mention it on the air. You would PUBLIC SERVUCE PSAs charge so much more than your ing/commercial-sounding PSAs. Only probably only hype it during your offi- ANNOUNCEMENTS normal underwriting spot rate, so do a small sampling. I think the FCC cial fundraising marathon time would you’re going to create some ill-will would have a huge problem if every- be the time you could get away with GG: How about those controversial some day later when they find out that one of your PSAs turned out to tie into promoting it officially. The good thing PSA style spots? Has anyone ever been your spots really go at $10, but they a local merchant. Again, the FCC has about this though, is once your audi- approached by one of those companies have been charged $50 to run it. Then not ruled on this, but in many aspects ence has this card, it is something they that sells PSA’s, but they are really com- you may lose them entirely. So be of the FCC’s rules, they give a little bit keep with them all year long, so it’s a mercials, and they charge like eight careful, if anyone has been approached of leeway to non-commercial broad- listership/ viewership promotional times your normal rate to the client? by one of these firms, your sales staff casters. But don’t go overboard. You device too. And because they keep There are these companies out there, don’t come back at them with a much can broadcast a few of them, but if you bringing it to those local merchants and I am a little squeamish about them, lower rate. What you can do when you normally broadcast a hundred PSAs a every time they shop there, that brings but if you don’t have sales staff or un- first contract with these firms–and I did week make sure you’ve got seventy traffic to these advertisers all year long. derwriting staff who are going to go out it when I was at my college station – five-or-so, normal, bland ones, other- This makes it much easier when you and hit the communities, and you is to give them a specific territory. If wise you will run a risk. go back for underwriting, or trying to know there is no practical way you can you know that your students who sell sell them on something. Merchants get people out there to cover the terri- can cover the immediate campus area, PV: There is another problem with will be reminded: “Hey, someone just tory, then this might be a viable route. you could say “this geographic area these companies. We use them. They came in and used their card from that There are companies that phrase zone is blocked out, but your company are great because you get a lot of free station.” things as PSA’s to the effect of “Joe’s can sell to anyone in the suburbs.” money, and you don’t have to do any Pizza reminds you that drinking and That’s fine, because your salespeople work, but they do generate some ill- Audience: How would you suggest giv- driving is a bad idea. Joe’s Pizza is lo- would never go and sell there anyway. will occasionally in your community ing out that card? cated at this address,” and they pay you You can arrange that kind of thing with because of the high pressure sales tac- for running these things. There are a this kind of company, so you don’t tics which they use. They sit in this PV: I know some stations that give lot of college stations doing this. Cary, have that conflict. one little room, with no windows, and them out to their members of their is this new to you, or is this a little they have like these huge phone banks annual on-air fundraiser, so if you weird? CT: Glenn, I just want to throw in a and fifty million people calling from pledge a certain amount, you get your- CT: It’s not new, it is becoming more few words of caution. Every radio sta- somewhere in the United States, and self a card, you get what ever prizes popular, and I had a discussion with tion, whether it’s commercial or non- you have no idea where, but they are 183 FUNDRAISING calling your area. They badger them CT: I don’t see any problem with it, as can make your underwriting more dy- not going over the air, the FCC doesn’t pretty heavily, so you kind of have to long as he again doesn’t tie-in the goods namic than radio. Think about how care, and they don’t regulate that. weigh that. and services that he sells. bringing in an image can enhance what you do for a potential sponsor. Again, GG: You can probably apply the maga- Another idea that Jeff had was the GG: NACB has a sheet that outlines there are limits on what you can show zine concept of advertising, which is underwritten PSAs by faculty members what is not permissible in an under- in an underwriting spot. when they want to get a bunch of ad- on campus. Do you want to talk about writing spot, and basically, if your not vertisers. Say that it’s near application that? That was a pretty cool idea. in any of these categories, it should be CT: You can’t do indirectly what you time for private high schools. The JW: Last year it turned out to be pretty OK, as Cary said. This is not some- cannot do directly. For example, you’re magazine will do an article on high successful, just a general mailer to fac- thing the FCC has ruled on, so until going to have a graphic that says “a schools, and, since any one who might ulty and staff at the university, and for they rule on it, basically, you can do portion of this program is being want to go to a private high school is a really low price during the Christmas it. brought to you by Joe’s Pizza, and you going to want to read this article, to exam period, get an on-air mention to have a slide of a storefront of Joe’s have an ad next to the article is per- wish students good luck in their exams, CT: There is a non-commercial station Pizza, that’s OK. But if in that slide, in fect, because they are going to get seen and reminding them not to drink and in Washington DC., that every Christ- the window, there’s this big sign that by the target market that they want to drive if they’re partying afterwards, mas they get local students wishing says “Tuesday-Wednesday specials on reach. and it met with a really good response. happy holidays to family and friends pizzas: $4 off,” you can’t do that, be- There are a lot of departments– for over the air, and I don’t know whether cause that is presenting indirectly what You can do that in television. Say you instance ,the Public Relations Depart- they charge for that or not but there is you cannot say vocally. That’s where want to reach all the restaurants nearby ment, the Alumni Affairs Office, the no tie-in at all to goods and services, the commission would step in and say campus that students tend to frequent Development Office, the Math Depart- it’s more of a local, personalized Christ- “watch it, be careful.” , why don’t you do like a food show? It ment, and all these faculties found a mas card. sounds kind of corny, but you should few dollars, and took up a collection. As a TV station, probably your on-air be able to sell the hell out of that. The Dean authorized the payments PV: Santa Barbara does that around auctions would have more effect be- through the university. It was very Valentine’s Day, they give out, they cause of visuals. You can show people Audience: The cable system won’t let easy to do: you phoned them up, did a sell spots to students wishing dedica- products, but you can’t talk about the us sell ads. mailer, then phoned them up after- tion-type things to their loved ones. products you can’t give a whole lot of wards, and most of them bit. It took information other than to identify it, CT: OK, the thing you have to consider, very little effort to do it. It turned out JW: We did that as well. at least the viewer can see something, irrespective of the FCC’s regulations, pretty financially lucrative for us. You and see what they are bidding on. you have got to think of local regula- can get your own money from your Audience: Every time we go to a con- tions also. Last year, we had gotten a own community right on campus. ference the sessions on fundraising GG: We’re assuming you’re non-com- declaratory ruling from the FCC, relate to radio. We have on-air auctions mercial, but if your not an over-the-air whether or not full-fledged commer- Audience: What about a restaurant of donated items. What other ways can station, you should be able to run full cials could be run on public access sponsor wishing good luck to a sports we raise money for on-air television? play on those commercials. channels. One of our members said team? they were told that they couldn’t, and GG: I think you can apply it to a lot of CT: Since you don’t have any signal we knew that they could if they weren’t GG: Wishing good luck to the team, as the things that have been said. What going over the air as free TV, then you going over the free airways. the underwriting spot content. is unique to television is that you have can get away with a lot more than any- another element, which is really in body in this room. Seriously, if you’re So just as a precaution we asked the your favor – the video side of it. That FCC to rule on it. They issued us a 184 FUNDRAISING letter in January of this year, and they GG: Especially since the station is just Audience: How about before or after We bring good things to life.” That is said the FCC has no regulations on starting up, make sure its in the policy the spot you say “free pizza to the 3rd permissible because the slogan does community access or closed circuit TV manual for the station that you can run caller”? not tie in General Electric’s products systems of any kind – it is only free commercials on it, because it is not at all. But Metropolitan Life Insurance over the airways that they concern over the air. Get it put in now, because GG: “Free pizza giveaway to the 5th – their slogan is “Get Met–It Pays.” The themselves with. However, they will later they may come up with some less caller” – can we do that? In the under- FCC has taken the view that “Get Met” not pass judgment on any local regu- favorable policy, and then you’re writing spot? Does it have to be a sepa- is a call to action, encouraging you to lations, or possibly college regulations. screwed. rate promo spot, or is it not permis- get their insurance policies. They say There may be some standard operat- sible at all? that is impermissible, so you’ve got to ing procedures that you have to abide UNDERWRITING be very careful. Just because it is a by. These are the things we can’t ad- CT: I wouldn’t do it directly after the company slogan does not mean you vise on, until we know for sure, but Audience: Can we say what kind of underwriting spot. Later on in the pro- can use it. there may be something out there lo- food a restaurant underwriter has? gram maybe, but not immediately af- cally that is prohibiting that. ter the underwriting spot, but its too PROGRAMMING GG: We can give you the letter we got CT: Now, when you say types of food, much of a tie-in time-wise. The FCC from the FCC saying that this is legal, are you going to give a general sum- may take the view that it is just a con- Audience: Can you broadcast a quali- and maybe you can use that at your mary of their menu?...You can’t use tinuation of the underwriting spot. For fying statement that’s a company slo- local cable company to convince them any qualitative phrases. You could say anything given away over the air, you gan? that this rule prohibiting commercials “Joe’s Pizzeria – we sell pizza and Ital- are not supposed to identify the donor. on the access channel is silly, because ian food” – period – but that’s even CT: Can you broadcast the entire slo- there is nothing illegal about it. But if pushing it. GG: Could we say “a 5th caller for a gan of a donor if there is qualitative that’s their policy, and they are stub- Domino’s pizza”? language in their slogan-we call them born about it–you’re going to be stuck. Audience: We’re approaching “logograms.” You’ve got to be careful. But maybe with that letter, and talking Domino’s Pizza. They’re introducing CT: Right, that’s it. Just because a phrase is a logo does to them, we might be able to help con- a new product – salads and bread not necessarily mean you can use it. vince them otherwise. That’s one of sticks. Can we mention that? GG: Basically, the bottom line is keep The best example: “General Electric: the things NACB does: we do a lot of it bland. We bring good things to life.” That is support letters to administrations, GG: There are no qualitative adjectives permissible because the slogan does cable companies and other folks, try- on their nouns: salads, breadsticks. SLOGANS not tie in General Electric’s products ing to convince them that they are at all. But Metropolitan Life Insurance hurting the station, or whatever it may CT: I would recommend against it. It’s Audience: Can you broadcast a quali- – their slogan is “Get Met–It Pays.” The be. Sometimes we do have success just as if General Motors ran an under- fying statement that’s a company slo- FCC has taken the view that “Get Met” with that. writing spot that said “General Motors gan? is a call to action, encouraging you to makes Saturn-Chevrolet-Pontiac,” it’s get their insurance policies. They say Audience: A new cable TV station is products that they make. If it’s the lo- CT: Can you broadcast the entire slo- that is impermissible, so you’ve got to starting up. Can we run promos and cal Dodge dealer, you can say gan of a donor if there is qualitative be very careful. Just because it is a commercials on it? “Thomsons Dodge-The Dodge Sales language in their slogan-we call them company slogan does not mean you People,” but you can’t then mention “logograms.” You’ve got to be careful. can use it. CT: It’s cable, so you can do it. certain makes of cars. Just because a phrase is a logo does not necessarily mean you can use it. The best example: “General Electric: 185 FUNDRAISING

SALES

Audience: In Canada, a college station had elementary and high schools sell chocolate bars, and the one that sold the most got to co-host the show of their choice on the station. It was passing the buck, but it worked well.

GG: That’s the key. The key is to try to get other people to do your work for you. Not to do it for you, but to expand your staff, get other entities to be resources to make your efforts go further. That is a perfect example of how you can use other people to help you achieve your goals, and it’s not really using them, because they got something out of it that they wanted, too. So that’s a win-win situation. 186 FUNDRAISING

Advertising on noncommercial broad- Background music cannot violate any of the cast college TV and radio stations oc- above rules in a passive way that would be curs in the form of underwriting an- banned verbally. nouncements. The underwriting rules get very confusing when it comes to YES YOU CAN promotional announcements border- ing on commercial spots. The guide- A sponsor’s logogram can be contained in lines that follow are the parameters for an underwriting announcement, so long as legal underwriting announcements. it doesn’t conflict with other underwriting guidelines.

GENERAL Still and moving images and other special UNDERWRITING effects may be used in underwriting spots GUIDELINES as long as they do not violate the above rules or make the sponsor announcement appear too similar to a commercial. UNDERWRITINGUnderwriting announcements may ANNOUNCEMENTStake place at any natural break in programming (e.g., at the end of a program COMMERCIAL segment), including the beginning and EXCEPTIONS TO THE end of a program. NONCOMMERCIAL RULES Raising money for a noncommercial organization is a multi- Recommended underwriting spot faceted undertaking. Promotions and on-air fundraising are length is 30 seconds maximum (al- Many college stations think all their Underwriting announcements only two ways to raise money. though there is no legal restriction on sponsor announcements have to be cannot encourage a announcement length). noncommercial. This is not necessar- listener to do Sponsorship and underwriting, objective forms of advertis- ily true. Here are some legal excep- something, like “apply for the credit ing, are the best ways to raise revenue for a college station. Underwriting announcements gener- tions allowing you to run full-fledged card now,” “for Underwriting is the type of advertising legal on non-com- ally begin with “This program is commercials: more information, call...” or “come on mercial stations, and is best exemplified by sponsorship on brought to you in part by...” down to the PBS or NPR. In general, an underwriting spot does not make If the announcement promotes a non-profit promotion at the subjective statements about a product or promote sales. An new store opening.” DO NOT’S group or activity, you may run normal com- example would be the comment: “Masterpiece Theater is mercial spots (and charge for them accord- Underwriting made possible by a grant from the Mobil Corporation.” Mobil ingly). Of course, you may still choose to announcements can Underwriting anouncements can identify, do PSAs for such events instead of, or in include passive benefits from name recognition, but the statement does not but cannot promote. addition to, commercial spots. indentifiers, like include any subjective comments concerning operations or Underwriting announcements cannot in- “credit card products. This underwriting concept can be applied on a applications are clude qualitative or comparative state- During station-designated on-air available at the local level by any station, by appointing an underwriting ments. fundraising campaign periods, you may so- Student Union,” licit donations on behalf of your station with director or staff and then approaching local businesses to Underwriting announcements cannot in- “information is “self-commercials.” available by sponsor shows. Local restaurants, clothing and record stores clude a call to action. calling...” or “the are often the most visible businesses on college campuses live promotion will Underwriting announcements cannot men- None of the underwriting rules apply if you take place at The and the most interested in sponsorship on college television tion of discounts or savings percentage. are a carrier-current or cable radio station, Gap on Monday.” or radio stations. or a closed-circuit or cable TV station, be- 187 FUNDRAISING

cause the FCC’s underwriting rules onlysince re- it includes an implied call to ac- late to FCC-licensed broadcast stations.tion.

However, if the policy of your station, Underwriting spots for video should school or cable system distributor says not include “for sale” signs; no “great you must be non-commercial, remind food” lyrics or jingles should be used them that there is no legal requirement behind audio spots. to be that way and maybe you can get the policy changed. Background music and video may be used that has no selling message, pas- Underwriting announcements cannot sive or overt. mention specific number percentage, like “10% off.” Announcements must Underwriting announcements should also avoid the concept of a discount, remain value-neutral. Flowery quali- like “on sale now.” tative and comparative adjectives are A logogram is the prohibited, e.g., “sumptuous food,” motto which Thanks to the 1981 FCC ruling on en- “best in town,” or “fine crystal.” normally accompanies the sponsor’s hanced underwriting, in addition to name in promotional sponsor name, address and phone and advertising materials. number, a “menu list” of items that the sponsor offers can be given. For example, “Waterford – Fine Crystal Since 1891,” An underwriting announcement can or “GE. We bring list of products and services – though good things to life.” as a trademark line, steer away from specific brand prod- could be used in an ucts like “Big Mac” or “Pontiac.” How- underwriting spot. ever, the spot cannot “hype” the prod- But “Get Met. It uct or sponsor, e.g., “go buy these prod- pays.” cannot be ucts.” used in an underwriting A logogram is the motto which nor- announcement mally accompanies the sponsor’s name since it includes an implied call to in promotional and advertising mate- action. rials. Underwriting announcements cannot mention For example, “Waterford – Fine Crys- specific number tal Since 1891,” or “GE. We bring good percentage, like “10% off.” things to life.” as a trademark line, could be used in an underwriting spot. Announcements must also avoid the concept of a But “Get Met. It pays.” cannot be used discount, like “on in an underwriting announcement sale now.” 188 FUNDRAISING

know. We’ll take you off the list of par- THESE TERMS ARE OUTLINED ticipating stations but will not pay you AND EXPLAINED IN VOLUME for that campaign. ONE.

SIGNING UP FOR THE Do you know how to schedule stopsets, CO-OP or pre-determined blocks of time during your programming to run an- If you are interested in working with nouncements like sponsors or promos? the NACB/Interep Radio Store Student If “no” start with volume one, if “yes” con- Radio Cooperative, call NACB at tinue with the next question. 401.863.2225 for an affiliate application. VOLUME ONE WILL HELP YOU BE MORE EFFICIENT WITH YOUR SCHEDULING AND WILL ALSO MAKE SURE THAT YOU NACB/INTEREP RADIO PRE-TEST DON’T OVER BOOK YOUR STORE COLLEGE RADIO PROGRAMMING. COOPERATIVEBefore starting with this instructional series on underwriting, please complete the following questions to deter- Has a system like the one in question mine where you should start. This test two been used before, but removed THE CO-OP should be recycled and used by each because it didn’t work? underwriting manager as they are be- If “yes” start with volume one, if “no” con- The NACB/Interep Radio Store Student Radio Cooperative allows NACB to pro- ing trained. Feel free to print out a tinue with the next question. vide your station with additional underwriting money and promotional oppor- copy, or export it as text and complete tunities from national or regional sponsors. Whether your station is a carrier it on your computer. THIS TIME NACB WILL HELP current station, cable radio station, or over-the-air student AM/FM station, the YOU MAKE SURE THE cooperative helps you raise underwriting money easily and participate in excit- Do you or your staff need instruction CHANGE IS A SUCCESS, YOU’LL FIND THAT SETTING ing promotions — all at no cost to you. on how to set up an underwriting cam- ASIDE TIME FOR A SPONSOR paign? MAKES EVERYONE’S JOB EASIER. INTEREP If “yes” start with volume one, if “no” continue with the next question. The Interep Radio Store is America’s largest rep firm responsible for over $500 million in yearly radio ad spot sales. Interep is a great supporter of college NACB HAS DESIGNED A Do you have a scheduling system for radio: Interep has sponsored the National Student Radio Awards, giving over SECTION THAT SHOULD MAKEplacing announcements, weather or $5,000 in cash prizes to college/school stations annually. THIS TRANSITION EASY. GOPSAs in predetermined time slots and TO SECTION “VOLUME ONE”. is this system visible to the jocks? PARTICIPATION If “no” start with volume one, if “yes” con- Are you familiar with the terms “avail”, tinue with the next question. To protect your station, all the underwriting copy is approved by NACB’s legal “stopset” or “spot”? counsel to insure that it is FCC legal. You should also know that if you don’t If “no” start with volume one, if “yes” con-NACB HAS SET UP AN EASY want to participate in a particular underwriting campaign, you simply let us tinue with the next question. SYSTEM TO USE. 189 FUNDRAISING If you have these blocks of time set Do you know how to notarize an affi- help you schedule sponsors around plete an affidavit as proof of perfor- aside in your programming clock, do davit and when to make an aircheck? music, promos, PSAs and anything else mance. you know how to schedule sponsors If “no” start with section three, if “yes”you do on the air. This system makes into the clock? continue with the test questions at theunderwriting end schedules much easier of each volume, then try the post test. If “no” do the review in volume one and for you and your station. SCHEDULING SYSTEM start with volume two, if “yes” continue with the next question. CONGRATULATIONS! YOU KEY TERMS A scheduling system is a systematic SEEM TO UNDERSTAND WHAT method of placing events in predeter- AN UNDERWRITING START WITH A QUICK REVIEW mined time slots. This means you can CAMPAIGN IS ALL ABOUT. Stopset or Break: Time set aside to stop SO YOU START WITH SECTION COMPLETE THE POST TEST your programming to do something. Itset is upa some time during every hour to TWO AT THE SAME LEVEL QUESTIONS AND YOU’RE time period during your programming stopwhen the music and play or read your NACB DOES. READY TO GO. you stop normal programming to runsponsor’s a message, read the weather, sponsor, do the weather, announce the last song, run a PSA, etc. run a PSA or anything else you need Do you schedule more than seven to do. sponsors a day? Avail: Available time. It is a block of time If “yes” start with volume two, if “no”VOLUME con- I: DEVELOPING specifically set aside for a sponsor’sDifferent an- student radio stations have tinue with the next question. AN UNDERWRITING nouncement during a stopset (or break).different If operating times and perfor- SCHEDULING SYSTEM you only want to play one sponsor duringmance a styles. The instruction in this stopset (or break), so you have time to do NACB HAS DEVELOPED A FEW the weather, then you schedule onlyvolume one will help all stations, whether IDEAS THAT WILL MAKE YOUR avail. you break at the top of the hour, every WORK A LOT EASIER. GOALS OF VOLUME ONE half hour or at all different times dur- To help you identify “spots” and “avails” Spot: A time stop set aside for a sponsor’sing the day. NACB has prepared this Do you know how to schedule make- To teach you what a scheduling system is message. A spot is what we’re callingthree a volume series to help you effi- goods and what the implications for and how you can use one sponsor announcement. For example:ciently “This incorporate underwriting into making up a missed spot are? programming is made possible by a dona-your station’s schedule. To use our template to set up a quick prac- tion from Easy Cheese,” or whatever the If “no” start with volume two, if “yes” con- tice system sponsor is or sells. tinue with the next question. To train you to set up your own station’s You might decide to stop your program- schedule ming for spots twice an hour, or maybe NACB WILL TEACH YOU HOW three times an hour, you can even stop TO RE-SCHEDULE SPOTS ANDHOW LONG WILL THIS TAKE? WHAT FOLLOWS four times an hour if you want. You WHAT TO EXPECT IF A SPOT don’t need to schedule the ad libbing IS MISSED. It should take you between 5-10 minutes to read this volume After reading this volume you should your jocks may do between songs. The exercises attached should takecontinue you with volumes two and three. Do you know how to schedule spots between 25-30 minutes Volume two will provide additional To set up a scheduling system that is that have daypart restrictions? Designing your own system may takeinformation you on the scheduling system right for your station, look first at your If “no” start with volume two, if “yes” con- quite a while started in volume one, with an expla- programming format. You may find tinue with the next question. nation on what to do if you miss play- that it is easiest to place your breaks at WHAT THIS VOLUME DOESing a spot. Volume three will wrap up :20 past the hour and :40 past the hour, NACB WILL GIVE YOU SOMETo help you manage your sponsors, the entire sponsor underwriting cam- or maybe stopping every half hour is POINTERS ON SCHEDULING.we’ve put together a crash-course in paign with directions on how to com- best. Whenever you decide to break designing a scheduling system that will programming, make sure it is the best 190 FUNDRAISING for your station and the programming DETERMINING A SPOT RATE underwriter’s spots onto each day’s A SAMPLE T EST airing during each hour. It is impor- programming log. tant at some stations and in some To determine the cost of each of your The clock example is a good way for shows to leave room for spontaneity, spots, just divide price of a semester The clock represents what most com- you to visualize your programming so take this into consideration also. sponsorship by the number of spots mercial stations use. The big stations time. You may choose not to use a avails that semester sponsorship buys. play a bunch of commercials at once clock, but for the purpose of this train- A scheduling system makes things That will be your spot rate. If you sell and schedule them all on a broadcasting, it is a good way to learn how to easier when you try to schedule seven a semester sponsorship (of 15 weeks) ing clock. This system allows the traf- schedule underwriting spots. A sched- sponsors, three run twice a day, four offering 7 spots a week to a sponsor at fic director to communicate with the uling system has been explained and run once and then schedule in the the price of $2100, what is the spot rate? jocks about the spots and when they key terms defined, try creating a sys- sponsors your jocks forget to play dur- A simple formula for a spot rate is: need to be played. tem for yourself, based on the infor- ing the morning show. It also helps mation below. keep things consistent from morning Cost of sponsorship/Number of spots There’s a stopset (or break) at :12 past to night, so the programming stops at in that sponsorship = spot rate the hour. The stopset (or break) lasts Make a template for a scheduling clock the same times. 40 seconds (We have enlarged all the for one hour of a music show. Simply The number of spots in our sample is stopsets and stopset for you to see). draw a circle then divide the circle into To insure we’re talking the same lan- 15 weeks x 7 per week, or 105 total During this stopset the jock will say sections, or pie peices. To do this, draw guage, we’ll define some key terms spots. The spot rate for the above se- “hello” then read the weather, say a few a cross in the middle of the circle (one you’ll find in each volume. mester sponsorship would be $2100/ more things, then return to the music line extends from the top to bottom of 105 spots=20, or $20.00 per spot. or whatever else the programming is. the circle, the other from the left to right sides of the circle, when your COMMERCIAL VS. COLLEGE At the :36 stopset, the jock is going to done, the circle should like cross-hairs). STATIONS THE BROADCASTING CLOCK run some spots. He/she might also opt This gives you :15 min.; :30 min.; :45 to say “hello” again quickly. This min. and :60 min. marks. In each of Commercial and college radio station One way to schedule your station’s stopset lasts about 2 minute and 30 the four pie peices, add two more equal differ quite a bit. One of the main dif- breaks is through the use of a broad- seconds. It has 3 spots that last 30 sec- lines. This know breaks the circle up ferences between the to is the spot casting clock. Many large commercial onds and one that lasts 60 seconds. into five minute time intervals. You’ll schedule commercial stations use. stations use this form of scheduling to set up 2 stopsets. You may want to use Commercial sponsors buy several in- provide consistent breaks throughout a pencil for this first try at a break dividual spots which make up their the programming day. Your station will Again at the :56 stopset we’re playing schedule. campaigns. Student stations often sell want to examine this possibility, but more sponsor spots. The :56 stopset semester long sponsorships or sponsor- don’t limit yourself to this sample. lasts 2 minutes. It has one spot that TRY SCHEDULING THESE ships for specific shows rather than lasts 60 seconds and two that last 30 EVENTS single spots. NACB and Interep work A broadcasting clock, or any schedul- seconds. One 20 second weather forecast with commercial sponsors that are ing system, is a tool frequently used Two 30 second spots used to working with commercial sta- by underwriting directors to help them Again, this clock is a commercial clock, One 60 second spot tions. Therefore, your station needs visualize where stopsets (and spots) are but it can be used in a college setting. One 30 second promo to understand how to schedule and played during a given hour. You’ll find You can vary the scheduled break Two 30 second PSAs assign costs to single spots. a system like the following example times to suit your station. “Concert Line” (1 minute) makes it easy to place individual 191 FUNDRAISING

THE PROCESS the ______around the Check your answers after completing THIS VOLUME weather. Then, to schedule in the ad- the test. If you get them all right move Set up each stopset to fit in a time zone ditional spots and a PSA she set up a on the next exercise; if not, take some After reading this volume and complet- of your choice. You’re not always go- ______. time and go back through this volume. ing the exercises, you should have the ing to have a five minute stopset, so necessary skills to easily schedule your make the pie piece smaller. Jodi (“That’s J-O-D-I, Jodi with an i”) stations sponsors. You will know the Judge the length of your stopset by walked in, asked Pauline what she was THE REAL T EST ins and outs of what to schedule when determining the duration of the events. doing. Pauline began to explain she and where to put it all. Add all the times together and draw the was setting up a way to schedule a Design a scheduling system of your piece of the pie. bunch of the new sponsors in a hour own based on your programming style. Draw the piece of the pie. so the jocks wouldn’t *&%#@ it up. Add in the program activities at your WHAT FOLLOWS Jodi asked why she labeled the spon- station. If you get lost, review this vol- Your clock should look about the same sors ads ______instead of ume to refresh your memory. After reading this volume, you should as the example clock, though your just calling them advertisements. Af- continue to volume three. Volume stopsets (or break) may be in different ter explaining, Jodi asked about the Once you have developed a system, three will cover the last step in man- places. At this point everything should times between programming where talk your decisions over with some of aging an underwriting campaign: the be clear to you. If not, take a couple of there was a break in the music sched- the other staff members. Try working affidavit and aircheck. It will wrap up minutes and reread the previous pages ule, wondering why those spaces were things out with the program director, the entire process and make the man- before the next review. called ______. Pauline, he/she may already have something agement of an underwriting campaign convinced that Jodi was still experienc- in mind. easier for everyone involved. ing the effects of Lollapoloza asked her A QUICK REVIEW to leave her alone so she could continue her work. VOLUME II: ADVANCED WHAT YOU SHOULD KNOW Here’s a review of the material so far. UNDERWRITING It may look simplistic, but it isn’t. Fill Another Quick Review: SCHEDULING For this volume of The Co-op Instruc- in the blanks and grade it yourself. tions you will need to be proficient in This is NACB’s version of “Mad Libs”, Fill in the following blanks with the GOALS OF VOLUME TWO a number of terms and concepts, which use the terms found in volume one to terms used in this volume. To teach you to set up stopsets will be quickly reviewed here. If there fill in the blanks. If you miss some- To learn how to schedule make-goodsis anything covered in this review vol- thing, go back and look for the answer. A ______combines spots To recognize differences in sponsorshipsume that you are unfamiliar with, look- and programming breaks such as PSAs and ing back at volume one of this series Pauline, the resident death-rocker and the weather, this can also be called aHOW LONG WILL THIS TAKE?would answer any questions. ______. recently appointed underwriting man- It should take between 10-15 minutes to ager for NACB’s College Radio Coop- A sponsor buys a ______to read this volume You should understand that a schedul- erative has recently at down to design promote a product for a predetermined run The exercises attached should takeing you system illustrates the programming a ______, a system- at a station. between 20-30 minutes time on your station. The following atic way to schedule sponsors into pre- Scheduling spots in predetermined times Designing your own scheduling systemterms will should also be understood: determined blocks of time within each requires the use of a ______. take quite awhile stopset, or break: a pause in the regular programming hour. She first set up Times set aside for a sponsor during a set programming schedule blocks of time during the hour to have are called ______. avail: time set aside for sponsors weather and placed a few sponsors in spot: a sponsor announcement 192 FUNDRAISING

Again, if these terms don’t ring a bell, A programming log often shows one or two a day. Use PSAs or station All spots must run their full duration please review Volume One before con- stopsets and what each stopset should promos as filler if you don’t need the All spots must be scheduled in the correct tinuing. contain. On the log, a column will in- extra avails for make-goods. If one or time spot dicate how many minutes after the two extra avails per day is not enough, Spots must only run during the time spot MAKE GOODS hour the stopset should begin. Often simply schedule more. they were purchased for a column labeled “duration” indicates Jocks mess up. Keep this in mind the time limit on the stopset. If you need to replay a spot as a make- If you follow these basic rules of sched- whenever programming spots for your good, you need to play the spots they uling, you will avoid many of the prob- station. You need to have a plan B For example, the stopset at :20 (20 min- paid for in addition to the make-good. lems that can arise when your station when a spot is forgotten or played at utes past the hour) has one 30 second This means that if a sponsor has two is unprepared to handle heavy spot the wrong time. This plan will involve Ford spot, one 15 second Mastercard avails a day, and one was missed, the scheduling. the use of something called a “make- spot and the weather. The jock on the following day the sponsor would still good” or “discrepancy”. A make-good air during this hour will break at :20 to receive the original two spots in addi- A QUICK REVIEW is a spot run for a sponsor at no charge play the spots and read the weather. tion to the make-good spot. This will when an originally scheduled spot is The break should last one minute. give a total of three spots the sponsor After reading this volume, and review- misplayed. Here are some examples When the break is finished, the jock on the make-good day. ing what you have learned in volume of events that can result in a make- will initial the items they read or one, the following exercises should be good: played. The initials provide proof for When arranging time for your sponsors very simple to complete. They may A jock misses the spot the affidavit that the spot, PSA or ID spots, keep in mind that each stopset look easy, but take your time and go A jock cues the wrong cassette was played. has a predetermined time set ranging slowly. A spot is played in the wrong time set from 15 seconds to 3 minutes. The A spot is scheduled in the wrong timeA set broadcasting clock provides a generic spots and events (i.e. PSAs, weather) A. READ THE FOLLOWING view of each hour’s stopsets. The pro- within each stopset should vary from EXAMPLES THAT WOULD It is very important that the spot is re- gramming log lists the exact items to 15 to 30 seconds. Within each stopset RESULT IN A MAKE-GOOD BEING USED. MATCH THE played and recorded on the jock’s probe played during each stopset. there can be a number of different FOLLOWING EXAMPLES WITH gramming log. This information can sponsors. It is important when sched- THE CORRECT RESPONSE then be easily transferred to the affi- uling that you keep in mind that spon- BELOW. TAKE YOUR TIME AND GO SLOW. davit to prove to the sponsor that they CORRECTING AN ERROR sors, whether they are local or national, did get what they paid for. Don’t as- buy 10 spots or 30, are all of equal im- sume all spots were played, check, and Where do you put the make-good spots portance (very important) and need to 1. A morning Dunkin Donuts spot was double-check the logs. Remember, it if all your stopsets are filled with other be accommodated. The income gen- played at 2:00 pm. is against the law to say you played a sponsor’s spots? erated from underwriting can be a 2. A spot for Nike scheduled twice a day, spot when you didn’t. major source of revenue for your sta- was played once at 4:30 pm only. When scheduling your scheduling sys- tion, so take care of all your sponsors. 3. Pepsi’s contract provided a liner to be tem, always provide a few avails in the read, and it was not read during one spot. THE PROGRAMMING LOG stopsets that can be moved or omitted Scheduling also involves juggling a lot 4. A spot for the GAP was overrun by a PSA. (such as a PSA your play often or a sta- of different requirements when you 5. A midday Subway Shop spot was skipped A programming log is used by radio tion promo). It is difficult to determine look at all the different sponsors. due to lack of break time. stations to schedule and track under- how many extra avails to have avail- There are a few rules of thumb that ____ Replay the PSA and the spot writing campaigns, station ID’s and able, but it is better to have enough you need to follow at all times when ____ Replay only the spot and the liner that other events broadcast over the air. than not enough. Start by scheduling scheduling spots on your clock. was misplayed again 193 FUNDRAISING

____ Replay the spot the following midday THIS VOLUME familiar to you. If not, this skill is also turned to NACB (if the campaign is part ____ Replay the spot during the next avail taught in volumes one and two. of The NACB/Interep Cooperative). It ____ Replay the spot at the correct morn-This volume will show you the step- is important that NACB receive the af- ing time slot by-step process involved with complet- AFFIDAVIT fidavit as soon as possible. Interep will ing an affidavit after the conclusion of want to 1) tell the sponsor the cam- Check your answers. a sponsor’s campaign. The affidavit is An affidavit proof of performance. An paign has been completed at your sta- the last, and very important part of a affidavit is a record, or verification, to tion and 2) begin processing of you sponsor’s underwriting or commercial your sponsor that you have played the underwriting payment for your spots THE REAL T EST campaign. Read this volume carefully, spots they paid you to play. It also lets run. Due to the standard broadcast the affidavit is an easy form to com- your sponsor know what dates and payment schedule, which NACB, After reading Volume One you were plete, but it needs to be accurate. times their spots were played. The Interep, and many sponsors use, pay- asked to design a scheduling system form NACB uses has been derived from ment will take a minimum of 90 days. based on your station and its needs. After reading this volume, and the pre- the more complicated version profes- Pull that clock out now, or make a vious two, you should be able to handle sional commercial stations use. The COMPLETING AN AFFIDAVIT, BY quick clock based on the information all the steps involved in an underwrit- form is easy to complete and should EXAMPLE in Volume One. Then, using the tech- ing campaign with the NACB/Interep only take a few minutes. niques and information you just College Radio Cooperative. You will be Completing the affidavit is a simple learned, update your clock with room able to smoothly schedule spots, effort- An affidavit is easiest to complete assignment. Call NACB at 401.863.2225 for make-goods. lessly provide make-good, and easily when the information is right at your and request a sample affidavit form to follow up with a sponsor affidavit. fingertips. It is important to tell your complete these exercises. The affida- jocks to list when they ran each vit form provided by NACB is one page, VOLUME III: WHAT YOU SHOULD KNOW sponsor’s spot on their log. one sided and easy to complete. NACB COMPLETING THE will mail or fax you a sample affidavit. AFFIDAVIT The following is a list of terms you AIRCHECK should know before continuing, if any EXAMPLE are unfamiliar, please reread the first An aircheck provides recorded proof GOALS OF VOLUME THREEtwo volumes and review them: sched- of performance to a sponsor that their WXXX has just completed a run of 10 To follow up with sponsorship campaignsuling system, stopset, break, avail, spots were played. Sometime during underwriting spots at 30 seconds each effectively spot, log and make-good. Before read- the sponsors campaign at your station, for Reebok. Reebok also paid for a liner To learn to notarize the affidavit ing this volume you should be profi- you need to record an on-air sample of announcement to be read after each To complete affidavit forms on time cient in all the terms covered in vol- the spot your are running. The spot was played. The run was two umes one and two of this three volume aircheck needs to be complete and in- weeks and was played only after 12 HOW LONG WILL THIS TAKE?series. These terms are essential to cluded with the affidavit when you noon. The last spot was played yes- It should take you about 10 minutes tounderstanding read the importance of the complete the campaign. You only need terday at 7:30pm. The affidavit now this volume affidavit and why it is used. to record it once for an aircheck. needs to be completed. Completing your station’s affidavits is a con- All of the information on the form can tinuing process You should be knowledgeable about be found on the logs in your station setting up a scheduling system with the WHEN TO USE AN AFFIDAVIT and the original contract with the spon- appropriate numbers of spots and sor. make-goods. Transferring information As soon as a sponsor’s campaign is to a programming log should also be completed, an affidavit must be re- 194 FUNDRAISING

NOTARY PUBLIC POST-TEST EXAMPLE 2

A notary public is a person designated After reading and completing the ex- Dead-Head David, when not traveling to verify the authenticity of your affi- ercises of this series, you should be able across the country with various bands davit. Ask your advisor or department to easily complete this final review. – mostly, yes, you guessed it, the Dead head where you can find a notary pub- Feel free to print out this text, or ex- – serves as the traffic director for lic at your college or university (usu- port it as text and complete it on your WYYY-FM, a small non-commercial ally there is one at the Risk Manage- computer. After completing this test, station on the campus that David can ment Dept.). If you can’t locate one, please return your results to NACB. rarely remember. David has been in- try heading to the bank, you will most formed that there are seven more spon- likely find one there. The seal or sig- EXAMPLE 1 sors, all run twice a day, and all have nature is needed to validate your affi- Paul X-Man Johnson, Program Direc- to be scheduled in for this month. davit and make it an official documen- tor of WXXX-FM, a 3,000 watt radio sta- David, looking at his station’s broad- tation of your station’s activity. tion on the campus of that college cast clock realizes (an accomplishment where Animal House was filmed, has in itself) that there are not enough A QUICK REVIEW recently five new nationally solicited avails to run seven more spots. In fact, sponsors to run this month. Two of the David can only add six more spots with Fill in the blanks of the following sec- five have daypart restrictions. One is the avails left, leaving one spot that tion using the information you learned from Domino’s Pizza, which runs only cannot be scheduled and no room for in volume three. between 6 P.M. - 1 A.M. and the other make-goods. He informs Death-Rocker is from Dunkin’ Donuts which runs Pete, the Program Director, that this is A ______must signonly or between 7-11 A.M. The other so... seal your affidavit to make it into an officialthree sponsors can run at anytime. document. Because the morning show is doing a A jock must ______livethe remote twice a week all month ______once they longhave at a local donut shop, Paul has a played or read an event. problem. He has already secured the When a sponsors paid underwriting orremote com- with the local donut shop and mercial spot is completed, they’vean agreed to run three more ______must immediatelymonths be because of a break they got on completed. live remotes. Two of the morning When the notarized affidavit is mailedshow’s to three stopsets are dedicated to NACB, an ______of the spot shouldthe local shop and Dunkin’ Donuts has be included as proof of performance.the run this month. Most likely, the The most important aspect of the completedlocal donut shop owner will not go for affidavit is that it be filled youout running the Dunkin’ Donuts spots ______. during his live remote. What should Paul do? Check your answers. promotions NACB 1995 STATION HANDBOOK

Twelve 196 PROMOTIONS dio station, whether they are program- (mostly in drive time), but the pro- ming features, outside promotions, gramming integrity of the music and contests or service the station per- entertainment image ofthe station, forms. Sometimes station promotions should not be encroached upon an ex- unfortunately only take the position of cessive amount of interuptions promoting through outside medium- whether they be commercial or promo- newspapers, billboards or television tional. spots, but neglect using their own radio station as a way to promote them- Take a lesson from the radio station selves. Saturate with self-promotion. Sales Manual and use radio Sales as it should be used. “Buy” some time on Although radio works by repitition, too the station itself during prime broad- frequently repitition of station promo- casting hours to get the message across. tion material can become very tiring If it is supposed to work for advertis- PROMOTING A RADIOon the audience and produce listener ing clients, then it should work for the STATION (WITHOUTfatigue. Therefore, station promotional station itself, too. announcements should be frequently MONEY!)updated, using new copy, different Station promotional announcements announcers, different production mu- are thought of as free, but there is noth- sic some fast, some slow, some short, ing free about them. They could be INTRODUCTION some long, some in detail, some brief, the most expensive and the most valu- but never let up on the constant sell- able chunks of time on the air. It would be difficult to encounter a radio station that had ing of the radio station. This costs enough money to accomplish a promotion it wanted to ex- nothing. Run promotional announce- PIGGY-BACK ecute. It seems like promotion, to many station owners, is a ments during the day just like normal bottomless pit which constantly sucks cash away from the commercials. Stations usually have Another way to promote without “Promoting a bottom line with too frequently no evidence of having ac- promo positions in their broadcast money is to piggy-back station activi- Station (Without Money)” is a complished anything. Certainly money is very helpful when hour which are in addition to their ties with events that are already going chapter from Radio: it comes to promoting a radio station, but take a look at a commercial time. Most radio audi- to happen. The Book, reprinted few ways a station can be promoted without using cash (or ences don’t understand the difference, with permission. very little). If any funding does become available, it can be or see any difference at all, between a For example, if a major charity is go- For more informa- used to augment these techniques for even greater effec- promotional announcement and a ing to be throwing a major fund-rais- tion on promotional ideas or to get a tiveness. commercial announcement. A station ing event like a show or a chili cook- copy of Radio: The promo will be just another commercial off, get to the organizers far enough in Book, contact the to them. Rather than developing indi- advance to throw complete support author, Steve SELF-PROMOTION Warren. vidual promo locations each hour, behind their event. Then, they will use One of the most overlooked ways to promote any radio sta- schedule station promos in unsold the station exclusively in promoting it. M.O.R. Media 21-54 44th Dr. tion is by using the radio station itself. A successful radio commercial slots that are available. Ask for permission from the event Long Island City, NY station is always talking about itself. Several times each hour, Even if this means the occasional ex- sponsor to have station signs or ban- 11101 radio personalities, around the clock, need to be reinforcing pense of bumping a commercial spot. ners at the event itself. Get the sta- 800-827-1722 in the listeners minds all the promotable aspects of the ra- This will happen from time to time tion logo or call letters included in their 197 PROMOTIONS print material. Be a part of their press non-profit organization to make sure Never let the News Department go out of release to the newspapers and televi- that they represent the same ideals that the building without call letters on their microphones. Microphone flags are inexpen- sion stations, perhaps on the posters, the station represent. Some examples Use lots of printed material. Printed mate- sive, but worth their weight in gold when or even on the letterhead. This costs of these are social organizations or rial can take the form of table tents that you seen on nightly television, at news confer- can place on tables in restuarants or night nothing other than the time of whom- non-profit organizations that deal with ences, or when they show up in the front clubs where the station may be appearing. ever on the staff takes the responsibil- health issues, sexual issues, educa- page of the daily paper. ity to work out the details and spear- tional issues, certain political alliances Leave behindname flyers tags, that banners, you can and put whatever on signs may be appropriate for station events. head the stations participation. (that some organizations might have Make sure all station personnel are identi- tables and chairs and seats and pass out alienated a portion of the audience, fied in public. For a few dollars a piece, an at remote locations that outline the station’s A good aggressive radio station can find while gratifying another portion of it). attractive name tag can be fashioned for programming activities or that contain coupons or entry blanks for contests can al- some significant public affairs event each member of the radio station staff. In- clude office personnel who occasionally most always always be traded through a every month of the year and can make Select promotional activities that can participate in station promotions. Nobody local printer. Any opportunity you have to many of them appear to be their own effect the largest number of people and should have to walk up to a station em- place the station logo plus some additional promotions with the total expense in as many cases as possible, try to as- ployee and have to ask if they are from the information about the station itself in front of a public is excellent for reinforcing the nearly zero. sociate with community events where station or not. Make sure the name tags are consistent, with colors selected for sta- station identity. large numbers of people are involved tion identity. Be consistent with call letters In putting together a promotional and where the potential for large (lettering and the logo, too). event that is connected with a charity, crowds and maximum station exposure Look for opportunities to exchange program it is often much easier to go to the busi- exists. space with community theatres, school plays, public functions, concerts where ness with whom a commercial relation- One of the most popular ways for radio sta- advertising space is available in the mate- ship already exists and get them to con- TIMING tions to get publicity without having to pay rial that is passed out to those attending. for it, at least without having to pay cash, is tribute materials like printing or food, When done right, none of this costs any- the use of barter or trade agreements with that will be used at the event itself. A few ways to promote that don’t re- thing. You are just exchanging services. other businesses. By using unsold inven- That’s what barter is all about. It’s an un- After all, they are doing it for the ulti- quire any major expense are to be at tory on the air in exchange for other busi- der-used opportunity, especially for small mate success of the fund raising event the right place at the right time. ness goods and services, the station can and medium market stations. itself, the charity, and then, vicari- Among these are: access everything from sign painters, print- ously, for the radio station involved. ers, balloon manuufacturers, sky writers, billboards, to newspaper and television. If the station has a vehicle, make sure that Station functions like movie openings, con- Doing a promotionand positioning the it is painted front, back, and sides so that cert, or shows where there has been no no matter what direction the vehicle is type o factual ticket used, it is easy for ra- station within the communities activi- Frequently, TV, papers, and billboard trade pointing and no matter where it is parked dio stations to print its own., making sure ties for public affairs events is an ex- agreements are expensive and may involve the call letters are obvious. It’s even a good that every station event has a ticket that is annual commitments. In many cases they cellent way to gain free and positive idea to paint call letters on the roof of the distributed in advance of the event. This also require (or are enhanced by ) some publicity. In mentioning positive pub- car just like police cars sometimes print reminds the listener about the upcoming cash commitment along with the trade their numbers on the roof so they can be event and because there is a tangible rep- licity, it is also important to point out agreement. In dealing with smaller mer- visible from the air. If there is an airport, resentation of the event in the form of a that there are some causes or chari- chants at a smaller level, items that nor- and there are planes coming in and out, ticket, the event is less likely to be forgot- mally cost just a few hundred dollars can table organizations which for one rea- people are going to remember a car driv- ten usually ensuring a greater participation. very easily be traded. Every radio station son or another tend to polarize certain ing down the highway that they see with function should have its own custom made call letters on the roof. members of the population. paper cups and plates, balloons, posters, Use (favorably exploit) air personalities. Therefore, it is always a good idea to Radio personalities accept the fact going double check being involved with some into their job that they are a public person, 198 PROMOTIONS

and that wherever they go, they representpart of their own promotion. The sta- the radio station. This is not a nine totion five participates with them in ex- job for anyone in the business, andchange any for some advertising dollars. member of the air staff visible to the Frequently,audi- radio stations will get ence by being listened to is similar visible to the audience when seen in public.asked The to participate in promotions by opportunities for members of the airmotion staff picture companies or by na- to participate in poublic events as individu-tional marketing groups that are look- als representing the station is considerable.ing for some kind of exposure in the I would encourage each member of the air staff including, if not especially including,market. This can come in the form of evening, overnight, and weekend person-travel agencies, hotel chains, airlines alities to make themselves available thatto be serve the community, restuarant volunteers on telethons, judges for anygroups type that are doing grand openings, of celebrity event that may be occurring in the city, work as a telephone operatoror for other a businesses that are coming to fundraising pledge drive, to volunteertown to and are looking to augment their participate in any type of charitable promotionalfunc- budget by bringing a ration where they can possibly get publicitydio station on board as a partner. through other medium and certainly be recognized by the public. This also includes speaking engagements for those membersFinally, in selecting promotions, even of the staff who are comfortable address-though they may be on a large scale, ing lunceons or dinner meetings. and they may be at no cost, ultimately, they must promote, effectively, the radio station. In some cases, no promotion is better than a poor promotion, or a promotion that is not targeted to- If the air staff is blessed with personswards tal- the type of listener the station ented in other areas, by all means promotewants. Be careful when selecting pro- their appearances. Consider their experi-motions, whether they are paid or ence as musicians, as actors in Communitywhether they are free, that the oppor- Theatre, magicians, cooks, athletes,or what other areas of expertise that may betunity in- to present the promotion is com- volved in that can impact favorably patibleupon with the image of the radio sta- their association with the radio station.tion. Is it something the station can live with before, during and after the promotion? COMMERCIAL OPPORTUNITIES

Another way promotions can come to the radio station at no costs is through commercial opportunities that present themselves. Advertising clients sometimes like to run station promotions as 199 PROMOTIONS Consideration of ideas and evaluation: air time for the advertiser as well. After a day or two, reassemble the group and go through the list of ideas discussing what each person likes and dislikes about each idea. Then decide STAFF MOTIVATION by vote, or other method, which idea Leadership is important; showing a should be executed. staff the long-term advantages of working in promotions is an absolute must. Execution of projects: Give assign- The students will need to know how ments one-on-one if possible. If this is the experience they gain will make not feasible due to schedule conflicts, them more marketable in a field or try an assignment board where assis- area of their interest. tants sign up for projects (make sure you give a due date!) It helps to post As a manager, there are five basic what everyone is working on so every- STUDENT STATIONthings to do for the staff: one knows where they stand within the PROMOTIONS group. Weekly staff meetings are also good for this, when each person can Instill pride in all tasks give an update on where their project Listen to complaints stands. Find out what staff needs Try to fulfill those needs INTRODUCTION Give credit where credit is due DETERMINING YOUR And never ever forget to say “Thank you!” Promotions is not just contests or giveaways, it involves any- AUDIENCE thing done to make people more aware of the station. For Idea generation/Brainstorming Ses- the media, promotions is a two-pronged fork: with one for sions: When brainstorming in groups, There are basically three ways for a the general public; the other to possible advertisers. This it is very important to accept all ideas. station to determine its audience: buy section should help any station accomplish goals in both of During a brainstorming session, there data from a professional ratings ser- these areas. should be no evaluation of any ideas. vice, hire a marketing research com- That comes later. Many times one idea pany, or do it yourself. The first two WORKING TOGETHER will spawn another, and so on down tend to be quite expensive for college the line until many great ideas, even stations but they are much more repu- It is very important that the Promotions Department not when the first wasn’t so hot. Also re- table and thorough than the last. work in isolation. The following four areas should work member that the more varied a group closely together in all the planning and carrying out of each included in your brainstorming ses- If conducting the research indepen- promotional event: Station Management; Programming; sion, the better. People with different dently, the process may be easier by Sales; and Promotions. perspectives will come up with more hooking up with a marketing research varied ideas. The point in a brainstorm- or statistics class. By working with the In addition, a promotions representative should accompany Sales ing session is to come up with bulk. professors students can research the staff on calls and make presentations to clients about forthcom- audience as a class project with no cost ing promotions to gain sponsors. More and more radio air time to the station. First, figure out exactly purchases are made on the contingency of getting promotional the research elements necessary to be 200 PROMOTIONS able to sell your stations air-time to Before the beginning of each fiscal forget to consider advertisers! They BONUS PACKS/PRICE advertisers. (ie. audience size in total year, sit down with a calendar, “post could sponsor an event that features REDUCTION: and during different dayparts, demo- mortem” files describing the past pro- their product with free product or un- graphics, lifestyles, etc.) Then develop motional successes and defeats, a file derwriting dollars. Give incentives to advertisers, in the form of a questionnaire and a method which with all staff new ideas for promotions, advertising packages with special discounted will be administered to obtain a ran- and the Sales manager, General Man- rates, so they will try advertising on the station. dom sample. ager, and Program Director. Together, PROMOTIONAL TOOLS It needs to be made known that this is not the plan out the next year’s promotions norm, however, or they will continue to expect CREATING A STATION using the criteria found below in This list is not all-inclusive and many this same deal in the future. Also, give price IMAGE “guidelines for a great promotion.” times these tools are used in conjunc- breaks for bulk advertising or immediate pay- Remember: Don’t plan too many tion with each other. This is mainly a ment. Don’t settle for just a slogan like “The events. 4-5 per month can get too hec- broad classification of promotional best rock right now.” Create a position- tic. When there are promos running tools that can be used for any product. SWEEPSTAKES/CONTESTS/ ing theme. What sets your station apart over one another, the listener will be- Using them for a service takes a bit of GAMES: from the rest? Find what salient at- come confused and each promo is thus imagination. tribute that the station offers to listen- less effective. These range from call ins, write ins, bumper ers that no other station does, or can COUPONS: sticker police patrols, etc. The law has specific do. This means doing research into the Decide what is needed for each event. requirements when advertising a sweepstakes: market, audience, and competition. (Bumper stickers, a conference room, By contacting the Food Services department at participants must not be required to buy any- Find the station’s own marketable billboards, newspaper ads,... ) Be sure the university, create and attach coupons to thing; they have to be able to enter for free. In niche. Station image should match sta- to include everything, even the small vending machine food packages to be redeemed addition, rules must be posted with the chance tion purpose and the future direction details, so there will be few unexpected for a free gift from the station. Food services of winning and estimated value of each prize. of the station. This promotional theme costs. should be cooperative if they know that the sta- Overall, it is easier to have a contest where there should run through absolutely every- tion will be hyping up this chance to win. They is not as much legislation. Contestants could thing the station does: all promotions, Lastly, find out how much all of the will receive free advertising and added interest fill out quizzes showing their knowledge of the and all ads. There are two main points materials will cost. Voila! Promotional in their product at no cost. station or another topic, write tall tale excuses to remember when building station budget. From here the managing staff for why they should receive the prize or any image: can decide if there are enough funds SAMPLES: other imaginative alternative to the age-old for all the events or how all the funds “fourth caller wins” routine. Don’t over promise. Deliver on all promises.will be made. Live remotes give a taste of the station to people Listen to the market. walking in the area. This not only will intro- PREMIUMS: If there is little or no money, and not duce more people to the station’s format but much is made through advertising/ advertisers will be exposed to more than nor- A premium is any item that a station purchases PROMOTIONS underwriting or renting out a mobile mal listenership, in turn, getting more for their for distribution to its listeners like t-shirts, key DEPARTMENT BUDGET DJ unit, there still is hope. Work with money and plus that “added extra value” they chains, footballs, etc. These gifts can be given other student groups who are willing look for. Remotes are even more important for away over the air or at any live event. The idea of Zero-Based Budgeting to pool money and create a co-spon- cable stations because they need extra expo- means starting from scratch for each sored event. There will probably be sure to remind people they are on the air. PROMOTIONAL GIFTS: promotion and for each year. more of a draw and make a more news worthy event than something done T-shirts, bumper stickers, records, cassettes, or independently with little funds... Don’t any other donated product from a company that 201 PROMOTIONS works with the station. Again, these gifts can time or sponsorship of events for prod- much harder for the promotions de- be given away with various methods. uct is usually easier to work than nor- partment to pull them off and (2) it will 10. Post all the information about the mal pay contracts. add confusion to any public contact the promotion on the station bulletin board DISCOUNT CREDIT CARDS: staff may have concerning the promo- so everyone is informed. tions. Other staff can also give insight- By presenting the station’s discount card at a GUIDELINES FOR A ful ideas! 11. Make your on-air promos exciting participating sponsor, the bearer is entitled to a GREAT PROMOTION and out of the ordinary, but brief. Give discount or free product. Include regular ad- 5. Make sure the promotion fits the sta- them extensive air play. Be sure to tie vertisers on these cards in an advertising pack- 1. Start far in advance. (8 weeks is usu- tion image and position within the on-air promos to print ads or publicity age for that “added value.” Or simply ask local ally enough) market. (i.e., a hard rock station do- through use of slogans and catchy businesses to sponsor the card; for a small price ing a promotion revolving around the names. they will receive increased their store traffic. 2. Research audience, market, and symphony or an opera is not the best Make sure discount incentives on the card are competition. Find out what’s being idea.) 12. Keep the audience informed by worthwhile; ones to which other students would done and what isn’t. It’s important to hyping the event. Continually update respond. do what isn’t being done. Find public 6. Make it simple. If it can’t be ex- the audience about the status of the causes that need help and incorporate plained in 30 seconds or less, it is too promotion, right up until the hour of MERCHANDISING them into a promotion, and earn confusing and will take too much time the event. After the event, promote money for a worthy cause (or collect to get across to the listeners. what happened, so next year anyone The most important things to remem- items) while building station image. 7. Make it easy for your listeners to who missedit, certainly won’t next time ber about obtaining promotional mer- participate. Believe it or not, if listen- around. This may seem a bit redundant chandise are: 3. Set objectives down on paper. In- ers have to tune in 24 hours a day to but an audience generally needs to be clude a measurable factor; starting hear their name called once, after urged to do something many times The product should be of high quality:point; and goal of promotion, like: sending in a detailed entry sheet that before they act upon it. Shoddy materials should not represent the they had to search high and low for, station. awareness (station awareness, awarenessaddress and mail an envelope with 13. Keep track of the response to vari- Have astrong plan for distribution: If not of a show or service) their own stamp, response will be low. ous promotions for future reference properly planned ahead of time, the station trial behavior (listening to/watchingThe your easier things are, the more people (e.g., a logbook in the studio) and in a could end up with a mountain of pens, but- station for the 1st time) will get involved. It is a good idea, staff meeting discuss what went well tons, or whatever left over, cluttering office however, to make them do something and what didn’t. Be sure to write ev- space. repeat behavior (listening to/watching consistently over time) that can be measured. It will then be erything down in “post-mortem” files Accompany distribution with audience con- specific promotions can also have objec-easier to determine the response to the and refer to them before the next protest or incentive: Make people aware of an tives to: increase station advertising sales;promotion. motion. event which displays free product. What increase client traffic; build community re- better way to get an audience excited than lations. 8. Set up a budget to work within for 14. Promote success using the response by creating a contest with a chance for great prizes. each promotion making sure to set numbers. Be sure to send all of the 4. Involve all of the staff as well as other aside $$ or trade out for outside ampus sponsors involved the results, so they station departments in promotional newspaper ads, etc.). New listeners will want to be a part of it again. Also, If the station has a small budget, like activities from the start. They can’t be won’t be tuning in if only current lis- send thank you notes. Sending a thank most, try working a tradeout with com- excited about something they don’t teners know about the promotion. you to all Campus Departments in- pany instead of paying for merchan- know. If the whole station is not ex- 9. Assign duties and print up a check- volved will certainly make dealing with dise and promotional products. Air- cited about promotions, it will be (1) list to make sure everything gets done. them next time much easier. 202 PROMOTIONS

SAMPLE PROMOTIONS BUMPER STICKER POLICE: individuals who can become regular lis- PUBLIC RELATIONS teners. Try to keep events simple and eye- There are many promotions a college Roaming B.S. Police either stop people display- catching, appealing for photos and taped Depending upon the size of the station, station can do. SOme of the basic types ing the station bumper sticker and give them a newscasts. PR may be a department on its own, of promotions include: prize, or take down license plates which are taking care of the areas described here. read over the air (winners must call in to receive DISK JOCKEY CHALLENGE: Whether or not PR is a subset of Pro- On-air Contests their prize). motions or a department on it own, it Outside Stunts Two on air personalities make a bet about some- must work closely with Promotions to Live Events GOOD NEIGHBOR GAME: thing not connected to the station like the out- give a homogeneous image. Community Boosters come of a basketball game or track meet, the DJs participating in this promo randomly pick a number of guys wearing suits in the business Building on localism is an integral part Ideas can revolve around... number to call from the student phone book. school on a given day, or the number of joggers of public relations for small stations. During the hour preceding the actual call, the that pass a certain intersection within a given There is a need for outreach into the Holidays last name of the person to be called is an- time. Be creative. Instead of betting money, community to establish ties and to de- Theme weeks (ie. Alcohol Awarenessnounced with a request made to their neighbors however, the payoff will be in the form of some velop the station to suit market needs. Week, International Women’s Week, askingetc.) them to call the individual and have her/ wacky stunt. Run wild with the possibilities. If each person in the staff can them- tation Anniversaries him tune in. Shortly before the call a “Winning selves become a Public Relations Rep- Client events (ie. relocations, grand open-Word” or a “Phrase that Pays” is given over FEED THE BEAST: resentative they will not only gather ings, bargain days, etc.) the air. When the number is called, the correct feedback from the community for the Campus Events (ie. sports events, Freshmenanswer must be given to win. For this event, make a monster that can be trans- station, they will also develop pride Welcome Week, etc.) ported or worn, or rent a costume. This mon- and commitment for the station. An Worthy Community Causes (ie. Homeless FREE STUFF FRIDAY: ster roams around the community or campus advisory committee can be quite help- Shelters, Children’s Hospital, etc.) collecting music requests that after being played ful in gathering local input: look to the Community Events (Marathon/ road Everyrace, Friday, every hour something is given on the station, the requestors will be entered in business leaders in the area, the edu- parades, etc.) away. a drawing for lots of great prizes. cators, student group leaders and those Sporting Events (Campus football games, working with community affairs com- bowl-a-thon, etc.) JOIN THE JET SET: LOCAL BAND CONTEST: mittees. These people will have more Specific on-air shows (ie. Reggae/World insight into community needs, wants, beat, Classic Rock, Blues, Jazz, etc.) Each time a listener is the first to call in after If your station does a program featuring local and trends, and will help guide the sta- hearing the sound of a jet being played, they acts, consider having a contest to find the best tion into marketable areas. are entered in a drawing for a round-trip for two local acts. After bands submit demo tapes, have SPECIFIC EXAMPLES to one of the 10 most glamorous cities in the U.S. a live concert with the finalists. Arrange free OF PROMOTIONS Each eligible person is mailed a Jet Set ticket studio time with a local production house for the PUBLICITY that looks like an airline ticket which contains winner. Follow up this promotion with the re- Listed below are only a few examples the rules of the contest and a number. At the lease of a cd compilation. Sell the cd at local Generally the public believes the con- promotions that student stations have end of the year or semester, hold a drawing for record stores where students frequent – and tent of news articles or what looks like conducted. Year long promotions can the winner. The school’s travel service should turn the promotion into a fundraiser! a news article more than what appears continue indefinitely. To escalate the be ask ed to co-sponsor this event. as a paid ad. Besides this main advan- excitement, put winners into a grand tage, publicity is also virtually free. drawing for the end of the year. The beauty of outside events and stunts The only costs a station incurs while is that the station can reach hundreds of trying to gain publicity are those re- 203 PROMOTIONS lated to the printing of press releases coverage will be. Spend a little money, what promotion is going on and get CONTENTS: or the other tools listed below. With or use a trade out and have some light them to cover it as well. these advantages comes one disadvan- refreshments available. (Food Services coverage map tage. When the publicity is free, there can be good for this.) Media originated publicity can be posi- rate card won’t be much power over what is tive or negative. The station will not program listing or most recent program printed. The following should help CORPORATE ADS: have much control over the slant the guide with that problem. story takes or what is included. The audience statistics and demographics (if Remember: Business/station origi- These ads are a bit different than the only influence a station has is the in- available) nated publicity is always positive! ones saying “listen to/ watch WXYV!” terviews it conducts with reporters; any station accomplishments (ie. awards, These tell the audience what commu- therefore, make certain that all staff media blurbs, testimonials) These are some of the means to entice nity events the station has done or is who talks with the press is conversant info on past and current popular promotions reporters to write about the station: in the process of doing. After reading and is fully informed of all events tak- this type of ad, the reader should feel ing place. In addition, use any of the PRESS RELEASES: all warm and fuzzy about the station. above measures to give a positive im- REMOTES Again, running this type of ad will not pression to the press. If something bad Sent out in flyer form, press releases be as influential as a news story and has happened that the press will dis- Besides providing a sample of the must be brief giving the “Five W’s” will cost more, but if a news article is cover, it is best to immediately send station’s musical format and promot- (who, what, where, when, and why) not in the making this will help to get out press releases or hold a press con- ing the station as a whole, mobile and should be sent out every time the the station’s name out and let the pub- ference to make sure that the station broadcasting units can make extra rev- station holds an event or is involved lic know what going on. presents its case to the press first. enue for the station if they are rented in something. Most schools have a out for parties, on-campus or off. News Service that sends out press re- SPECIAL EVENTS: MEDIA KITS leases for the university. While they should send the press releases out for This includes any event held in a pub- Most station clients will never visit the PROGRAM GUIDE free, they tend to only send to major lic place that draws a crowd. When station. Therefore, their impression is public media. If press releases need planning a large event, the above tools formed by three things: what they A program guide should be yet another to go out to any music journals, they should be used to create a buzz so at- hear on the air, what they see in the extension of the station’s positioning will need to come directly from the sta- tendance will be high by both the pub- press, and what is presented in a sales theme, a continuation of the station, tion. lic and the press. call. One way to improve sales pre- in print. Varying from one page, to sentations is to have a sharp looking posters, to small magazines, the pro- PRESS CONFERENCES/MEDIA Most likely, if the press writes a piece, press kit. Don’t hand a prospective cli- gram guide will only be limited by PARTIES: the information the station will have ent a crumpled mimeograph of a rate imagination and funds. Selling pack- provided will be the basis for their story card. A professional looking package ages that include print and air-time not Send out invitations to press members and extra elaboration will be obtained in a glossy folder with the station logo only can fund the program guide, but and follow up with phone calls. Con- through their own investigation and embossed on it will make a better im- also can gently introduce new clients ferences should be held for things too interviews. The better relationship the pression. to radio by using a medium with which complicated for a press release or as a station has with the press, the more they are familiar. special invite for reporters before the likely they’ll write about the station in actual event. An example would be a a good light. Also remember that the Setting advertising rates: Generally newly opened nightclub. Generally station is part of the media. Don’t for- about half of the space in the program the nicer the press event, the better get to let the News Department know guide should be sold for advertising. 204 PROMOTIONS Figure out how much each full page should cost to cover the full expense of producing the guide, and add in a percent of profit. The smaller space increments are then figured as a percentage – one half page should cost 75% of a full page, one quarter should cost 75% of a half, and so on. Make up a rate sheet for the sales staff to use cific programs. DJs can come up with a name for their show if the station doesn’t and work together to develop packages have names for all the shows already. with on-air time.

Copy for a multiple page guide: A great resource for copy are the DJs or producers. They tend to be creative people and can come up with some great pieces!

Most guides have a letter from the General Manager giving a synopsis of where the station is going and what has been accomplished so far.

Utilize this great venue to promote any current and upcoming station activities. Transcribe or put band interviews into story form. Tell the world about the station’s wonderful staff with pieces like “Volunteer Spot- light”.

Recently released record reviews are usually interesting to the public – it’s nice to get the full spectrum of your programming included. Radio stations should have specialty show DJs review a record or two as well.

Pieces on various specialty programming can inform the audience on new shows. And MOST IMPORTANTLY, include an easy- to-read program schedule. Either include each DJ’s name with their shift for a nice morale booster, or choose to highlight spe- alumni associations NACB 1995 STATION HANDBOOK

Thirteen 206 ALUMNI ASSOCIATIONS May of 1993, WRHU lost its then GM 2) Make sure you get yourself officially Jeff Kraus to complications following recognized as a chartered alumni heart surgery. As Acting GM, I re- group, or whatever your school’s stan- ceived many calls from over 600 grads dard is, so that your voice counts. For asking what they could do to keep his years, WRHU’s alumni donated equip- spirit alive. It was then that I went to ment, time and services to the station Hofstra University’s Alumni Relations in an “unofficial capacity.” No one on Office and proposed “The Radio the University level knew to what ex- Alumni Association”, whose primary tent the dedication and commitment goal was to raise funds for a radio schol- of the station’s alumni, or their contri- arship in Jeff’s name, as well as help butions meant to our organization for WRHU through whatever changes more than thirty years. An official might be in store for the station. alumni organization allows everyone to know just how much your station is ALUMNI ASSOCIATIONSThe response was overwhelming. We appreciated by the students who have AN OPPORTUNITY TO LEARN FROM OTHERS were able to start a permanent endow- the chance to work there. BY SUE ZIZZA, PRESIDENT, THE HOFSTRA UNIVERSITY RADIO ALUMNI ASSOCIATION ment at Hofstra in Jeff’s name with our very first event which still continues 3) Find a cause to benefit the station’s to grow. Since then, we have created a future and allow the group to work well quarterly newsletter, participated for together in this process of working to- Since my background is radio, I can’t really speak for stu- the first time in Homecoming, and gether to build new studios and schol- dent television groups – but I can tell you from years of ex- have become an active force in the arship. Although social reasons keep perience and observation, that those who make friends while University’s Alumni Organization. most of us in touch after graduation, working at their school’s radio station often stay friends af- How did we do it? By working closely working together to build new studios, ter graduation. Maybe it’s the long hours working together with the Director of Alumni Relations, creating a scholarship program, or be- in the tiny studios, or maybe there’s something different the Hofstra Development Office, and ing mentors to students currently about us “radio types.” Everyone I’ve ever met who worked a handful of local graduates who working at the station, allows you to at their college station is still in touch with one or two friends wanted to make sure that WRHU’s past give something back to the station and from that part of their life. would be part of its future. the institution that houses and finances it. In addition to raising money for the There are plenty of good reasons to keep your alumni in There are a few things that I learned Jeff Kraus Radio Scholarship, the touch with the current staff. Networking, internships, and working during the formation of this Hofstra Radio Alumni Association tries mentoring opportunities, as well as the chance to keep the Association, which should be kept in to work with other groups on campus history and tradition of your station alive, are reasons enough mind when trying to create an alumni by using our unique abilities to ben- to start a radio alumni association at your school. group for your station: efit others. For example, we produce the Hofstra Audio Update in conjunc- WRHU (once called WHCH and WVHC), Radio Hofstra Uni- 1) You need to have very dedicated tion with the Alumni Organization and versity has a 35+ year history of asking its alumni to stay in people who are willing to help orga- WRHU. One of the only audio alumni touch. Our group has been very “family like” over the years nize mailing lists, serve as officers, plan magazines published in the country, and we always took the time to bring up the next generation events, make phone calls, and work this helps to keep those Hofstra alumni of graduates into the industry when and where we could. In with your school’s alumni office. who are visually impaired up to date 207 ALUMNI ASSOCIATIONS with what’s happening at the Univer- the station not only preserves the past, sity. It also gives recent station gradu- it also helps the next generation of ates a chance to practice their skills broadcasters know just how much they while looking for jobs. Experienced can achieve if they take advantage of announcers in our alumni group have what can be learned while working at a chance to do a little something extra your station. for the University. Note: In addition to being the Presi- 4) Finally find a way to keep in touch. dent of the Hofstra University Radio Because so many of our alumni are Alumni Association, Sue is also the actively involved in the media, we Operations and Programming Coordi- started a very professional looking nator for WRHU–FM and a station newsletter, as well at contributing ar- graduate. Please feel free to contact ticles to the regular Hofstra Alumni Sue at (516) 463–5106 to discuss setting Update Newspaper. Our group’s news- up your own alumni group. letter, “The Radio Report,” is published quarterly and accepts contributions of all kinds from our membership. Each issue contains either an article from the Chair of the Communication Arts Department or the station’s General Manager. Additionally, students working at the station are asked to write about what WRHU is like today. Ar- ticles highlighting alumni accomplishments, scholarship fund-raisers, fun, historical, and current station photos, and the like, are all puled together and sent out in order to keep everyone up to date.

The most important thing to remember is that at most schools there is a governing body that oversees all alumni activities. If your group is like ours, you know how to get things done, you just need to remember to get them done in a way that makes friends with other groups and benefits everyone involved. Remember, keeping your successful graduates coming back to 208 ALUMNI ASSOCIATIONS

out. Why? Because there is no longer 2. ESTABLISH A a communications major being offered RELATIONSHIP WITH THE at the University of Maryland, College UNIVERSITY OF MARYLAND, COLLEGE PARK Park, and WMUC-AM/FM. These student run stations have a rich history We have met with some university of- and have provided and continue to pro- ficials to ensure them that our involve- vide many with the essential skills ment will foster the growth of WMUC. needed to obtain a job in the broadcast- We will meet next with more univer- ing industry. sity officials, WMUC representatives, and members of the student govern- At our first meeting in April ’94, about ment, and then meet with the univer- 15 WMUC alumni developed a mission sity president. statement, a list of goals, and the chair- persons and committees needed to 3. CREATE AN OFFICIAL NOT ALMUNI ASSOCIATIONSreach some of those goals. Basically, FOR PROFIT ORGANIZATION FROM THE WMUC ALUMNI ASSOCIATION this meeting was a brainstorming ses- We elected a president, secretary, and sion. We tossed around ideas, writing treasurer, opened a bank account, then down each idea (I acted as facilitator). we rented a post office box, an estab- We then refined the list and further lished an alumni voice box to provide developed our final plan of attack. information and receive messages. We have included the following information about starting an alumni association to inform our stations of what ben- Since that initial meeting we have A local office agreed to do pro-bono efits and advantages that working with your college’s alumni monthly meetings. Our focus has work for us by helping us incorporate office can provide. If your station is interested in fundraising been: and become an official not for profit and establishing a professional connection within the indus- organization. We were incorporated as try, establishing an alumni assocaiation is essential. 1. ESTABLISH A of 11/23/94 in the State of Maryland RELATIONSHIP WITH THE and will be filing our papers with the WMUC’s Alumni Association President, Betti-Jo Cohen, has STUDENTS AT WMUC. IRS next week. submitted the following information about how they started We polled the students at WMUC to in hopes of helping other stations get underway. Their main insure that they wanted our counsel. 4. PRODUCE A QUARTERLY mission of their Association is “to advise and support WMUC They jumped at the opportunity to get NEWSLETTER; CREATE AN students and the University of Maryland in their effort to alumni involved. To cultivate this re- ALUMNI DIRECTORY acheive and maintain radio stations of the highest profes- lationship we invite WMUC executive One of our alumni is proficient on sional standards.” officers to our alumni meetings. To pagemaker. He volunteered to create further develop our relationship we are the newsletter. A core of us, including WMUC Alumni Association, Inc. in the process of instituting a student- him, write the articles. Then the re- alumni mentor program. maining Communications Committee THIS IS HOW IT ALL STARTED: members are responsible for duplicat- ing the newsletters and mailing them At an informal meeting of approximately 40 alumni in Octo- out. Our current mailing list stands at ber of ’93, the idea of forming an alumni group was tossed 400. We are currently gathering infor 209 ALUMNI ASSOCIATIONS mation from our alumni for our alumni nections to make this alumni group directory. By the end of February this happen. directory will mail it to all alumni who have made a contribution (it’s $5 for Even though we have come a long way anyone else). since April 1994, we will continue to pursue our mission at an aggressive 5. RAISE SUFFICIENT FUNDSpace. We are currently looking for one TO COVER THE COSTS OF of our alumni to step forward to be- MAILINGS, FILINGS, ETC. come a development/fundraising We ask alumni to contribute $25 to the chair, we are awaiting word from the alumni association. At this time the IRS on our not for profit status, and we contribution is not tax deductible. need to maintain the interest of those However, once we are an official not involved in the alumni group. for profit association it will be. We initially asked those who attended meetings to make a contribution, then we solicited donations through our newsletter. Our alumni have been quite generous and at this time we have collected enough money to more than cover the cost of our mailings, incorporation filing, IRS filing, etc.

6. INSURE THAT WMUC’S LICENSE RENEWAL PROCESS GOES SMOOTHLY One of our alumni is chairing our Li- cense Renewal Committee. He will be teaming up with a communications attorney who will work pro-bono to assist the students at WMUC with the license renewal process.

What this boils down to is using the talent of the alumni group effectively and that too means using the “ connections” the group has. We have been very lucky. There is a core of us, about 12, that come to each monthly meeting. These folks have been willing to give up their time and use their con- curriculum survey NACB 1995 STATION HANDBOOK

Fourteen 211 CURRICULUM SURVEY in his role as chairman of NACB’s cur- and the tools and techniques of televi- ricular issues committee. sion production, covering both the “how-to” side of production and the If you have any questions, please fell larger theoretical and aesthetic consid- free to contact Tony directly at 401-792- erations involved in the process of tele- 4284 (w) or 401-635-8489 (h). vision production.

Please return the survey to NACB, 71 ____ Public Relations: Examines George St.,providence, RI 02912-1824. the principles and processes of public relations. Areas of discussion include Below is a list of course descriptions. organizational aspects, the public rela- Next to each, please indicate whether tions environment, fact finding, plan- you think the course should be re- ning and programming, implementa- quired of students, using the code be- tion, evaluations, and audience analy- NACB SURVEYlow. sis.

MC ____ Intercultural Communication: Should be required of all mass commu- Provides knowledge and understand- nication students, regardless of concen- ing of the interrelationships among tration. culture, language, and communication. INTRODUCTION J Students will develop skills to over- Should be required of all journalism come intercultural communication This survey was prepared by Dr. Tony Silvia, Associate Pro- students, regardless of concentration. barriers such as ethnocentrism, mis- fessor of Journalism at the University of Rhode Island. This R interpretation of verbal and nonverbal survey is aimed at determining the future of media curricula. Should be required of students in rel- signals, problems of sterotypes/per- The information you provide on this survey will be helpful evant concentration(s), but not of all ceptions and assumptions of similari- in compiling data that will be used to advise media educa- majors. ties. The course will help students tors on a curriculum of required courses for college/junior E become culturally sensitive communi- college/university students majoring in journalism or mass Should be strongly recommended, but cators in intercultural situations. communications. It will eventually be part of a nationwide not required of students. N If you have any survey of educators and industry professionals that will as- ____ Broadcast History: Offers a questions, please sist NACB in structuring a document of guidelines for courses Should be neither recommended nor historical and critical perspective of the fell free to contact of study and evaluation. It is hoped that the eventual rec- required. Not Important. development of the broadcasting in- Tony directly at 401- 792-4284 (w) or 401- ommendations made in this regard will lead to meaningful dustry in the United States. 635-8489 (h). changes in current media curricula. ____ Media Writing: An examina- Please return the tion of the manner in which messages ____ Communication History: survey to NACB, 71 We invite you to take a few moments to complete the sur- are constructed for a variety of media Studies the development of communi- George vey, which will be extremely useful in our research efforts. formats. cation media from the earliest pre-al- St.,providence, RI 02912-1824. Also, when returning the survey, if you could enclose a pho- phabetic inscriptions to modern elec- tocopy of your entire curricula, it would be helpful to Tony ____ Television Production: An in- tronic message systems. The course troduction to video communications will examine the social and cultural 212 CURRICULUM SURVEY effects of change in communicayion on professional codes of ethics used by munication structures and functions, are related to publication design and technology over time. various media organizations. organizational, cultural, group and how visual elements such as graphics, public communication, and communi- typography and layout contribute to ____ Introduction to Journalism: ____ Broadcast/Cable Operations/ cation technology. Emphasizes the the presentation of written material. An introduction to the technique of Management: Analysis of industry and application of organizational commu- Introduces computer skills for design- writing basic news stories. Students organizational structures, manage- nication theories to identifying and ing and editing copy and graphics, and will also learn the basics of libel law, ment, audience analysis, promotion, solving problems of communication in for layout of print media. consider the ethical issues that arise marketing, and programming. Day-to- organizations. in the practice of journalism, and ex- day practices of television and radio ____ English Composition and Writ- plore newsroom duties and responsi- organizations emphasizing social, le- ____ Advanced Reporting and Writ- ing: Covers basics of sentence struc- bilities. gal, economic, and technological facing: Extends basic reporting techniques ture, grammar and syntax. Students tors. and examines the newsgathering pro- also learn how to formulate and orga- ____ Persuasive Communication: cess. Investigative, feature, and maga- nize an effective argument using sup- Involves students in monitoring and ____ Media, Technology, and the zine stories are developed and cri- porting sources and materials. examining advertisements, speeches, Future: Trends in communication, with tiqued. editorials, jingles, etc., for the purpose special emphasis on their future so- ____ Other(s) Please specify. of identifying and analyzing the many cial, cultural, and economic effects on ____ Communication Theory: Ex- types and techniques of persuasion. the audience. The merging roles and plores a variety of perspectives from functions of mass media, telecommu- which communication may be stud- ____ International Communication: nication, and computer technologies, ies. Examines different models that Explores the social, political and cul- global communication, and emerging have been developed to conceptualize, tural traits that lead to the development interactive technology. describe, and explain the communica- of media systems. Includes discus- tion process. sions of how governments regulate ____ Media Issues: Examines con- media, control access, and fianance temporary issues in media within a ____ Foundations of Media Re- operations; examines the cultural, po- broad context emphasizing decision- search: Examines various methodolo- litical and economic impact of new making, media competition, and com- gies of media research, including Please return to the courses above, and communication technologies. munity values as they affect news and analysis of ratings systems, audience indicate the three courses which you entertainment programming. survey methods, content analysis, and consider to be the most important, us- ____ Communication Law: Exam- evaluation of current media research. ing an asterisk (*). ines the principles and applications of ____ Media Criticism: An introduc- media law, introducing students to fun- tion to critical approaches to the analy- ____ Media Internships: Practical damentals of the American legal sys- sis of contemporary media. Explores experience in a media setting, either tem and legal case studies pertinent some of the criical methods available at a radio or television station; weekly to the mass media and related commu- for answering important questions class meeting for purposes of evalua- nications technologies. about the mass media, preparing stu- tion and discussion. dents to become critical consumers of ____ Communication Ethics: Ex- popular culture. ____ News Editing and Design: Re- plores ethical issues confronting com- lates journalistic and editorial thinking munications practitioners in a wide ____ Organizational Communica- to visual thinking. Students will learn range of areas, including instruction tion: Examines basic concepts of com- how journalistic and editorial decisions 213 CURRICULUM SURVEY Please indicate the disciplines from If no, do you believe your department which you would require additional should have an exit exam? courses for Journalism/Mass Commu- nication majors; if there are specific What area(s) do you believe your de- courses within these areas which you partment should include on entrance/ think should be required, please indi- exit exams? cate them next to the appropriate area. Grammar proficiency ____ Art Sentence structure ____ Business Administration Spelling ____ Computer Science Current events ____ Economics Other (please specify) ____ English ____ History Summary Information: ____ Multicultural Studies ____ Philosophy FACULTY ____ Political Science Community College ____ Psychology 4 Year College ____ Sociology University

Others (please specify) Part-time Full-time Does your department administer an entrance exam for prospective majors? Number of years teaching

If yes, do you believe this is a valuable INDUSTRY PROFESSIONALS method of assessing a student’s poten- Title tial success in your major? Type of organization Number of years in industry If no, do you believe your department should have an extrance exam? STAFF Title Does your department administer an Part-time exit exam upon completion of the ma- Full-time jor? Campus Media Advisor Yes No Radio Yes No If yes, do you believe this is a valuable TV Yes No method of assessing a student’s level Newspaper Yes No of achievement? OTHER COMMENTS: internships NACB 1995 STATION HANDBOOK

Fifteen 215 INTERNSHIPS

1. All applicants for internship must havetion a techniques, political strategies or cumulative grade point average of atpersonnel least policies, etc.) 2.0.

2. In the judgement of the internship Thisadvi- is to be a double-spaced typed re- sor, all applicants must have completedport. all The daily LER’s are to be sent to applicable Communications Arts courses.the faculty supervisor every two 3. Applicants for internship must file anweeks. application at least two quarters prior to the expected internship term. Failure to submit timely detailed re- 4. An internship application may eitherports be will result in grade reduction. rejected or tabled if the student failsThese to reports should reflect the attain- maintain satisfactory academic standing.ment of new knowledge as well as re- 5. A student appeal may be submittedinforcement in of existing knowledge or writing for consideration by the Communi-skills. Just a listing of activites or tasks INTERNSHIP PROGRAMScation Arts faculty. performed without detailing methods, techniques, styles or other newly ac- The student is required to sign and date quired knowledge would be insuffi- the the form. cient for grading purposes.

Internship site placement is solely at Be sure one of your primary supervi- THE STUDENT APPLICATION FORM the discretion of the Communications sors completes the weekly evaluation Arts Department faculty. Site contacts form and that you review and sign it The application for a broadcast internship includes the ba- are made only by the Internship fac- each week. Usually you will give the sics: student anme, school address, school phone, home ulty advisor. supervisor an evaluation form on address, home phone, and desired quarter for internship. Thursday so they can complete it for LEARNING EXPERIENCE your review on Friday. It should then The student is asked to list three internship sites in order of REPORT FOR be sent Friday afternoon to the Faculty This article was preference. supervisor so they will receive it by the prepared by David INTERNSHIP STUDENTS Burns, then first of the week. Professor of A selection of skill areas for focus of the internship is in- Each internship will be required to Communications at Georgia State U., for cluded. (Such as news, production, news photography, en- develop and maintain a daily Learning Within the last month of the internship an NACB National gineering, sales, rotate). Experience Report (LER) pertaining to you shouldhave updted your resumé Conference. The their internship experience. This re- and begin searching for permanent Communications department The students are asked to elaborate on any other factors that port will consist of about a half page employment either at your existing site conducts an should be taken into consideration in order to determine an typed daily report expressing not only or other locations. If possible, try to internship program for students through appropriate internship site, such as housing, or financial limi- what ws experienced or tasks per- get a letter of reference from some of an Internship tations. formed that day, but also detailing what your supervisors by the last week. Try Advisor, one of the was learned from the experiences also to develop a demo tape of your staff in the department. A section on policies regarding all internships is included (such as equipment operation, meth- work along with samples of copy you Elements of their on the application form: ods of news writing, video recording, have prepared (these will assist your program are outlined here. hos to handle news contacts, produc- job search). Remember to nenver send 216 INTERNSHIPS out your master copy, since you may fessional supervision and training in not get it returned. each of the above areas for the duration of the internship. Within the last few weeks of the internship the faculty supervisor will contact the internship site to schedule the final evaluation. It is important that you be present for the final evaluation.

Frequently review your internship contract so you meet the objectives of the internship. If problems arise, you should contact either your faculty supervisor and/or the internship site supervisor for resolution of problems.

Sample Television Station Internship Description

Station Responsibilities are completed by the station.

Station accepts for the Quarter a student intern who is recommended by the Department of Communication Arts of Georgia Southern U. for the purpose of helping to develop the student for a career in (Broadcast News). The student will be provided pratical training for development competen- cies in at least the following areas of (Broadcast News): story research, interviewing strategies, writing styles, news photography, video editing styles, along with exposure to directing and producing the newscast. The student will be exposed to newsroom operations, newsgathering and newscasts. These opportunities should enhance the student’s mastery of news operations. Station will provide pro- nacb by laws NACB 1995 STATION HANDBOOK

Sixteen 218 NACB BY LAWS

The members of the Executive Board of Director for NACB for the 1995 term are:

Glenn Gutmacher past Executive Director NACB Chairman of the Board

Holly Beretto St. Louis U.

Sonny Dean NACB EXECUTIVE BOARDClarkson U. Roy Govshovitz SUNY- Binghamton

James McCluskey U. of Oklahoma The Executive Board of Directors of NACB is comprised of seven persons. The Chairman of the Board is the immedi- Dan Moldover ate past Executive Director of NACB. The other six persons Towson State U. are elected to office, as voted upon by the membership of NACB at The National Conference, held annually in Provi- Josh Motroni dence, Rhode Island. These persons are faculty and stu- St. Joseph’s U. (Maine) dents at NACB member stations or are individual student or faculty members. Joel Willer Northeast Lousiana U. The Executive Board of Directors has significant input and leadership in NACB. These individuals assist the NACB staff, headquartered in Providence, in determining the priorities and projects of the association. In addition, these individuals conduct outreach to NACB members in order to facilitate more networking and communication among members. The National Association of College Broadcast- Please contact NACB if you wish to reach the Board mem- ers, Inc. By-laws bers listed. Like most students and faculty, their phone num- A Rhode Island bers and addresses change with each semester. non-profit corporation 219 NACB BY LAWS 1.6 “Incorporator” means the incorpo- 1.16 “Trustees” means the Board of rator of the Corporation. Trustees of the Corporation which is a group of individuals vested with the 1.7 “Member” means one having mem- management of those financial and bership rights in the Corporation. legal affairs of the Corporation as delegated to it by the Board of Directors 1.8 “Non-Profit Law” means the Rhode of the Corporation. Island General Laws governing non- profit corporations.

1.9 “Non-Profit” means no part of the Corporation’s income or profit is dis- tributable to its members, directors or ARTICLE officers1 except as permitted by law. 1.10 “Office of the Corporation” means the offices of the Corporation.

1.11 “Executive Director” means the Executive Director and Chief Executive DEFINITIONS Officer of the Corporation.

As used in these By-laws, unless the context otherwise re- 1.12 “Associate Director” means the quires, the term: Associate Director of the Corporation.

1.1 “Board” means the Board of Directors of the Corporation 1.13 “Chairperson” means the chairper- which is a group of individuals vested with the management son and presiding officer of the Board of the affairs of the Corporation. of Directors of the Corporation.

1.2 “By-laws” means the initial By-laws of the Corporation, 1.14 Whenever appropriate, the singu- as amended from time to time which act as rules to regulate lar form shall be interpreted as plural or manage the affairs of the corporation. and vice-versa and the neuter includes the masculine and feminine and the 1.3 “Articles of Incorporation” means the initial certificate masculine includes the feminine and of incorporation of the Corporation, as amended, supple- vice-versa. mented or restated from time to time. 1.15 The captions or headings of the 1.4 “Corporation” means The National Association of Col- paragraphs and articles hereof are for lege Broadcasters. convenience only and shall not control or affect the meaning or construc- 1.5 “Directors” means the directors of the Corporation. tion of the same. 220 NACB BY LAWS

ARTICLE 2

NAME AND PURPOSE

2.1 Name. The name of the corporation shall be The Na- tional Association of College Broadcasters.

2.2 Purpose. The National Association of College Broadcast- ers is a corporation formed: To provide an exchange of ideas, programming and information in the student media community and among students, faculty and professionals; To facilitate growth, prestige and recognition of the student media community; To protect and lobby for the laws and regulations that affect the student media community to the extent allowed by law; To encourage and assist student stations and individuals in attaining high standards which will enhance the communities served; To provide opportunities for individuals with an interest in media and communications; To support student media endeavors and encourage unique and creative innovations in that community. 221 NACB BY LAWS cause by a majority vote of the Mem- bers entitled to vote or of the Board. Cause for termination includes, but is not limited to, nonpayment of dues, non-compliance with conditions of membership or chronic disturbances in the conduct of the Corporation.

3.4 Effect of Death, Resignation or Deprivation of Membership. All of the rights, powers and privileges of any Member of any class shall continue as follows: if the Member is an individual, until her death or resignation, or the ARTICLE deprivation3 or suspension of membership; if the Member is a college, university or high school, until the Mem- ber no longer operates a radio or television station, or the deprivation or suspension of membership. MEMBERS 3.5 Dissemination of By-laws. Each 3.1 Membership. Members of the Corporation shall be col- present and new Member shall receive lege television or radio stations, students and faculty mem- a copy of these By-laws. bers in the field of communications or journalism and such other individuals as may apply and who are interested in the objects and purposes of the Corporation that have applied for and been accepted for membership by the Board of Directors of the Corporation. Membership is subject to abidance of the provisions of these By-laws.

3.2 Classes of Members. The Board, by a majority vote, may create one or more classes of membership and may prescribe the designations, voting rights (if any), powers, privileges and method of selection of each such class.

3.3 Deprivation or Suspension of Membership. No Member may be deprived of its membership or be suspended as a Member without cause except by the vote of the majority of all Members entitled to vote, but any Member may be deprived of its membership or be suspended as a Member with 222 NACB BY LAWS acted which is related to the purpose in person or by proxy, whether before or purposes of such meeting set forth or after the meeting. The attendance in the notice thereof given pursuant to of any Member at a meeting, in per- section 4.4 of the By-laws or in any son or by proxy, without protesting waiver of notice thereof given pursu- prior to the conclusion of the meeting ant to section 4.5 of the By-laws. the lack of notice of such meeting, shall constitute waiver of notice by said 4.4 Notice of Meetings. Except as pro- Member. vided in Section 4.3 and 4.5 of the By- laws, whenever Members are required 4.6 Quorum of Members: Adjourn- or permitted to take any action at a ment. Members entitled to one tenth meeting under the Non-Profit Law, the (1/10) of the total number of votes en- Articles of Incorporation, or the By- titled to be cast at any meeting of Mem- laws, written notice shall be given stat- bers, present in person or represented ARTICLE ing4 the place, date and hour of the by proxy, shall constitute a quorum for meeting and, unless it is the annual the transaction of any business at any meeting, indicating that it is being is- such meeting, unless otherwise pro- sued by or at the direction of the per- vided by law or by these By-laws. son or persons calling the meeting. When a quorum is once present to or- Notice of a special meeting shall also ganize a meeting of Members, it is not MEETINGS OF MEMBERS state the purpose or purposes for which broken by the subsequent withdrawal the meeting is called. A copy of the of any Members or their proxies. 4.1 Annual Meeting. A meeting of Members shall be held notice of any meeting shall be given, annually for the election of Directors and the transaction of personally or by mail, not less than 4.7 Voting: Proxies. Every Member of other business at such hour and on such day in October, fourteen (14) nor more than ninety record shall be entitled at every meet- November or December as may be determined by the Board (90) days before the date of the meeting of Members to one or two votes and designated in the notice of meeting. ing, to each Member entitled to notice based on the type of membership held. of such meeting. If mailed, such no- The Board of Directors shall decide the 4.2 Place of Meeting. Every meeting of the Members shall tice shall be deemed to be given when voting rights of each class of member- be held at the offices of the Corporation or at such other deposited in the United States mail, ship. All individuals holding the same place as shall be specified or fixed in the notice of such meet- with postage thereon prepaid, directed class of membership shall have the ing or in the waiver of notice thereof. to the Member at its address as it ap- same voting rights. At any meeting of pears on the record of Members, or, if Members, a quorum being present, all 4.3 Special Meetings. A special meeting of Members may be the Member shall have requested that matters except as otherwise provided called at any time by the Board or by the Executive Director, notices be mailed at some other ad- by law or by the By-laws shall be de- unless otherwise proscribed by statute, and shall be called dress, then directed to such other ad- cided by a majority of the votes cast at by the Executive Director on the written demand of Mem- dress. such meeting by the Members present bers holding ten percent (10%) of the total number of votes in person or represented by proxy and entitled to be cast at such meeting. Such written demand 4.5 Waiver of Notice. Notice of meet- entitled to vote thereon. In voting on shall state the date and month of such meeting. At any spe- ing need not be given to any Member any question on which a vote by ballot cial meeting of Members only such business may be trans- who submits a signed waiver of notice, is required by law or is demanded by 223 NACB BY LAWS any Member entitled to vote, the vot- bers are required or permitted to take ing shall be by ballot. Each ballot shall any action by vote, such action may be signed by the Member voting or by be taken without a meeting on written its proxy. On all other questions, the consent, setting forth the action so voting may be viva voce. Every Mem- taken or to be taken, signed by all the ber entitled to vote at a meeting of Members entitled to vote thereon. shareholders or to express consent or Such consent shall have the same ef- dissent without a meeting may autho- fect as a unanimous vote of the Mem- rize another person to act for it by bers. proxy.

4.8 Organization. At every meeting of Members, the Chairperson of the Board of Directors shall preside over the meeting. The Executive Director or his assistant shall act as Secretary of the meeting. In case none of the officers above designated to act as Chairperson and Secretary of the meeting, respectively, shall be present, a Chairperson and a Secretary of the meeting, as the case may be, shall be chosen by a majority of the votes cast at such meeting by the Members present in person or represented by proxy and entitled to vote at the meeting.

4.9 Order of Business. The order of business at all meetings of Members shall be as determined by the Chair- person of the meeting, but the order of business to be followed at any meeting in which a quorum is present may be changed by a majority of the votes cast at such meeting by the Members present in person or represented by proxy and entitled to vote at the meeting.

4.10 Written Consent of Members With- out a Meeting. Whenever the Mem- 224 NACB BY LAWS The term shall begin on the January without cause, may be filled by vote of 1st following the annual meeting of a majority of the Directors then in of- Members should it occur in November, fice, although less than a quorum, at or between 30-60 days after the annual any meeting of the Board or may be meeting of Members should it not oc- elected by a plurality of the votes cast cur in November. In the latter case, by Members entitled to vote in the elec- the specific start date of the term will tion at a special meeting of Members be determined by majority vote of the called for that purpose. A Director outgoing Board. This period will serve elected to fill a vacancy shall hold of- as a transition from the outgoing to the fice until the annual meeting of Mem- incoming Board to preserve organiza- bers next following her election at tional continuity. Directors may not which the election of Directors is in the serve more than three years. Direc- regular order of business and until her tors must be Members or be duly ap- successor shall have been elected and ARTICLE pointed5 proxies of member stations. shall quality, or until her earlier death, The Executive Director shall sit on the resignation or removal. Board but shall not have any voting powers. 5.5 Resignations. Any Director may resign at any time by written notice to 5.3 Election. Directors shall, except as the Executive Director or the Chairper- DIRECTORS otherwise required by law or by the son of the Board. Such resignation Articles of Incorporation, be elected by shall take effect at the time therein 5.1 General Powers. Except as otherwise provided in the a plurality of the votes cast at the specified, and, unless otherwise speci- Articles of Incorporation, the business of the Corporation Corporation’s annual meeting of Mem- fied, the acceptance of such resigna- shall be managed by its Board. The Board may adopt such bers by Members entitled to vote in the tion shall not be necessary to make it rules and regulations, not inconsistent with the Articles of election. The Board of Directors shall effective. Incorporation or the By-laws or applicable laws, as it deems nominate, through a nominating com- proper for the conduct of its meetings and the management mittee, at least one and as many as two 5.6 Removal of Directors. Any or all of of the Corporation. people, for each seat on the Board. The the Directors may be removed for membership at large can also make cause by a majority vote of the Mem- 5.2 Number: Qualification: Term of Office. The number of nominations but only by petitions bers or of the Board, provided there is Directors constituting the entire Board shall not be less than signed by twenty percent (20%) of the a quorum of not less than a majority five (5) and, subject to such minimum, may be increased or members entitled to vote in the elec- present at the meeting of Directors at decreased from time to time by amendment. The number tion of Directors. which such action is taken, and any or of Directors shall be fixed initially by the Incorporator/s and all of the Directors may be removed may thereafter be changed from time to time by appropri- 5.4 Newly Created Directorships and without cause by vote of the Members. ate action of the Members or of the Board. Each Director Vacancies. Newly created director- shall be elected to hold office for a term of one year or until ships resulting from an increase in the 5.7 Compensation. Each Director shall the annual meeting of Members next following her election number of Directors and vacancies be entitled to receive from the Corpo- and until her successor shall have been elected and shall occurring in the Board for any reason, ration such reimbursement for travel qualify, or until her earlier death, resignation or removal. including the removal of Directors to Directors’ meetings as the Board 225 NACB BY LAWS may from time to time determine, to- practicable thereafter, the Board may the meeting but need not state the position of Treasurer. The Executive gether with reimbursement for the rea- hold its annual meeting, without no- purpose of the meeting, except to the Director or his assistant shall act as sonable expenses incurred by her in tice of such meeting, for the purpose extent required by law. If mailed, each Secretary at each meeting unless an- the connection with the performance of organization, the election of offic- notice shall be deemed given when other Secretary is designated by the of her duties provided such payment ers and the transaction of other busi- deposited, with postage thereon pre- Chairperson. At each meeting of the of expenses is made in accordance with ness. The annual meeting of the Board paid, in a post office or official deposi- Board, the Chairperson shall preside an annual financial budget approved may be held at any other time and tory under the exclusive care and cus- except that, in the absence of the Chair- by a majority of the Board. Each Di- place specified in a notice given as pro- tody of the United States Postal Service. person, the Vice-Chairperson shall per- rector who shall serve as a member of vided in Section 5.11 of the By-laws for Such mailing shall be by first class mail. form the duties and exercise the pow- any committee of Directors in consid- special meetings of the Board or in a ers of the Chairperson. The Secretary eration of her serving as such shall be waiver of notice thereof. 5.12 Adjourned Meetings. A majority as designated by the Board shall act as entitled to reimbursement for addi- of the Directors present at any meet- Secretary at such meeting; and in the tional expenses incurred by her in the 5.10 Regular Meetings. Regular meeting of the Board, including an ad- absence from any such meeting of a performance of her duties. Nothing in ings of the Board may be held at such journed meeting, whether or not a Secretary, the person presiding at the this section contained shall preclude times and places as may be fixed from quorum is present, may adjourn such meeting may appoint any person to act any Director from serving the Corpo- time to time by the Board. Unless oth- meeting to another time and place. as Secretary of the meeting. ration or its subsidiaries in any other erwise required by the Board, regular Notice of any adjourned meeting of the capacity and receiving proper compen- meetings of the Board may be held Board shall be given to all Directors 5.15 Quorum. Unless a greater propor- sation therefor. without notice. whether or not present at the time of tion is required by law or by the Ar- the adjournment. Any business may ticles of Incorporation, a quorum for 5.8 Place and Time of Meetings of the 5.11 Special Meetings. Special meet- be transacted at any adjourned meet- the transaction of business or of any Board. Meetings of the Board, regular ings of the Board shall be held when- ing that might have been transacted at specified item of business at any meet- or special, may be held at any place ever called by the Executive Director the meeting as originally called. ing of the Board (i) in case and at any within or without the State of Rhode or the Chairperson of the Board or by time that the Board shall consist of fif- Island, and may be held via telephone any two or more Directors, and shall 5.13 Waivers of Notice of Meetings. teen (15) or fewer directors, shall be at conference call. The times and places be held upon notice. Notice of each Anything in these By-laws or in any least one half of the entire number of for holding meetings of the Board may special meeting of the Board shall, if resolution adopted by the Board to the Directors, and (ii) in case and at any be fixed from time to time by resolu- mailed, be addressed to each Director contrary notwithstanding, notice of time that the Board shall consist of tion of the Board or in the notice of at the address designated by her for any meeting of the Board need not be more than fifteen (15) Directors, shall the meeting, unless contrary to reso- that purpose or, if none is designated, given to any Director who submits a be at least five (5) Directors plus one lution of the Board. If the meeting is at her last known address at least seven signed waiver of such notice, whether additional Director for every ten (10) to take place via telephone conference days before the date on which the before or after such meeting, or who Directors (or fraction of that number) call, the Executive Director will be re- meeting is to be held; or such notice attends such meeting without protest- in excess of fifteen (15). sponsible for coordinating the call. shall be sent to each Director at such ing, prior thereto or at its commence- Directors will be called at the tele- address by telegraph, Telex, TWX, ment, the lack of notice to her. 5.16 Action of the Board. All corpo- phone number designated by them for cable, telephone, wireless or similar rate action taken by the Board shall be that purpose. means of communication, or be deliv- 5.14 Organization. The Board shall taken at a meeting of the Board. Ex- 5.9 Annual Meetings. On the day when ered to her personally, not later than elect from amongst itself a Chairper- cept as otherwise provided by the Ar- and at the place where the annual the day before the date on which such son, a Vice-Chairperson and a Trea- ticles of Incorporation or by law, the meeting of Members for the election meeting is to be held. Every such no- surer. The Board shall appoint a del- vote of a majority of Directors present of Directors is held, and/or as soon as tice shall state the time and place of egate from the Board of Trustees to the at the time of the vote, if a quorum is 226 NACB BY LAWS present at such time, shall be the act of the Board.

5.17 Meetings by Telecommunication. Any one or more members of the Board or any committee thereof may participate in a meeting of the Board or such committee by means of a conference telephone or similar communications equipment allowing all persons participating in the meeting to hear each other at the same time. Participation by such means shall constitute presence in person at a meeting.

5.18 Special Term of the Carry-Over Director. In order to preserve continuity of the Board from year to year, a Director from the previous Board, appointed by majority vote of the outgoing Board, shall remain as a non-voting ex-officio Director of the Corpora- tion for up to three months following the end of her term. The Board may at any time within the above restraints terminate such person’s directorship with or without cause. 227 NACB BY LAWS 6.2 Meeting of Executive Committee. among its terms a provision that is not The Executive Committee shall meet amenable or repealable. as needed, or at the request of the Board. Three members of the Execu- 6.4 Special Committees. The Board tive Committee including the Chairper- may also designate from time to time son or Vice-Chairperson and at least from among its members special com- one other member of the Executive mittees of the Board to perform spe- Committee shall be considered a quo- cial functions in carrying on the work rum. of the Corporation. Special committees shall have only the lawful powers 6.3 Standing Committees. The Board, specifically delegated to them by the by resolution adopted by a majority of Board, except that no such committee the entire Board, may designate from shall have powers which are not au- among its members standing commit- thorized for any standing committees ARTICLE tees,6 each consisting of three (3) or of the Corporation. more Directors, and each of which, to the extent provided in the resolution, 6.5 General. Any committee desig- shall have all the authority to act on nated by the Board pursuant to Sec- behalf of the Board, except that no such tions 6.1, 6.3 or 6.4 of the By-laws, and committee shall have authority as to each of the members and alternate EXECUTIVE COMMITTEE AND OTHER the following matters: members thereof, shall serve at the COMMITTEES pleasure of the Board. The Board may 6.3.1 The submission to Members of designate one or more Directors as al- 6.1 Executive Committee. The Board, by resolution adopted any matter that needs Members’ ap- ternate members of any such commit- by a majority of the entire Board, may designate from among proval; tee, who may replace any absent mem- its members an Executive Committee. The Executive Com- ber or members at any meeting of such mittee shall consist of the elected officers of the Board 6.3.2 The filling of vacancies in the committee. Any committee may adopt namely, the Chairperson, the Vice-Chairperson, the Secre- Board or in any committee; such rules and regulations, not incon- tary, the Treasurer and one other Director appointed by the sistent with the Articles of Incorpora- Chairperson. The Executive Committee shall be charged 6.3.3 The fixing of reimbursement for tion or the By-laws or applicable laws with the responsibility of directly overseeing the Executive reasonable expenses incurred or the or the resolution of the Board designat- Director and his staff. The Executive Committee shall pro- compensation of the Directors for serving such committee, as it may deem vide that the will and decisions of the Board are executed by ing on the Board or on any committee; proper for the conduct of its meetings the Executive Director and his staff. The Executive Com- and the exercise by it of the authority mittee shall exercise all of the powers of the Board of Direc- 6.3.4 The amendment or repeal of the of the Board conferred upon such com- tors between meetings of said Board, except as limited by By-laws, or the adoption of new By- mittee by the resolution of the Board the Board. The Executive Committee shall be authorized to laws; or designating such committee. make decisions and any such decisions shall be considered decisions of the Board until such time that the Board next 6.3.5 The amendment or repeal of any meets. The Executive Committee shall report to the Board. resolution of the Board which includes 228 NACB BY LAWS thority and perform such duties in the fixed from time to time by the Board. management of the Corporation as may be provided in the By-laws or as 7.6 Executive Director. The Executive the Board may from time to time de- Director shall be the chief executive termine. officer of the Corporation and shall have general supervision over all busi- 7.2 Removal of Officers. Any officer ness of the Corporation, subject, how- elected or appointed by the Board may ever, to the control of the Board and of be removed by majority vote of the any duly authorized committee of Di- entire Board with or without cause. All rectors. The Executive Director shall, Board members must be present at a if present, preside at all meetings of meeting called for the removal of an the Members. He may preside at meet- officer. The removal of an officer with- ings of the Board if the Chairperson, out cause shall be without prejudice to or in the absence of the Chairperson, ARTICLE her7 contract rights, if any. The elec- the Vice-Chairperson, so decides. He tion or appointment of an officer shall may sign and execute in the name of not of itself create contract rights. the Corporation deeds, mortgages, bonds, contracts and other instru- 7.3 Resignations. Any officer may re- ments, except in cases where the sign- sign at any time in writing by notify- ing and execution thereof shall be ex- OFFICERS ing the Chairperson of the Board or the pressly delegated by the Board or By- Executive Director. Such resignation laws to some other office or agent of 7.1 Officers. The Board shall elect or appoint an Executive shall take effect at the date of receipt the Corporation, or shall be required Director, and may elect or appoint one or more Associate of such notice or at such later time as by law otherwise to be signed or ex- Directors and other such officers to the Corporation as it is therein specified, and, unless other- ecuted; and, in general, he shall per- may determine. The Executive Director’s term is limited to wise specified, the acceptance of such form all duties incident to the office of three (3) two-year terms. All other officers are limited to resignation shall not be necessary to Executive Director and such other du- one-year terms in their respective offices. All officers’ term make it effective. The resignation of ties as from time to time may be as- of office shall begin immediately following their election or an officer shall be without prejudice signed to him by the Board. The Board appointment. Officers may not serve more than three (3) to the contract rights of the Corpora- of Directors may assign a spending cap consecutive terms in any single office. Any two or more tion, if any. whereby expenditures exceeding such offices may be held by the same person, except the office of cap shall require the approval of the Executive Director. The Board may use descriptive words 7.4 Vacancies. A vacancy in any office Executive Committee of the Board of or phrases to designate the standing, seniority or area of spe- because of death, resignation, removal, Directors. cial competence of the Associate Directors elected or ap- disqualification or any other cause may pointed by it. Each officer shall hold office for the term for be filled for the unexpired portion of 7.7 Associate Directors. At the request which she is elected or appointed, and until her successor the term by the Board at any regular of the Executive Director, or in his ab- shall have been elected or appointed and qualified or until or special meeting of the Board. sence, at the request of the Board, the her death, her resignation or her removal in the manner Associate Directors shall (in such or- provided in Section 7.2 of the By-laws. All officers as be- 7.5 Compensation. Salaries or other der as may be designated by the Board tween themselves and the Corporation shall have such au- compensation of the officers may be or in the absence of any such designa- 229 NACB BY LAWS tion in order of seniority based on ports, statements and other documents tively, shall require her so to do, an length of employment as an officer of required by law are properly kept and account of the financial condition of the Corporation) perform all of the filed; and shall, in general, perform all the Corporation and of all her transac- duties of the Executive Director and so duties incident to the office of Secre- tions as Treasurer; exhibit at all reason- acting shall have all the powers of and tary and such other duties as from time able times her books of account and be subject to all restrictions upon the to time may be assigned to her by the other records to any of the directors Executive Director. Any Associate Di- Board or the Executive Director. upon application at the office of the rector may sign and execute in the Corporation where such books and name of the Corporation deeds, mort- 7.9 Treasurer. The Treasurer shall have records are kept; and, in general, per- gages, contracts or other instruments charge and custody of, and be respon- form all duties incident to the office of authorized by the Board, except in sible for, all funds, securities and notes Treasurer and such other duties as cases where the signing and execution of the Corporation; receive and give from time to time may be assigned to thereof shall be expressly delegated by receipts for moneys due and payable her by the Board or the Executive Di- the Board or By-laws to some other of- to the Corporation from any sources rector. ficer or agent of the Corporation, or whatsoever; deposit all such moneys shall be required by law otherwise to in the name of the Corporation in such 7.10 Assistant Secretaries and Assistant be signed or executed; and shall per- banks, trust companies or other deposi- Treasurers. Assistant Secretaries and form such other duties as from time to tories as shall be selected in accordance Assistant Treasurers shall perform such time may be assigned to her by the with these By-laws; against proper duties as shall be assigned to them by Board or by the Executive Director. vouchers, cause for such funds to be the Secretary or by the Treasurer, re- disbursed by checks or drafts on the spectively, or by the Board or by the 7.8 Secretary. The Secretary, if authorized depositories of the Corpo- Executive Director. present, shall act as Secretary of all ration signed in such manner as shall meetings of the Members and of the be determined in accordance with any Board, and shall keep the minutes provisions of the By-laws, and be re- thereof in the proper book or books to sponsible for the accuracy of the be provided for that purpose; she shall amounts of all moneys so disbursed; see that all notices required to be given regularly enter or cause to be entered by the Corporation are duly given and adequate in books to be kept by her or served; she shall be the custodian of under her direction full and adequate the seal of the Corporation and may accounts of all moneys received or paid seal with the seal of the Corporation by her for the account of the Corpora- or facsimile thereof, all documents the tion; have the right to require, from execution of which on behalf of the time to time, reports or statements giv- Corporation under its corporate seal is ing such information as she may de- authorized in accordance with the pro- sire with respect to any and all finan- visions of the By-laws; she shall have cial transactions of the Corporation charge of the books, records and pa- from the officers of agents transacting pers of the Corporation relating to its the same; render to the Executive Di- organization and management as a rector or the Board, whenever the Ex- Corporation, and shall see that the re- ecutive Director or the Board, respec- 230 NACB BY LAWS and advances may make, execute and deliver promissory notes, bonds or other certificates or evidence of indebtedness of the Corporation, and when authorized so to do may pledge and hypothecate or transfer any securities or other property of the Corporation as security for any such loans or advances. Such authority conferred by the Board may be general or confined to specific instances or otherwise limited.

8.4 Checks, Drafts, etc. All checks, ARTICLE drafts8 and other orders for the payment of money out of the funds of the Cor- poration and all notes or other evi- dences of indebtedness of the Corpo- ration shall be signed on behalf of the Corporation in such manner as shall GRANTS, CONTRACTS, CHECKS, from time to time be determined by DRAFTS, BANK ACCOUNTS, ETC. resolution of the Board.

8.1 Grants. The making of grants and contributions and oth- 8.5 Deposits. The funds of the Corpo- erwise rendering financial assistance for the purpose of the ration not otherwise employed shall be Corporation, may be authorized by the Board. The Board deposited from time to time to the or- may authorize any officer or officers, agent or agents, in the der of the Corporation in such banks, name and behalf of the Corporation to make any such grants, trust companies or other depositories contributions or assistance. as the Board may select or as may be selected by an officer, employee or 8.2 Execution of Contracts. The Board may authorize any agent of the Corporation to whom such officer, employee or agent, in the name and on behalf of the power may from time to time be del- Corporation, to enter into any contract or execute and sat- egated by the Board. isfy any instrument, and any such authority may be general or confined to specific instances, or otherwise limited.

8.3 Loans. The Executive Director or any other officer, employee or agent authorized by the By-laws or by the Board may effect loans and advances at any time for the Corpora- tion from any bank, trust company or other institutions or from any firm, corporation or individual and for such loans 231 NACB BY LAWS rights to which such director or officer may be entitled apart from the foregoing provisions.

9.2 The Board, in its discretion, shall have the power on behalf of the Cor- poration to indemnify any person, other than a Director or officer, made a party to any action, suit or proceeding by reason of the fact that her testa- tor or intestate, is or was an employee of the Corporation.

9.3 The Board in its discretion shall ARTICLE have9 the power to purchase and maintain insurance.

INDEMNIFICATION

9.1 The Corporation shall indemnify any person made, or threatened to be made, a party to any action, suit or proceeding by reason of the fact that she is or was a Director or officer of the Corporation, against all reasonable expenses, including attorneys’ fees, actually and necessarily incurred by her in connection with the defense of such action, suit or proceeding, or in connection with any appeal therein, and including the cost of court approved settlements, to the full- est extent and in the manner set forth in and permitted by the Non-Profit Corporation Law and any other applicable law, as from time to time is in effect; provided that the Cor- poration determines that said Director or officer (a) was acting in her official capacity as Director or officer of the Cor- poration, (b) conducted herself in good faith, (c) reasonably believed that her conduct was in the best interests of the Corporation, and (d) had no reasonable cause to believe that her conduct was unlawful. Said determination shall be made in accordance with the applicable Non-Profit Law. Such right of indemnification shall not be deemed exclusive of any other 232 NACB BY LAWS

ARTICLE 10

FEES, DUES AND ASSESSMENTS

10.1 Fees, Dues and Assessments. The Board shall have the power, from time to time in its discretion, to fix admission fees, annual dues and special assessments, provided, however, that if such fees, dues and special assessments are in different amounts for different classes of Members, the amounts payable by all Members of one class shall be determined on the same basis.

10.2 When Payable. Notice shall be sent promptly to all affected persons of any admission fees, annual dues or special assessments so imposed. Members who fail to pay their dues, subscriptions or assessments within thirty (30) days from the time they become due shall be notified by the Secretary, and if payment is not made within the next succeeding thirty (30) days, shall be reported to the Board as in arrears, and if so ordered by the Board shall be dropped from the rolls and thereupon forfeit all rights and privileges of membership. 233 NACB BY LAWS

ARTICLE 11

BOOKS AND RECORDS

11.1 Books and Records. The Corporation shall keep, at the office of the Corporation, correct and complete books and records of account and shall keep minutes of the proceedings of the Members, Board, Executive Committee and standing committees, if any. Any of the foregoing books, minutes or records may be in written form or in any other form capable of being converted into written form within a reasonable time.

11.2 Inspection of Books and Records. Except as otherwise provided by law, the Board shall determine from time to time whether, and, if allowed, when and under what conditions and regulations, the account, books, minutes and other records of the Corporation, or any of them, shall be open to the inspection of the Members. 234 NACB BY LAWS

ARTICLE 12

SEAL

The Board may adopt a seal which shall be in the form of a circle and shall bear the full name of the Corporation and the year of its incorporation. 235 NACB BY LAWS

ARTICLE 13

FISCAL YEAR

The fiscal year of the Corporation shall be determined, and may be changed, by resolution of the Board. The initial fiscal year will be July 1 - June 30. 236 NACB BY LAWS ers of the Corporation as the holder of such shares or other securities of such other corporation.

ARTICLE 14

VOTING OF SHARES HELD

Unless otherwise provided by resolution of the Board, the Board may, from time to time, appoint one or more attorneys or agents of the Corporation, in the name and on behalf of the Corporation, to cast the votes which the Corpora- tion may be entitled to cast as a shareholder or otherwise in any other corporation, any of whose shares or securities may be held by the Corporation, at meetings of the holders of the shares or other securities of such other corporation, to consent in writing to any action, by any such other corporation, and may instruct the person or persons so appointed as to the manner of casting such votes or giving such consent, and may execute or cause to be executed on behalf of the Corporation and under its corporate seal, or otherwise, such written proxies, consent, waivers or other instruments as she may deem necessary or proper in the premises; or the Executive Director may himself attend any meeting of the holders of the shares or other securities of any such other corporation and thereat vote or exercise any or all other pow- 237 NACB BY LAWS

ARTICLE 15

AMENDMENTS

The By-laws may be altered, amended, supplemented or repealed, or new By-laws may be adopted, by the vote of the Members at the time entitled to vote in the election of Di- rectors. Except as may be otherwise provided in a By-law adopted by the members, the By-laws may be altered, amended, supplemented or repealed, or new By-laws may be adopted, by the Board, provided that a vote of a majority of the entire Board shall be required to charge the number of authorized Directors. If any By-law regulating an impend- ing election of Directors is adopted, altered, amended, supplemented or repealed by the Board, such By-law shall be set forth in the notice of the next meeting of the Members for the election of Directors, together with a concise statement of the changes made. Any By-laws adopted, altered, amended or supplemented by the Board may be altered, amended, supplemented or repealed by the Members entitled to vote thereon, but the Board shall have no power to alter, amend, supplement or repeal any By-law adopted, altered, amended or supplemented by vote of the Members. 238 NACB BY LAWS The Board may at any time, shift, per year to College Broadcaster. Chap- change or revoke that jurisdiction. ters must meet at least once per year. Chapters must be led by an individual 16.5 Corporate Recognition. Approval or board democratically elected by its of an application for a Chapter will sig- members. nify that the Corporation officially recognizes the Chapter. Recognition sig- 16.8 Organization. Chapters will be nifies that the Chapter president or any run by an individual or a board of indi- agent of his or her selection may act viduals selected by the Members as an agent of the Corporation for the within each Chapter’s jurisdiction. If following activities: to organize re- it is an individual that runs the Chap- gional conferences; to organize re- ter, that individual will be the Chief gional program cooperation and ex- Executive Officer (“CEO”) of the Chap- changes, to solicit, compile and/or sub- ter. If it is a board that runs the Chap- ARTICLE 16mit articles to College Broadcaster; to ter, the board will elect amongst itself organize exchange training programs; an individual to be the chairperson and and to organize local cooperative ac- CEO. The CEO of the Chapter will be tions to pool their resources. the Chapter’s representative to the Corporation’s Board of Directors. 16.6 Finances. Chapters, once recog- Chapters will officially be based at the CHAPTERS nized by the Corporation, will receive school or station where the CEO of the from the Corporation five dollars ($5) Chapter resides, works or attends. The 16.1 Qualifications. Chapters may be started by an individual per year per Station Membership and Chapter, however, may elect to keep or a station. If a station is starting a chapter, there must be a one dollar ($1) per year per Individual its mailing address and telephone num- specific person or station position that will act as the indi- Membership that falls within the ber constant. vidual responsible for starting the chapter. chapter’s jurisdiction. These funds will cover costs incidental to maintaining 16.9 Start-up. During its first year, the 16.2 Applications. Individuals wishing to start a Chapter a Chapter. Chapters will be responsible Chapter will be run by the individual must submit an application to the Board of Directors. The for their own fundraising for specific who submits and has approved an ap- application must include a resumé of the individual starting events or activities such as publishing plication to start a Chapter. Within one the Chapter, an agenda for the Chapter, a list of other indi- a newsletter or organizing a regional year of the date of approval, the individuals or stations that will be supporting the project and conference. vidual must organize democratic man- geographical boundaries of the area the Chapter will cover. agement elections amongst the Mem- 16.7 Requirements. Chapters must bers of his or her chapter. 16.3 Board Approval. Approval of applications shall be based maintain at least three (3) Station on qualifications of the individual submitting application and Members. Chapters must submit one on geographical considerations. Membership criteria may report each semester. Reports must not restrict admission on the basis of race, gender, sexual include a list of activities that the Chap- orientation, national origin, ethnicity or handicap status. ter has organized as well as a list of 16.4 Geographical Jurisdiction. Chapters approved by the activities planned for the next semes- Board shall have jurisdiction over a specific geographical area. ter. Chapters must submit one article 239 NACB BY LAWS given to several non-profit corporations of the Board’s selection.

ARTICLE 17

DISSOLUTION

17.1 Declaration of Dissolution. The Corporation may only be dissolved or declared dissolved by unanimous resolution of the Board. Such declaration shall not be less than sixty (60) days before the actual dissolution of the Corporation. Upon declaration of dissolution of the Corporation, notice shall be sent to all Members stating the reason or reasons for such dissolution. Said notice shall be given not less than sixty (60) days before the actual dissolution of the Corpora- tion and shall include a complete financial report listing all of the Corporation’s assets including subsidiaries and all of the Corporation’s liabilities, current or pending, and said notice shall be deemed given when placed in the custody of a United States Postal worker with first class postage affixed.

17.2 Financial Settlement. The Board shall ensure that all accounts are settled before the Corporation is dissolved. Any assets that shall remain after all accounts have been settled shall be donated to any non-profit corporation or may be 240 NACB BY LAWS

ARTICLE 18

ADOPTION

The By-laws shall become effective upon adoption by the Board of Directors of The National Association of College Broadcasters at a special meeting called for the purpose of adoption. Notice of this meeting with a copy of the By-laws shall be sent to all Directors and Chapters of The National Association of College Broadcasters and individual members not associated with a Chapter, if any, at least one (1) week before this meeting date. 241 NACB BY LAWS

ARTICLE 19

OTHER PROCEDURES

All procedures not covered by these By-laws shall be governed by the latest edition of Roberts Rules of Order. members NACB 1995 STATION HANDBOOK

Seventeen 243 NACB MEMBER STATIONS: RADIO

RADIO MEMBERS TABLE OF CONTENTS

ALABAMA ______234 OKLAHOMA ______256 ALASKA______234 OREGON ______257 ARIZONA ______235 PENNSYLVANIA______257 ARKANSAS ______235 RHODE ISLAND ______259 CALIFORNIA ______235 SOUTH CAROLINA ______259 COLORADO ______237 SOUTH DAKOTA ______260 CONNECTICUT ______238 TENNESSEE ______260 DISTRICT OF COLUMBIA ______239 TEXAS ______260 DELWARE ______239 UTAH ______262 FLORIDA ______239 VERMONT ______262 GEORGIA ______239 VIRGINIA ______262 HAWAII ______240 WASHINGTON ______263 ILLINOIS ______240 WEST VIRGINIA ______263 INDIANA ______241 WISCONSIN ______264 IOWA ______243 KANSAS ______243 KENTUCKY ______244 KEY LOUISIANA ______244 School MAINE ______244 Station Name MARYLAND ______245 Address MASSACHUSETTS ______245 Main Contact MICHIGAN ______246 Facult/Staff Advisor MINNESOTA ______248 Phone MISSISSIPPI ______248 Fax MISSOURI ______249 Broadcast means (CA=Cable Access, CC= MONTANA ______249 Closed Curcuit, BR= Broadcast, LPTV= Low NEBRASKA ______249 Power TV, PA= Public Address, PG= Pro- NEVADA ______250 gram Group) NEW HAMPSHIRE ______250 Programming (a= Animation, C(omedy), NEW JERSEY ______250 Doc(umentary), Dr(ama), Educational / NEW MEXICO ______251 X(perimental), F(ilm/ movie review), NEW YORK ______251 G(ameshow), H(ealth), I(nterview), MN = Music News, MV = Music Video, MC = NORTH CAROLINA ______254 Music Concert, N(ews), V(ariety), P(ublic NORTH DAKOTA______254 Affairs), S(posrts), V(ariety). OHIO ______254 244 NACB MEMBER STATIONS: RADIO ALABAMA ALASKA

Auburn U. Sheldon Jackson College WEGL-FM KSJC-cc 116 Foy Union Center 801 Lincoln St. Auburn, AL 36849 Sitka, AK 99835 Michele Dalie Mike Ross Bob Cooly Dr. Ronn Dick 205-844-4057 907-747-5367 205-844-4118 907-747-5212 BR cc 3000 N/A P CO, F, J, O ,P, REG

Gadsden State Cmty. College U. of Alaska WSGN-FM KSUA-FM PO Box 227 / 1001 Geo Wallace Drive Box 900113 Gadsden, AL 35902-0227 Fairbanks, AK 99775 Neil Mullin Eric Glos Neil Mullin N/A 205-546-8449 907-474-5157 205-549-8444 907-474-6314 BR BR 15000 103900 AC, CL AOR, E, F, J, ME, P, REG, W

Jacksonville State U. U. of Alaska/Anchorage WLJS-FM KRUA-FM 700 North Pelham RD. 3211 Providence Dr. Jacksonville, AL 36265 Anchorage, AK 99508 Joe Langston Erin Brady N/A Fred Pearce 205-782—5083 907-786-1098 205-782-5645 907-786-1249 BR BR 3000 162 CHR ,J, CL U, J, P, AOR, W, ME, REG, Ska, F, E 245 NACB MEMBER STATIONS: RADIO Spring Hill College ARKANSAS CALIFORNIA Cal. State U.- Sacramento WTOH-FM KSSU - The Apex 4000 Dauphin Street Arkansas Tech U. Biola U. 6000 J St. CO. ASI Business Office Mobile, AL 36608 KXRJ-FM KBBK-AM/FM Sacramento, CA 95819-6011 Varnell M. Lee WPN 366 ATU 13800 Biola Ave. Patrick Varney N/A Russellville, AR 72801 La Mirada, CA 90639 N/A 205-460-2279 John Gale Michael Gonzales 916-278-5882 N/A John Gale Michael Gonzales 916-278-5897 BR 501/968-0641 310-903-6000x5466 CC 10000 N/A 310-903-4748 N/A P BR CC, CA U,Ska, REG, P, ME, H 100 N/A Cal. State U. - San Bernardino U. of Alabama CL,P, J CR Static Broadcasting (formerly KSSB) WVUA-FM UH 19, 5500 University Parkway P.O. Box 870152 Camden Fairview School District Cal. State Polytechnic U. San Bernardino, CA 92507 Tuscaloosa, AL 35487-0152 KCAC-FM KCPR-FM Jonathon Lyons Patrick Seigler 327 Stewart St. c/o Journalism Dept. Rob McKenzie Dr. Pam Doyle Camden, AR 71701 San Luis Obispo, CA 93407 909-880-5772 205-348-6461 Tracy Clark Farrell 909-880-5926 205-348-0375 SteveTaylor Clay Carter CA BR 501/836-5289 805-756-5277 N/A 160000 501/836-4917 805-756-5415 P, U, ME, NA, J U, P, REG, NA, ME, J, AOR BR BR 250 2000 Cal. State U. - Stanislaus ARIZONA CHR U, P KCSS-FM 801 W. Monte Vista Ave. South Mountain High School Southern Arkansas U. Cal. State U. - Fresno Turlock, CA 95382 KJAG KSAU-AM KFSR-FM George Xenos 5401 S. 7th St. SAU Box 600 5201 N. Maple Ave. Roberta Anderson Phoenix, AZ 85040 Magnolia, AR 71753 Fresno, CA 93740-0050 209-667-3378 Pierson Hamilton Melissa Cook Lou Standifer 209-667-3333 N/A James E. Reppert N/A BR 602-271-2874 501-235-4261 209-278-2598 151 N/A 501-235-5005 209-278-6985 J, REG, P Not on air CC BR N/A N/A 2550 N/A AOR, CHR, ME, P U,J,P,ME 246 NACB MEMBER STATIONS: RADIO Cerritos Comm. College Cuesta College Humboldt State U. Palomar College KCEB-AMcc KGUR-FMca KRFH-AMcc KKSM-FMca 11110 Alondra Blvd. P.O. Box 8106 Dept of Speech Communication 1140 West Mission Rd. Norwalk, CA 90650 San Luis Obispo, CA 93403-8106 Arcata, CA 95521 San Marcos Craig Breit Michael Burgess Gary W. Melton CA Craig Breit Glenn Wiegand Gary W. Melton 92069 310/860-2451x2626 805-546-3191 707-826-4725 Cindy Rodenhizer 310-467-5005 805-546-3904 707-826-5555 Rob Branch CA, CC CA CC 619-744-1150x2438 N/A N/A N/A 619/744-8123 REL, Ska, U, P, O, J, CO AOR, ME N/A CA N/A Chapman U. El Cerrito High/ Contra Costa Long Beach City College ME KNAB-FM College KLBC-FMca 333 N. Glassell St. KECG-FM 4901 East Carson Street Pomona College Orange, CA 92666 540 Ashbury Ave. Long Beach, CA 90808 KSPC-FM Chris Burroughs El Cerrito, CA 94530 Anne Haines 340 N. College Ave. Leo Green Philip Morgan Ray Burton Claremont, CA 91711-6340 714-744-7020 N/A 310-420-4564 Aaron Lawn 714-744-7005 510-525-4472 310-420-4118 Erica Tyron cafm 510 525 4472 CA,CC 909-621-8157 N/A BR N/A 909/621-8403 P,Ska,W, CHR, CL, CO, E, F, H, J, ME, NA, O, REG, U 10 U BR N/A 3000 City College of San Francisco Loyola Marymount U. U, REG, P, J, CL, F, ME, E, F KCSF-FMca Foothill Cmty. College KXLU-FM 50 Phelan Ave./Box A-6 KFJC-FM 7101 W. 80th Street Robert Louis Stevenson H.S. San Francisco, CA 94112 12345 El Monte Rd. Los Angeles, CA 90045 KSPB-FM Francine Podenski Los Altos Hills, CA 94022 Peter Kelly Box 657 Francine Podenski Steve Taiclet Dr. Susan Frentz Pebble Beach, CA 93953 415-239-3444 Robert “Doc” Pelzel 310-338-2866 Michael Beck 415-239-3694 415/949-7260 310-338-5959 Hamish Tyler CA,CC 415/948-1085 BR 408-626-5374 N/A BR 3000 408-625-5208 CHR,ME,NA,P,U 250 U, P BR CO, E, F, J, ME, REG, U, W 1000 U,P 247 NACB MEMBER STATIONS: RADIO Saddleback College St. Mary’s College of California U. of Southern California COLORADO KSBR-FM KSMC-FM KSCR-FM 28000 Marquerite Parkway Box 3223 Student Union 404 Adams State College Mission Viejo, CA 92692 Moraga, CA 94575 Los Angeles, CA 90089-0895 KASF-FM Mark Schiefflebein J. D. Ryan Karen Flengte 110 Richardson Ave. Mark Schiefflebein Ed Tywoniak Bill Crandel Alamosa, CO 81102 714-582-4882 510-376-1847 213-740-5727 Rob Moeny 714-347-9693 510-376-5766 213-740-1853 Karen Loveland BR BR CA BR 719-589-7872 620 100 N/A 719-589-7522 J,E,REG AOR, ME, J, Ska, REG, P, U AOR, J, P, REG, U BR 3000 San Jose State U. U. of La Verne UC - Irvine CL, AOR, E, F, H, J, ME, P, W KSJS-FM KULV-AMcc KUCI-FM One Washington Square 1950 Third St. P.O. Box 4362 Mesa State College San Jose, CA 95192-0098 La Verne, CA 91750 Irvine, CA 92716 KMSA-FM Pol vanRhee Alison Phanco Sonya Tanner 1175 Texas Ave. Mike Adams Mike Laponis Kevin Stockdale Grand Junction, CO 81502 408-924-4549 909-593-3511x4276 714-824-4582 Steven Connell 408/924-4583 909-593-4418 714-824-4287 Gerald Weaver BR CC BR 303-248-1240 1000 N/A 25 303-248-1199 J,P,ME CHR CL, F, J, ME, NA, REG, P, U BR 500 Santa Clara U. U. of San Francisco UC - Santa Cruz E, F, J, ME, P, REG, U, W KSCU-FM KUSF-FM KZSC-FM Box 3207 2130 Fulton Street Radio Station Offices U. of Colorado Santa Clara, CA 95053 San Francisco, CA 94117-1080 Santa Cruz, CA 95064 KUCB-FMca Tesin Uy Kate Ingram Maggie O’Grady Campus Box 207/UMC Rm. 41J Chad Stout Steve Runyon Maggie O’Grady Boulder, CO 80309-0207 408-554-4413 415-386-5873 408-459-2811 Zack Matheson 408-554-5544 415/386-6469 N/A N/A BR br BR 303-492-5030 30 3000 1350 303-492-5105 P CLEJMEREGW U,ME CA 10 P 248 NACB MEMBER STATIONS: RADIO U. of Southern Colorado CONNECTICUT Sacred Heart U. U. of Hartford KTSC-FM WSHU-FM WWUH-FM 2200 Bonforte Blvd. Briarwood College 5151 Park Ave. 200 Bloomfield Ave. Pueblo, CO 81001-4901 WBCR-AMcc Fairfield, CT 06432 West Hartford, CT 06117 Trish Orman 2279 Mount Vernon Rd. George Lombardi John Ramsey N/A Southington, CT 06489 Advisor Advisor 719-549-2818 Fred Swanson 203-371-7989 203-243-4703 719-549-2120 N/A 203-371-7991 203-768-5016 BR 203-628-3834 BR BR 10000 N/A 12500 1000 AOR, ME, W, P, NA CC CL CL, E, J, P, U, W N/A U.S. Air Force Academy AOR, CHR Southern Connecticut State U. U. of New Haven KAFA Radio Fairfield U. WOWL-AMcc WNHU-FM Cadet Wing Media/PO Box 6066 WVOF-FM 88.5 501 Crescent St. 300 Orange Avenue Colorado Springs, CO 80841-6066 Box R/North Benson Rd. New Haven, CT 06515 West Haven, CT 06516 Jim Fuchs/Jason Ogrin Fairfield, CT 06430 Greg D’Andrea Jen Ryan Bill Scharton Mario Perciballi Jerry Dunklee Bruce Avery 719-472-4644 Matt Dinman 203-392-6930 203-934-8888 719-472-2712 203-254-4111 203-392-5507 N/A BR 203-254-4267 CC BR 20 BR N/A 1700 CR, CO, O, ME, U, Ska 100 AOR, CHR, P, U, ME N/A P, U, ME Western Connecticut State U. Western State College U. of Hartford WXCI-FM KWSB-FM Kent School WSAM-AMcc 181 White St. Box 952 WKNT Radio 200 Bloomfield Ave./Box 2040 Danbury, CT 06810 Gunnison, CO 81231 Kent, CT 06757 West Hartford, CT 06117 Mike Salerno Kelly Dalglish Andrew Smith Dave Kimball N/A Jim Gelwicks Michael Buescher Dr. Scott DeFrancesco 203-792-8666 303-943-7048 203-927-3501 203-768-4238 203-837-8419 303-943-7069 203-927-4159 203-768-4069 BR BR cc CC 1200 135 N/A N/A U, P AOR, J, ME, NA, P E, F, J, ME, O, P, REG, U, W F, J, ME, NA, REG, P, U 249 NACB MEMBER STATIONS: RADIO Yale U. FLORIDA Rollins College U. of North Florida WYBC-FM WPRK-FM Radio Facility P. O. Box 209050 Flagler College 1000 Holt Ave./Box 2745 4567 St. John’s Bluff, South New Haven, CT 06520-9050 WFCF Winter Park, FL 32789 Jacksonville, FL 32216-6699 Tirezah Lowe Box 1404; P.O. Box 1027 Carlos Pinto Curtis Bullock Betty Trachtenberg St. Augustine, FL 32085-1027 Drew Williams N/A 203-432-4118 Daniel McCook 407-646-2241 904-646-2710 203-287-8997 Dr. Jay Mesabahee 407-646-1560 904-646-2505 BR 904-829-6481 BR C 1750 904-826-0094 1300 N/A CL, F, J, REG, P, U, G N/A CL, H, J, P, REG, W N/A N/A DISTRICT OF N/A U. of Central Florida U. of South Florida COLUMBIA WUCF-FM & WUCF-AM WBUL-FMca Gulf Coast Comm. College PO Box 162199 AOC105/4202 E. Fowler Ave. American U. WKGC-AM 1480 Orlando, FL 32816-2199 Tampa, FL 33620 WVAU-FMca 5230 West Highway 98 José Maunez-Cuadra Jill Spear Box 610 Eagle Station Panama City, FL 32401 N/A Tim Annette Washington, DC 20016-8104 Brenton Peacock 407-823-2133 813-974-3840 Jay Rowell Les Spencer 407-823-6364 N/A Karen Robinson 904/769-5242 BR, CC CA 202-885-1212 904/872-3836 7.9 N/A 202-885-6409 CC CL, J, REG, P, F, E U, ME CC 500 N/A ME, REG, P, U, E, F, W U. of Miami GEORGIA U WVUM-FM Nova Southeastern U. PO Box 248191, Rm. #204, Whitten U. Georgia College DELWARE WNSU C. WXGC-FM 3301 College Avenue Coral Gables, FL 33124 PO Box 3124 U. of Delaware Ft. Lauderdale, FL 33314 Jason Hoffman Milledgeville, GA 31061 WVUD-FM Anthony Dominici Dr. Paul Driscoll Michelle Rader Perkins Student Center Kate Lamm 305-284-3131 Connie Book Newark, DE 19716 305/475-7419 ofc 305-284-3132 912-453-4102 Dr. Marilyn S. Price 305-452-1552 BR 912-454-1483 Chuck Tarver CA 1300 BR 302-831-2701 N/A P, CR, J, ME, REL, W U, REG 10 302-831-1399 P CR, P, E, ME, REL, U BR 1000 250 NACB MEMBER STATIONS: RADIO Georgia State U. Valdosta State U. HAWAII Glenbrook South High School WRAS-FM WVVS-FM WMWA-FM P.O. Box 4048 PO Box 142 U. of Hawaii 4000 West Lake Ave. Atlanta, GA 30302-4048 Valdosta, GA 31698-0382 KTUH-FM Glenview, IL 60025 Shachar Oren Chris Waldrip 2445 Campus Road #202 Dell Kennedy Claire Roberts Russ Mass Honolulu, HI 96822 Advisor 404-651-2240 912-333-5660 Pat Loui 708-729-Rock 404-651-1705 912-333-7313X3 Harrry Byerly N/A BR BR 808-956-7431 CC 100000 5300 808-956-5271 N/A P, E, H, U, REG, NA, O W, P, NA, ME ca 100 Illinois State U. Georgia Tech. Wesleyan College H, P, Ska, REG, U, W WZND-FMca WREK-FM new radio station 007 Fell Hall 165 8th St. NW 4760 Forsyth Rd. ILLINOIS Normal, IL 61790-4481 Atlanta Macon, GA 31297 Paula Taube GA Meredith Field DePaul U. Deb Lesser 30332-0630 Dr. Brian Britt WRDP Radio 309/438-5491 John Selbie 912-757-1087 2320 N. KenmoreSAC 580 309-438-2652 N/A 912-477-7572 Chicago, IL 60614 CA 404-894-2468 N/A Alissa Melinger N/A 404-853-3066 N/A Sara Wortman ME BR N/A 312-362-8404 40000 312-362-5811 Lincoln College CL, CO, E, F, G, H, J, ME, MOR, West Georgia College CC WLNX NA, P, REG, REL, Ska, U, W WWGC-FM N/A 300 Keokuk St. Dept. of Mass Comm. J, AOR, P, U Lincoln, IL 62656 U. of Georgia Carrollton, GA 30118 Loyd Kirby WUOG-FM Rhett Turnipseal Elmhurst College Loyd Kirby 153 Tate Student Center Rhett Turnipseed WRSE-FM 217-735-3495x213 Athens, GA 30602 404-836-6732 190 Prospect Ave. 217-732-8859 Brian P. Cooley 404-836-6720 Elmhurst, IL 60126-3296 BR Candice Sherman BR George Economos 225 706-542-7100 750 Jon Morgan P, H, REG, MOR, CHR 706-542-0351 U,P,REG 708-617-3729 BR 708-617-3313 26000 BR P 100 P, ME, U, J 251 NACB MEMBER STATIONS: RADIO Monmouth College Olivet Nazarene U. St. Xavier U. Western Illinois U. WMCR-AM WONU-FM WXAV-FM WHEN 700 E. Broadway P. O. Box 592 3700 W. 103rd Street 103 Henniger Hall Monmouth, IL 61462 Kankakee, IL 60901 Chicago, IL 60655 Macomb, IL 61455 John Rigg Bill DeWees Don Pakula Cisco Cotto Lee McGaan Bill De Wees Don Pakula Andrea Trinklein 309/457-2155 815-939-5330 312-779-9858 309-298-2658 309/734-7500 815-939-5087 312-779-9061 309-298-2122 CC BR,CC BR CA N/A 35000 150 120 AOR, CHR, ME, P, U REL, AC REL AC AOR, CR, F, G, J, ME, NA, P, REG, CHR, AOR, ME REL, U, W North Central College Quincy U. Wheaton College WONC-FM WQUB-FM Triton College WETN-FM 30 N. Brainard Street 1800 College Ave. WRRG-FM/ Media Production 501 College Ave. Naperville, IL 60566 Quincy, IL 62301 2000 N. Fifth Ave., Room R101 Wheaton, IL 60187 Steve Rogers Harry Speckman River Grove, IL 60171 Dale Haas John Madormo Fr. Harry Speckman Mary M. Jeans Stuart Johnson 708-420-3437 217-228-5410 Ms. Chris Moran 708-752-5074 stn 708-420-6206 217-228-5473 708-456-0300 x488 708-752-5345 BR BR 708-583-3120 BR 3900 10,000 BR 250 AOR CL, F, J, NA, REG, P, U 100 P, CL, CR, F, G, J, ME, U, CO, E, REL CHR,U Northeastern Illinois U. Southern Illinois U.- Carbondale INDIANA WZRD-FM WIDB-FMca U. of Illinois 5500 N. St. Louis Ave. 4th Floor Student Center WPGU-FM Ball State U. Chicago, IL 60625 Carbondale, IL 62901 204 East Peabody Drive WCRD-AMcc John Evar Strid Paul Cotter Champaign, IL 61820 AC 216 Charles Barber Tom Birk Brad Fuhr Muncie, IN 47306 312-794-2861 618-536-6439 Brad Fuhr Craig Reishus 312-794-6243 618-453-6559 217-333-2016 John Eiden BR cc ca 217/244-3001 317-285-1467 100 N/A BR 317-285-9278 P,U, AC, CR, E, G, H, J, REG, F,CHR, AOR, CL, J, ME, P, REG, U 3000 CC, cc CO, ME, MOR, O, REL, Ska, W P N/A P 252 NACB MEMBER STATIONS: RADIO Columbia City High Schl. Evansville-Vandenburg School Corp. Jefferson High School U. of Evansville WJHS-FM WPSR-FM WJEF-FM WUEV-FM 600 N. Whitley St. 5400 First Ave. 1801 S. 18th Street 1800 Lincoln Ave. Columbia City, IN 46725 Evansville, IN 47710 Lafayette, IN 47905 Evansville, IN 47722 Robert Thomas Michael Reininga Randall J. Brist Leonard Clark Advisor Michael Reininga Randall J. Brist Leonard Clark 219-248-8915 812-423-0232 317-449-3400 812-479-2689 219-244-4099 812-465-8241 317/449-3431 812-479-2320 BR BR BR BR 2650 14000 250 6100 P, AC, AOR, CHR, CO, CR, F, G, J, CHR, AC, CO, O O F, J, ME, NA, REG, P, U, CR, E ME, MOR, O Franklin College of Indiana Manchester College U. of Notre Dame DePauw U. WFCI-FM WBKE-FM WSND-FM/ WVFI WGRE-FM Shirk Hall MC Box 88 315 La Fortune Student Ctr. 609 S. Locust St. Franklin, IN 46131 N. Manchester, IN 46962-0088 South Bend, IN 46556 Greencastle, IN 46135 Theo Madden Julis Cutlip Adele Lanan Debra Bernsee Joel E. Cramer Virginia Keller Adele Lanan Jeffrey McCall 317-738-8205 219-982-5272 219-631-7342 317-658-4642 317-736-6030 219-982-6868 219-631-8139 N/A BR BR BR BR 1000 3000 3400 115 AOR,ME,MOR,P CHR CL P Indiana U. New Albany High School U. of Southern Indiana Earlham College WIUS-FMca WNAS-FM WSWI-AM WECI-FM 815 E. 8th Street 1020 Vincennes St. 8600 University Blvd. PO Box 45, National Road W. Bloomington, IN 47401 New Albany, IN 47150 Evansville, IN 47712 Richmond, IN 47374 G. Steve Whitcomb Lee Kelly Kevin Bayer Luke Clippinger Cynthia App Advisor Wayne Rinks Bob Johnstone 812-855-7862 812-949-4272 812-464-1836 317/962-3541 812-855-1073 N/A N/A 317/983-1304 CA BR,CA BR BR 10 2850 250 300 CR, P, W, E, F, J, Ska, REG, U, H CHR C, P, U AOR,CHR, CL,CO, E,F, G,J, ME, NA, O, P, REG,REL 253 NACB MEMBER STATIONS: RADIO Valparaiso U. Coe College Simpson College Bethel College WVUR-FM KCOE KSTM KBCU-FM Box 246 1220 First Ave. NE Box 591 701 North C St. 300 E. 27th St. Valparaiso, IN 46383 Cedar Rapids, IA 52402-5008 Indianola, IA 50125 North Newton, KS 67117 John Anderson Michael O’Nele Rich Ramos Bryan Reber Advisor Steve Horowitz N/A N/A 219-464-6673 319-399-8287 515-961-1536 316-284-5368 219-464-5491 N/A 515-961-1674 316-284-5286 BR br cc BR BR 36 N/A 100 150 U,AOR CO,F,H,P,REG P, AOR, CHR, CO, H, J, ME, O, CLCOCREFGHJMEMORN REG, U, W, CR A O P REG REL Ska Polka IOWA Iowa Central Cmty. College KICB-FM U. of Iowa Colby Cmty. College Briar Cliff College 330 Avenue M KRUI-FM KTCC-FM KLIF-AM Fort Dodge, IA 50501 897 South Quadrangle 1255 S. Range 3303 Rebecca St. Box 2100 Bob Wood Iowa City, IA 52242 Colby, KS 67701 Sioux City, IA 51104-2100 N/A John Barker Jon Burlew Laura Fernandez 515-576-7201 N/A Jon Burlew Ralph Swain 515-576-7206 319-335-9525 913-462-3984 712-279-1624 BR 319-335-9526 913-462-8315 712-279-5410 200 BR BR CC, CA AOR, J, ME, U, P 100 3500 N/A E, F, J, H, U, W, Ska, REG, NA, ME CHR CO, E, H, J, ME, O, P, REG, U, NA, W Luther College KWLC-AM KANSAS Dodge City Comm. College Buena Vista College 700 College Drive KDCC-FMca KBVC-AMcc Decorah, IA 52101 Baker U. 2501 N. 14th Ave. P.O Box 977, Siebens Forum Linnea Sael KNBU-FM Dodge City, KS 67801 Storm Lake, IA 50588 Jennifer Cantine 7th & Dearborn John L.Ewy S. Gubanc 319-387-1240 Baldwin City, KS 66006 John L. Ewy Kathy Miller 319-387-2159 Richard Bayha 316-225-6783 712-749-1218 BR Richard Bayha 316-225-0918 712/749-2037 1000 913/594-6451x560 CA ca cc CL, F, J, ME, REG, P, U 913/594-3570 N/A N/A BR N/A AOR, CHR 10 CHR,AOR 254 NACB MEMBER STATIONS: RADIO Fort Hays State U. U. of Kansas LOUISIANA MAINE KFHS-AMcc & FMca KJHK-FM 600 Park Street, Heather Hall 2051A Dole Center Nicholls State U. Bowdoin College Hays, KS 67601 Lawrence, KS 66045 KNSU-FM WBOR-FM Lia Blanchard Gary Hawke Box 2009-Univ. Station Moulton Union Bldg. Nancy Selbe Gary Hawke Thibodaux, LA 70310 Brunswick, ME 04011 913/628-4428 913-864-0603 Simeon Wildman Matt Roberts 913/628-4098 913-864-0614 Bernadette Dugas-Chavin Bill Fruth CC,CA BR 504-448-4448 207-725-3250 N/A 100 504-448-4929 207-725-3510 AOR F, J, ME, NA, REG, P, U BR BR 250 300 Kansas State U. KENTUCKY CHRJMEMOROWPREG UCL, F, J, ME, REG, P, U KSDB-FM 104 Kedzie Hall Earle C. Clements Job Corps Center Northeast Louisiana U. Husson College-New Eng. Schl. of Manhattan WECC KNLU-FM B’castg. KS 2302 US Hwy. 60 E. 128 Stubbs Hall WHSN-FM 66506 Morganfield, KY 42437 Monroe, LA 71209-8821 One College Circle Joe Montgomery Glenn Floyd Joel Willer Bangor, ME 04401 N/A N/A N/A Ben Haskell 913-532-6960 (vmail) 502-389-2149x282 318-342-5658 Ben Haskell 913-532-7309 502-389-1134 N/A 207-947-3987 BR BR BR 207-947-3987 1400 10 8500 BR CRAOREGHJMENAOPSkaREGU AOR CHR O P REG ME J P 140 CHR Ottawa U. Kentucky Wesleyan College Southeastern Louisiana U. KTJO-FM WKWC-FM KSLU-FM Sanford Regional Vocational Tech. 1001 S. Cedar, Box 10 3000 Frederica St. PO Box 783 Media Technology Ottawa, KS 66067-3399 Owensboro, KY 42301 Hammond, LA 70402 2R Main St. Jeareen Layton Pam Gray Ron Nethercutt Sanford, ME 04073 Barry B. King Leonard Clark Ron Nethercutt Dr. Gordon Johnston 913/242-5200x5480 502-685-5937 504/549-5758 Dr. Gordon Johnston 913-242-7429 N/A 504-549-3960 207-324-2942 BR BR BR 207-324-2957 10 5000 3000 br ca AOR, CHR, CO, CR, E, ME, U U,CL,J J, AOR, NA, O, U, W N/A CHR ME NA P 255 NACB MEMBER STATIONS: RADIO St. Joseph’s College MARYLAND Brandeis U. Dean College WSJB-FM WBRS-FM WGAO-FM Communications Broadcast Dept. Catonsville Cmty. College 415 South St. 99 Main Street North Windham, ME 04062 WCCN-AMcc Waltham, MA 02254-9110 Franklin, MA 02038 Bruce Ford 800 S. Rolling Road/Bldg. J Richard Greenfield Vic Michaels William Yates Catonsville, MD 21228 N/A Vic Michaels 207-892-2517 Helena Cohen 617-736-4786 508-528-4210 207-892-7746 April Warwick 617- 231-2696 508-528-7846 BR 410-455-4358 BR BR N/A 410-455-4411 25 125 AOR CC Children’s, Soundtracks, E CLPGUREGJFNA AOR, ME, P REG N/A U. of Maine at Orono REG, P, U,ME Cape Cod Cmty. College Emerson College WMEB-FM WKKL-FM WERS-FM 5725 East Annex room 106 U. of Maryland 2240 Route 132 126 Beacon St. Orono, ME 04469-5725 WMUC-AM & -FM West Barnstable, MA 02668 Boston, MA 02116 Ryan McKinney WMUC, Box 99 Steven Leclair Fran Berger John Weispferring College Park, MD 20742 Steven Leclair N/A 207-581-2332 Hash Parekh/ Eric Speck 508/362-2131x446 617-578-8823 207-581-4343 Doug Bertel 508-362-8638 617-578-8804 BR 301-314-7865 BR BR 380 301-314-7879 205 4000 MEAORPJEFSkaREGWUH CA,CC P J, ME, REG, P, U ,E,NA F W N/A U. of Southern Maine Cape Cod Regional Tech. HS Fitchburg State College WMPG-FM MASSACHUSETTS WCCT-FM WXPL-FM 96 Falmouth St. 351 Pleasant Lake Avenue 160 Pearl St. Portland, ME 04103 Bradford College Harwich, MA 02645 Fitchburg, MA 01420 Rob Rosenthal WHAT Radio Burt Fisher Peg Ricardo N/A Box A - 320 S. Main St. Burt Fisher Advisor 207-780-4974 Bradford, MA 01830 508-432-4500x226 508-345-0276 207-870-4590 Debb Dormandy 508-432-7916 N/A BR Keith Le Blanc BR BR 1100 508-372-7161x290 160H, 640V 100 FSkaREGJMEEU 508-521-0480 AC U,P,ME C N/A AOR, CHR, F, J, ME, NA, REG, P 256 NACB MEMBER STATIONS: RADIO Mount Ida College Northfield Mount Hermon Schl. U. of Massachusetts- Amherst Williams College WIDA WNMH-FM WMUA-FM WCFM-FM 777 Dedham St. 206 Main St./Revell Hall/PO Box 105 Campus Center Way Baxter Hall Newton Centre, MA 02159 2697 Amherst, MA 01003 Williamstown, MA 01267 Noah Applebaum Northfield, MA 01360 Brad Davidson Megan McCracken Noah Applebaum Todd Darden Glenn Siegel N/A 617-969-7000 Bill Hattendorf 413-545-2876 413-597-6579 617-969-6993 413-498-3603 413-545-4751 413-597-6579 N/A 413-498-3164 BR BR N/A BR 1000 1100 N/A 235 JP COHJEPREGU AORCLFGHUWREGSkaOPJE Newbury College U. of Massachusetts - Lowell MICHIGAN WNBY-AMcc Springfield Tech. Cmty. Coll. WJUL-FM 129 Fisher Ave. WTCC-FM One University Avenue Adrian College Brookline , MA 02146 P.O. Box 9000 Lowell , MA 01854 WVAC-FM David Daniel Springfield, MA 01101-9000 N/A 110 S. Madison St. John Tierney Fred Krampits Mary Connelly Adrian, MI 49221 617-730-7117 Dr. James Dowd 508-452-5001 Jeffrey S. Smith 617-730-7182 413-734-6861 508-452-9073 Steven Shehan CC N/A BR 517-265-5161x4154 N/A BR 1700 517-264-3331 AOR, CHR, CL, CO, F, G, J, ME, 4000 EP BR MOR, NA, P, REG, REL, U ACAORCHRCLCOCREFGHJ 10 MOR NA REG REL Ska U Wheaton College ACAORCHRCOJMEMOROPU Northeastern U. WCCS-AMcc WRBB-FM Tabor Academy Box 977 Alma College 360 Huntington Ave. WWTA 88.5 FM Radio Norton, MA 02766 WQAC-FM Boston, MA 02115 Marion, MA 02738 Liz Carthans 614 W. Superior St. Scott Souza Valerie Termini N/A Alma, MI 48801 Lou Conrad Phil Sandborn 508-285-8200x5924 Nate Pawlicki 617-373-4338 508-748-2000x282 508-285-8270 Dr. Selmon 617-373-5095 N/A CC 517-463-7538 BR BR N/A N/A 18 100 H J REG P CC AOR CHR REG U ME JP 100 P1,J,REG,ME,W,U,CO,P,F 257 NACB MEMBER STATIONS: RADIO Calvin College Grand Valley State U. Lansing Cmty. College Northern Michigan U. WCAL-FM WCKS WLNZ-FMca WUPX-FM 3201 Burton St. Kirkoff Center, 10670 Campus Dr. PO Box 40010 101 Cahodas Grand Rapids, MI 49546 Allendale, MI 49401 Lansing, MI 48901 Marquette, MI 49855 Darryl Cater Dan Laninga Dave Downing Kale Seagraves Randall Bursma N/A Dave Downing Dr. Charles Ganzert 616-957-8546 616-895-2356 517-483-1670 906-227-3077 616-957-8551 616-895-2355 517-483-1629 906-227-2204 CC N/A CA, CC FCC N/A N/A N/A 200 N/A AOR AC,CHR Central Michigan U. WMHW-FM Henry Ford Cmty. College Michigan State U. Northwestern Michigan College 185 Moore Hall WHFR-FM WDBM-FM WLFT-AM/FMca WNMC-FM Mt. Pleasant, MI 48859 5101 Evergreen Rd. 310 Auditorium 1701 E. Front Street Dr. Jerry Henderson Dearborn, MI 48128-1495 East Lansing, MI 48824-1120 Traverse City, MI 49684 Dr. Jerry Henderson Jay B. Korinek Patrick N Teresa O’Hara 517-774-7287 N/A Gary Reid Dr. Mark Ross N/A 313-845-6477 517-353-4414 616-922-1091 BR 313-845-6321 517-355-6552 616-922-1569 307 BR BR,CA BR AOR, J, ME, NA, P 270 2000 150 JFENAMEUHREGSkaP U,P,ME F, J, ME, NA, REG, P, U Cousino High School WPHS-FM Lake Superior State U. Michigan Tech U. Novi High School 30333 Hoover Road WLSO-FM WMTU-FMca WOVI Radio Warren, MI 48093 Brady Hall Wadsworth Hall 24062 Taft Rd. Sean Wilson Sault Sainte Marie, MI 49783 Houghton, MI 49931 Novi, MI 48375 N/A Sherri Pavloski Eric McCarty Dave Legg 810-574-3137 Dr. Dennis Merkel Jill Burkland Dave Legg 810-751-3755 906-635-2675 906-487-2333 810-349-5574 BR 906-635-2762 906-487-2245 810-348-0391 100 BR CC,CA br P 100 100.01 100 PNAMECOAOR P1,AOR,CHR,CR,J,ME,NPA,REG,REL,U AORJMEW 258 NACB MEMBER STATIONS: RADIO Plymouth Canton Comm. Schools U. of Michigan - Dearborn Mankato State U. Winona State U. WSDP-FM WUMD-FMca KRNR-FMca KQAL-FM 46181 Joy Road 4901 Evergreen CSU Box 170 Rm. 230 P.A.C. Building Canton , MI 48187 Dearborn, MI 48128 Mankato, MN 56001 Winona, MN 55987 Bill Keith Ryan Nowak Thor Nelson Ed Hurley Bill Keith Advisor Fred Vette Ajit Daniel 313-451-6266 313-593-5167 507-389-5793 507-457-5258 313-451-2104 N/A 507-389-1040 507-457-5586 BR CA CA BR,CA 200 N/A cable 1800 PWCLGJME N/A AOR, P,ME AOR, CHR, CL, F, J, ME, NA, REG, P, U U. of Detroit- Mercy MINNESOTA Southwest State U. WUDM-AMcc KSSU-FM MISSISSIPPI P. O. Box 19900 Carleton College FA-206 Detroit, MI 48219-0900 KRLX-FM Marshall, MN 56258 Mississippi College Paul Anders One N. College St. Jan Loft WHJT-FM/ WSLI-AM John Daniels Northfield, MN 55057 N/A PO Box 4247 313-993-1152 Ben Perlman 501-537-7103 Clinton, MS 39058 313-993-1011 Mr. Chris Rosenrod 507-537-7-7154 Russ Robinson CC 507-663-4102 CA Russ Robinson N/A 507-663-5205 N/A 601-925-3458 AOR,CHR, CL,F,J,ME,NA,REG,P,U BR CHRCOMEPUO 601-924-4506 100 BR U. of Michigan AOR, CHR, CL, J, ME, RE, P, U U. of Minnesota 3000 WCBN-FM KUOM-AM/ WMMR-FMca N/A 530 Stud. Activ. Bldg. Concordia College 550 Rarig 330 21st Ave. South Ann Arbor, MI 48109 KORD-AMcc Minneapolis, MN 55455 Mississippi State U. Dolby Blanchard c/o Dept. of Speech Andy Marlow WMSV-FM Ted Oberg Moorhead, MN 56562 N/A P. O. Box 6210 313-747-4122 Dave Kimel 612-625-3500 Mississippi State, MS 39762 313-747-3885 Haroud Casselton 612-625-2112 Steve Ellis BR 218-299-3028 ca cc Steve Ellis 200 218-299-4256 5000 601-325-8034 COHUNAREGSkaFG CC PW 601-325-8037 N/A BR CR P 14000 J REG W 259 NACB MEMBER STATIONS: RADIO MISSOURI Northwest Missouri State U. St. Louis, MO 63119-3194 KDLX-FM Southeast Missouri State U. Kris Markman Drury College 238 Wells Hall, 800 University Drive KMXQ Otis Thomas KDCR Maryville, MO 64468 GB-107 314-968-7162 900 N. Benten Ave. Andrew Young Cape Girardeau, MO 63701 314-968-7077 Springfield, MO 65802 John Jasinski Diane Stolzer CC Dr. David Payne 816-562-1163 Bruce Mims 12500 Dr. David Payne 816-562-1900 314-651-5123 J N/A CC 314-651-5967 417-873-7435 N/A CC MONTANA N/A AOR,CHR,P,U,ME N/A N/A CHRAORCOCRMEUP N/A Ozark Christian College Carroll College KOBC-FM St. Louis Cmty. College KROL Radio Lincoln U. of Missouri 1111 N. Main Street KCFV-FM Box 102/1610 N. Benton Ave. KJLU-FM Joplin, MO 3400 Pershall Road Helena, MT 59625 1004 E. Dunklin/PO Box 29 64801 St. Louis, MO 63135 Rob Randall Jefferson City, MO 65101 Rob Kime Dianna Clark Ed Noonan Tory A. Spears Rob Kime John Balas 406-447-4380 N/A 417-781-6401 314-595-4463 N/A 314-681-5296 417-624-0090 314 595-4217 N 314-681-5299 BR BR N/A BR 30 kw 100 P 40000 Cont. Christian U,P,REG, W JUREGWG NEBRASKA Park College U. of Missouri/Rolla Northeast Missouri State U. KGSP-FM KMNR-FM Hastings College KNEU-FMca 8700 River Park Dr., Box 2 113 University Center W KFKX-AMca Division of Lang/Lit. Parkville, MO 64151 Rolla, MO 65401 7th & Turner Kirksville, MO 63501 Robert Moore Jennifer Zung Hastings, NE 68901 Bridget Moss Charles Welborn Fred Goss Sharon Brooks John Hart 816-741-2000 x325 314-364-6427 Sharon Brooks 816-785-5638 816-741-4911 314-341-6026 402-461-7367 816-785-4181 BR BR 402-463-3002 CA 10 450 CC,CA cc N/A PAOR AOR,CL,F,J,ME,REG,P,U N/A U,ME Webster U. AOR, CHR, CR, O,P, KSLH-FM UPCOCRMEUREGNA 470 E. Lockwood Ave. 260 NACB MEMBER STATIONS: RADIO NEVADA Notre Dame College Monmouth College Rowan College of New Jersey WRND-FM WMCX-FM WGLS-FM U. of Nevada - Las Vegas 2321 N. Elm Street Cedar & Norwood Aves. 201 Mullica Hill Road KUNV-FM Manchester, NH 03104 West Long Branch, NJ 07764 Glassboro, NJ 08028 4505 Maryland Pkwy Stacey Dewyngart Craig Rondinone Frank Hogan Las Vegas, NV 89154-2010 Robert G. Simmons Rett Rich Frank Hogan Don Fuller 603-669-4298x265 908-571-3482 609-863-9457 N/A 603-644-8316 908-571-4407 609-863-6165 702-895-3877 CA BR BR 702-895-4857 100 1000 440 BR AOR, CO, ME, NA, REG, REL,MOR,P AOR,P AC, AOR, CHR, CO, J, ME, W 15000 JMENAREGSkaWHEFUBluegrass NEW JERSEY Morristown High School Rutgers U. - Camden Campus WJSV-FM WPCR-AMcc NEW HAMPSHIRE Burlington County College 50 Early Street CMS Box #67; P. O. Box 93545 WBZC-FM Morristown, NJ 07960-3898 Camden, NJ 08102 Dartmouth College County Rt. 530/College Relations Dan Barrett Derek Chillanandana WDCR-AM/ WFRD-FM Dept. Virginia Lyttle N/A P.O.Box 957 Pemberton, NJ 08068 201-292-2168 609-225-6168 Hanover, NH 03755 Drew Jacobs N/A 609-225-6302 Amy Ertel Drew Jacobs BR cc Holly Sateia 609-894-9311 x223 150 N/A 603-646-3313 609-894-9440 AORMENAO CLGJMEUNAOREGW 603-643-7655 BR ca 7500 Ramapo College Stockton State College 1000/3000 WRPR-FM WLFR-FM PAOR Centenary College 505 Ramapo Valley Road Jimmie Leeds Road WNTI-FM Mahwah, NJ 07430 Pomona, NJ 08240 Keene State College 400 Jefferson St. Andre Perry Bruce Carlson WKNH-FM Hackettstown, NJ 07840 Andre Perry Rance Catlin 229 Main St. Eric Slater 201-825-7449 609-652-4780 Keene, NH 03431 Eric Slater 201-327-9036 609-652-0275 Carmen Darkangelo 908-852-1400x391 BR BR Tony Stavely 908-850-9508 100 1350 603-358-2417 BR P P1, CL, E, F, J, ME, O, REG, U, W 603-358-2257 5600 BR U,AOR,CHR,P, J,ME 100 P1CLEFGJMENAPWUREG P,ME 261 NACB MEMBER STATIONS: RADIO Trenton State College NEW YORK Genesee Cmty. College Hofstra U. WTSR-FM WGCC-FM WRHU-FM Kendall Hall Adirondack Cmty. College One College Rd. 1000 Fulton Ave. Trenton, NJ 08650-4700 WGFR-FM Batavia, NY 14020 Hempstead, NY 11550 Dr. David Rogosky Bay Road Tim Zielinski Dawn Droessler Dr. David Rogosky Queensbury, NY 12804-1498 Chuck Platt Bruce Avery 609-771-3200 Ron Pesha 716-343-9422 516-463-5667 609-530-7727 Ron Pesha N/A 516-564-4296 BR 518-743-2311 BR BR 1500 518-745-1442 880 470 N/A BR AOR AOR, J, CL, P,ME 10 William Paterson College MEPAOR Hamilton College Ithaca College WPSC-FM WHCL-FM WICB-FM 300 Pompton Road Barnard College/ Columbia U. 198 College Hill Rd. Park School of Comms.- 953 Danby Wayne, NJ 07470 WBAR Radio Clinton, NY 13323 Rd. Sean Kerwin 3009 Broadway Trip McCrocken Ithaca, NY 14850 John Kiernan New York, NY 10027 Advisor Chris Wheatley 201/595-3319 Melissa (Spectre) Bearns 315-859-4200 N/A 201-595-2483 Paul Tarnel 315-853-3891 607-274-3142 BR 212-663-5239 BR 607-274-1061 200 212-854-7491 270 BR,CA AOR CHR CR ME P REG REL U CC U,P,AOR 5,5OO N/A PEFHJUWREG CLFJREGPU Hobart and William-Smith Colleges Lehman College NEW MEXICO WEOS-FM Cayuga Comm. College N/A WHLC-AMcc San Juan College WDWN-FM Geneva, NY 14456 250 Bedford Park Blvd West KSJE-FM 197 Franklin Street Michael Black Bronx, NY 10468 4601 College Blvd. Auburn, NY 13021 Michael Black Jonelyne Hixon Farmington, NM 87401 Steven Keeler 315-781-3456 John Caberello James Burgess N/A 315-781-3916 212-960-8954 James Burgess 315-255-1743 BR, CA ca br N/A 505/599-0231 315-255-2690 1500 CC 505/599-0231 BR,CA AOR,COEFHGJMENAPSkaREGUW 30 BR 250 E,ME, JP, REG, U 15000 AORMEHUP CLASS, J, NA CL J NA 262 NACB MEMBER STATIONS: RADIO Long Island U. Niagara County Cmty. College Rochester Inst. of Tech. St. John Fisher College WCWP-FM WNCB Radio WITR-FM WFCX-AM C.W. Post Campus of L.I.U. 3111 Saunders Settlement Rd. Box 20563 3690 East Ave. Brookville, NY 11548 Sanborn, NY 14132-9460 Rochester , NY 14623-0563 Rochester, NY 14618 Richard Pirodsky Mike McKay Al Wixson Katrina Combs Richard Pirodsky Paul Seland Dorothy Brown Gary Cuminale 516-299-2626 716/731-3271 x139 716-475-2000 716-385-8174 516-626-9730 716-731-4053 716-475-4988 716-385-8129 BR CC BR BR 100 N/A 991 20 AOR,ME AOR,CHR,CO,J,ME,P1,REG,U,W P SkaREGWPJME FCOJMENAPUREG

Medaille College Nyack College Sarah Lawrence College St. John the Baptist H.S. WMCB-AMcc WNYK-FM New radio station WRSJ-FMca 18 Agassir Circle 1 South Boulevard 1 Broadway 1170 Montauk Highway Buffalo, NY 14214 Nyack, NY 10960 Bronxville, NY 10708 West Islip, NY 11795 Charles Monteleone Don Jehlen Robert Cameron Father Jim Vlaun Lisa Van Valkinburgh Dr. David Turk N/A Father Jim Vlaun 716-884-3281 914-358-1710 914-395-2575 516-587-8000 716-884-0291 914-358-1718 914-395-2668 516-587-8996 CC BR N/A CA N/A 14 N/A N/A CR, J, P, U CRFGJREL N/A AOR, CHR,ME,NA,U,REG,NATIVE New York U. ROCK WNYU-FM Queensborough Cmty. College Skidmore College 721 Broadway, 11th Floor WQCC Radio WSPN-FM St. John’s U. New York, NY 10003 220-09 56th Ave. Saratoga Springs, NY 12866 WSJU-AMcc Yvonne McDonald Julie Canning Bayside, NY 11364-1497 ryan Turncliff 8000 Utopia Pkwy. Prof. Barbara Malmut Raymond P. Kendall Advisor Jamaica, NY 11439 212-998-1649 N/A 518-584-7378 N/A 212-998-1652 718-229-0396 518-584-7378 Antoinette Durso BR N/A BR 718/990-6564 8400 CC 253 718-380-3803 PEUSkaREGHJNA N/A AOR,J,P, FF1 CC AOR, ME, NPA, REG, P N/A MECLCHROECONA 263 NACB MEMBER STATIONS: RADIO St. Lawrence U. SUNY- Morrisville SUNY - Oswego Syosset High School KSLU-FMca WCVM WNYO-FM /Student Assn. WKWZ-FM 88.5 CMR 619 U.C. 020 Charlton Hall 9B Hewitt Union South Woods Rd. Canton, NY 13617-1455 Morrisville, NY 13408 Oswego, NY 13126 Syosset, NY 11791 John Gilfillan Mark Maurer Mark Hrywna Gil Hova Timothy Manning Mary Ellen Mengucci Merill Charles Jack DeMasi 315-379-5538 315-684-6358 315-341-2101 516-364-5745 315-379-7441 315-684-6225 315-341-2576 516-921-6032 CA,CC CC cc BR N/A N/A 100 125 AOR,J,ME,NA,O,P,REG,U,W AOR,CHR,CR,J,ME,NA,P,U J REG G ME P Canadian AOR,CHR,CL,F,J,ME,NA,REG,P

St. Thomas Aquinas College SUNY- New Paltz SUNY - Plattsburgh Syracuse U. WSTK-AM 530 WFNP- FM/AM WPLT-FM WJPZ-FM Rt. 340 Student Union Bldg. 311 110 Angell College Center Box 239 Sparkill, NY 10976 New Paltz, NY 12561 Plattsburgh, NY 12901 Syracuse, NY 13210 Donna R. Williams Will Robedee Jason Keller Ryan Raffensperger Donna R. Williams Lee Kobus Peter Ensel Roosevelt Wright, Jr. 914-398-4072 914-257-2790 518-564-2727 315-443-4689 914-398-4069 914-257-3084 518-564-3994 315-443-4379 CC CC, CA BR BR - FM N/A 25w 10 100 AOR, CHR P1, F, J, ME, NA, NPA, P, REG, U, W P CHR, U

SUNY - Brockport SUNY - Oneonta SUNY - Stony Brook Syracuse U. WBSU-FM 89.1 & AM WONY-FM WUSB-FM WERW-AMcc Seymour College Union Alumni Hall, SUCO Campus SB Union 260 303 Schine Student Center Brockport, NY 14420 Oneonta, NY 13820 Stony Brook, NY 11794 Syracuse, NY 13244-2070 Warren “Koz” Kozireski Jennifer Fine Norman Prusslin Christian Hollyer N/A Jeff Baum Norm Prusslin Al Page 716-395-5626 607-436-2712 516-632-6500 315-443-2503 ofc 716-395-5610 N/A 516-632-7519 315-443-4617 cc ca BR BR CC 7338 180 4000 N/A AORCHRPU U,P,ME CLCOEFGHUREGSkaPJNA U, FF, P, ME, J, REG, HIP HOP 264 NACB MEMBER STATIONS: RADIO U. of Rochester 3000 North Carolina A&T State U. Western Carolina U. WRUR-AM/FM MOR WNAA-FM WWCU-FM CPU Box 277356 - River Station East Carolina U. Suite 200 Price Hall Box 2728 Rochester, NY 14627 WZMB-FM Greensboro, NC 27411-1135 Cullowhee, NC 28723 Gian Giandominico ECU, Mendenhall Student Center Tony Welborne James Holt Rob Rouzer Greenville, NC 27834 Tony Welborne Dr. Paul Gold 716-274-3699 Susan Nelson 919-334-7936 704-227-7173 716-473-2404 Greg Brown 919-334-7960 704-227-7202 BR,CC br cc 919-328-4751 BR br 3000 919-328-6426 10000 327 U, CLFGJMENAPREGRELW BR Rap AORCRHPMERELUDISCO 232 U,P,ME North Carolina State U. NORTH DAKOTA NORTH CAROLINA WKNC-FM Elon College Box 8607- NCSU Mail Center Minot State U. Appalachian State U. WSOE-FM Raleigh, NC 27695-8607 KMSU-AMcc WASU-FM Campus Box 6000 Christopher Phillips 500 West University Ave. 3rd Flr. Wey Hall Elon College, NC 27244-2060 Bob Bryan Minot, ND 58701 Boone, NC 28608 Don Grady 919-515-2401 Justin Fast Amanda Holdan Don Grady 919-515-5133 Neil Roberts Carl Tyrie 919-584-2574 BR 701-857-3829 704-262-3170 N/A 3000 N/A 704-262-2543 BR W U P REG J ME REL CR CC BR 500 N/A 340 PU Wake Forest U. U,AC,AOR,CHR,CO,ME,NA,P, CR U,AOR,ME CHR CO CREFJMESkaREGU WAKE-FM N. Carolina Wesleyan College Box 7760 Reynolda Station OHIO Campbell U. WESQ-FM Winston-Salem, NC 27109 WCCE-FM 3400 N.Wesleyan Blvd Travis McCollum Akron City Schl. Dist. P.O. Box 1030 Rocky Mountain, NC 27804 N/A WAPS-FM Buies Creek, NC 27506 Jerry Glass 910-759-5192 65 Steiner Ave. Travis Autry Advisor 910-759-4562 Akron, OH 44301 Advisor 919-977-7171 CC Bill Gruber 919-893-5561 N/A N/A James Mathis 919-893-9850 BR AORJMEPSkaREGWU 216-434-1661 x3182 BR 6000 216-434-9515 N/A BR 1700 P 265 NACB MEMBER STATIONS: RADIO Baldwin-Wallace College Cleveland State U. Int’l. College of B’casting Kenyon College WBWC-FM WCSB-FM WICB Radio WKCO-FM 275 Eastland Road RT 956 6 S. Smithville Rd. PO Box 312 Berea, OH 44017 Cleveland, OH 44115 Dayton, OH 45431 Gambier, OH 43022 Phil Dennison Bill Kennedy Tom Michaels Francis Zodd Connie Allen Jim Szatkowski Tim Collier Beth Dudley 216-826-2145 216-687-3523 513-258-8251 614-427-5412 216-826-3426 216-687-9366 513-258-8714 614-427-3711 BR BR BR BR 100 1000 5 266 AOR,ME U,P,ME O CL, F, J, ME, REG, P, U

Bowling Green State U. Denison U. John Carroll U. Muskingum College WFAL-AMcc WDUB-FM WUJC-FM WMCO-FM 120 West Hall Slayter Hall 20700 N. Park Blvd. Stormont Street Bowling Green, OH 43403 Granville, OH 43023 University Heights, OH 44118 New Concord, OH 43762 Tom Bunyard Cathy Corkery Adrienne D’Ambrosio Jen Wooster Bruce Klopfenstein Laurel Kennedy David Reese Jeff Harman 419-371-8658 614-587-3008 216-397-4437 614-826-8380 419-372-0202 N/A 216-397-3028 614-826-8404 CA,CC BR BR ca cc N/A 100 850 1300 AOR1, ME J, M, NPA, P, REG, U AOR, CL, J, ME, NA, REG, P, U AOR, CL, F, J, ME, NA, REG, P, U

Bowling Green State U. Franciscan U. of Steubenville Kent State U. Oberlin College WBGU-FM WFRS-AMcc WKSR-AMcc WOBC-FM 120 West Hall Dept. of Comm. Arts 3rd Flr. Music & Speech Bldg. Wilder Hall-Rm. 319 Bowling Green, OH 43403 Steubenville, OH 43952 Kent, OH 44243 Oberlin, OH 44074 Tobin Klinger Dave Schaefer Ed Duber Carmen Mitchell Dr. Bruce Klopfenstein Dave Schaefer Dr. A. Bennett Whaley Don Goulding 419-372-8657 614-283-6460 216-672-2131 216-775-8107 419-372-2138 614-283-6452 216-672-4064 216-775-8886 BR CC CC BR 1000 N/A N/A 440 WomansFEGNASkaHJME N/A CO, CR, E, G, J, ME, P1, REG, U, W PCOEFGHJMENAMORSkaREGUW 266 NACB MEMBER STATIONS: RADIO Ohio Northern U. Streetsboro City Schools U. of Findlay Oklahoma Christian U. WONB-FM WSTB-FM WLFC-FM KOCC-FM Dept. of Communication Arts P.O. Box 2542/1900 Annalane Drive 1000 N. Main Street Box 11000 Ada, OH 45810 Streetsboro, OH 44241 Findlay, OH 45840 Oklahoma City, OK 73136 Richard Gainey Kevin Corraro Dawn Hopkins Rhonda Smith G. Richard Gainey Bob Long James Greenwood Dr. Larry Jurney 419-772-1194 216/626-4906 419-424-4747 405-425-5621 419-772-1932 216/626-9350 419-424-4822 405-425-5625 BR BR BR BR 3000 300 155 4300 J,NA,P J NA P AOR,CHR AOR CHR G REL NA

Ohio State & Lima Technical College U. of Akron U. of Toledo Oklahoma State U. WOSL WZIP-FM WXUT-FM KWBY 4240 Campus Drive 1004 Guzzetta 2801 W. Bancroft Street 206 Paul Miller Building Lima, OH 45804 Akron, OH 44325-1004 Toledo, OH 43606 Stillwater, OK 74078-0195 Carole Fanekins Tom Beck Daniel Peck Jack Hodgson Carole Fanekins N/A Terrance Teagarden Jack Hodgson 419-221-1641x258 216-972-7105 419-537-4761 405/744-8206 419-221-1658 216-972-5521 419-537-2210 N/A cc BR BR CC N/A 3300 100 N/A PCRREGOJME AOREFG U,P1, F, J, ME, NA, REG N/A

Ohio State U. U. of Dayton OKLAHOMA Southeastern Oklahoma State U. New radio station WDCR-AM KHIB-FM 306 Ohio Union, 1739 N. High St. 300 College Park Ave. Creative Educational Media Box 4129, Station A Columbus, OH 43210 Dayton, OH 45469-0616 KNYD-FM Durant, OK 74701-0609 Kevin Sheriff S. Miller Tim Schulz P.O. Box 1924 Tina Vercelli N/A Dr. Jack Rong Tulsa, OK 74101 Dr. Ben Chappel 614-292-2101 513-229-3058 David Ingles 405-924-0121x2480 614-292-0405 513-229-2774 N/A 405-924-7313 N/A BR 918-455-5693 BR N/A 10 w 918-455-0411 323 N/A AOR, CL, ME, P AOR J ME P BR CHRACAORCOCRMEOP 100000 G 267 NACB MEMBER STATIONS: RADIO OREGON PENNSYLVANIA Carnegie Mellon U. East Stroudsburg U. WRCT-FM WESS-FM Eugene Public Schools Bucknell U. 1 WRCT Plaza/5020 Forbes Ave. McGarry Communications Center KRVM-FM WVBU-FM Pittsburgh, PA 15213 East Stroudsburg, PA 18301 1574 Coberg Rd., suite 237 Box C-3956 Jason Chris Springer Eugene, OR 97401 Lewisburg, PA 17837 N/A N/A Carl Sundberg Kristy Schiano 412-621-9728 717-424-3134 Bob Rathman Mark Bettner N/A 717-424-3777 503-687-3370 717-524-1174 BR BR 503-484-9863 717-524-3760 100 1375 BR BR U,ME ME P 1900 500 U,AC,AOR,J P Drexel U. Edinboro U. of PA WKDU-FM WFSE-FM Oregon State U. Cabrini College 3210 Chestnut St. 104 Compton Hall KBVR-FM WYBF-FM Philadelphia, PA 19012 Edinboro, PA 16444 MU East OSU 610 King of Prussia Rd. Mike Brosnan Glynnis Claffey Corvallis, OR 97331 Radnor, PA 19087-3699 Warren Fairbanks Dr. Gary Christiansen Nate Lundy Sheri Sabot 215-895-5920 814-732-2526 Ann Robinson Jerry Zurek 215-895-5922 N/A 503-737-2008 215-971-8453 BR BR 503-737-4999 N/A 110 3000 BR BR U,P,MECHREFGJMEOPWU U,P 340 100 CRFENAHJWUREG N/A Duquesne U. Elizabethtown College WDSR-FMca WWEC-FM Portland State U. Cal. U. of Pennsylvania SMC #2500, 1345 Vickroy St. One Alpha Drive KPSU WVCS-FM Pittsburgh, PA 15219 Elizabethtown, PA 17022 P.O. Box 751-SD 428 Hickory St. Katina Benio Chris Black Portland, OR 97207-0751 California, PA 15419 Dr. Rob Bellamy Donald E. Smith Don Nasca J. R. Wheeler 412-396-5773 717-361-1272 ofc Don Nasca J. R. Wheeler 412-396-1661 717-361-1180 503-725-5669 412-938-4330 CC,CA cc ca BR 503-725-4882 412-938-5959 N/A 100 C BR P1, AOR, NPA, F, ME, U AOR, CL, CR, J, ME, NPA, P, REL, W N/A 3000 N/A U CHR 268 NACB MEMBER STATIONS: RADIO La Salle U. Mansfield U. Muhlenberg College Susquehanna U. WEXP-AMcc WNTE-FM WMUH-FM WQSU-FM Box 698; 20th & Olney Box 84, South Hall Box 2806 Susquehanna U Philadelphia Mansfield, PA 16933 Allentown, PA 18104 Selinsgrove, PA 17870 PA Rob Weigand Richard Lospinoso Robert Gross 19141 Priscilla Travis Joe Swanson Robert Gross Leo Romero 717-662-2616 215-821-3239 717-372-4358 Advisor N/A 215-821-3234 717-372-2757 215-951-1378 BR CC,BR BR N/A 115 N/A 12000 CC P1 AOR, CL, F, J, ME, NA, REG, P, U AORJMEPREG N/A Mercyhurst College Penn. College of Technology U. of Scranton Luzerne County Cmty. College WMCE-FM WWAS-FM WUSR-FM WSFX-FM 501 East 38th Street One College Ave. Office of Instr. Tech.; Gallery Bldg. Prospect St. & Middle Rd. Erie, PA 16546 Williamsport, PA 17701 Scranton, PA 18510 Nanticoke, PA 18634 John Leisering Tom Speicher John Farrell Frank Kotsko Jay Kennedy Tom Speicher Ed Conway Ron Reino 814-824-2436 717-326-3761X7214 717-941-7469 717-821-0933 814-824-2590 717-327-4503 717-941-4308 717-821-0905 BR BR BR,CA BR 250 100 N/A 100 U,P,W,CL,AOR,E,F,G AOR CL, J, NA AOR, J, ME, P, CR, PA Middletown High School Slippery Rock U. U. Pittsburgh-Johnstown Lycoming College WMSS-FM WRSK-FM WUPJ-AMcc WRLC-FM 214 Race Street C-211 University Union 130 Student Union Mass Communication Dept. Middletown, PA 17057 Slippery Rock, PA 16057 Johnstown, PA 15904 Williamsport, PA 17701 John Wilsbach Michael Norton Sarah Hoover Brad Nason Maureen Denis Dr. Robert Leffiningwell Steve Tyson Brad Nason 717-948-9136 412-738-0004 814-269-7181 717-321-4060 717-948-3329 412-738-2748 814-269-7090 717-321—4337 BR BR N/A BR 1350 100 N/A 763 AOR, CHR, ME, AOR, P N/A AOR, ME, P AOR CRGJMEOREL P AOR CHR CR J P REL U 269 NACB MEMBER STATIONS: RADIO West Chester U. Coventry Public High Schools The Wheeler School SOUTH CAROLINA WCUR Radio WCVY-FM WELH-FM 326 Wayne Hall, Sykes Union 40 Reservoir Rd. 216 Hope Street Clemson U. West Chester, PA 19383 Coventry, RI 02816-9532 Providence, RI 02906 WSBF-FM Jason Steneck Ken Grady Lauren Nocera PO Box 2156 Dr. Michael Pearson N/A Mark Johnson-Harris Clemson, SC 29632 215-436-2414 401-821-8540 401-421-8100x65 Rebecca Townsend 215-436-2477 N/A N/A Julie Walters-Steele CC BR BR 803-656-4010 N/A 200 150 803-656-0514 J, ME, NA, REG, P, U CHR UHJW BR 1000 Wilkes U. Rhode Island College U. of Rhode Island PJMEUREG WCLH-FM WXIN Radio WRIU-FM /-AM P. O. Box 111 600 Mt. Pleasant Ave. Memorial Union Bldg., Rm 362 Furman U. Wilkes-Barre, PA 18766 Providence, RI 02908 Kingston, RI 02881 WPLS-FM Jarrod Norton Jim Braboy Andrew Reinhart Box 28573 David Bradbury Vincent Fleming Maureen McDermott Greenville, SC 29613 717-831-5907 401-456-8288 401-789-4949 FM Jeff Montgomery 717-831-5908 401-456-8792 401-792-4349 Carol Daniels BR BR BR,CC 803-294-3577 175 .1 N/A 803-294-3580 P CHR1, AC, AOR, CL, ME, P, REG, U, CL, F, J, ME, REG, P, U BR W 16 RHODE ISLAND William Davies Career Technical HS AOR, J, O,REG, U, P CO CR CL Roger Williams U. WDCT Bryant College WQRI-FM 50 Jenckes Hill Rd. South Carolina State U. WJMF-FM One Old Ferry Road Lincoln, RI 02865 WSSB-FM 1150 Douglas Pike Bristol, RI 02809-2921 Grace Jordan 300 College St. NE/P.O. Box 7656 Smithfield, RI 02917-1284 Tony Ferreira Beverly Lembo Orangeburg, SC 29117 Scott Terrien Tony Mascarro 401-728-1500x214 Gill Harris N/A 401-254-3076 401-728-8910 Gill Harris 401-232-6044 401-254-3283 LPTV 803-536-8938 N/A BR N/A 803-536-8622 BR 100 N/A BR 225 AOR1 90000 UMEWREG CHR, J, REG, P, U 270 NACB MEMBER STATIONS: RADIO SOUTH DAKOTA Freed- Hardeman U. U. of Tennessee- Knoxville Ambassador U. WFHC-FM WUTK-FM KBUA-FM 158 E. Main P-103 Andy Holt Tower P. O . Box 111 South Dakota State U. Henderson, TN 38340 Knoxville, TN 37996 Big Sandy, TX 75755 KSDJ-FM Ray Eaton Dan Naden Dennis Ray Robertson USU 057 Dr. Marcus Hayes Dr. Jeff Wilkinson Advisor Brookings, SD 57007 901-989-6249 615-974-2229 903-636-2167 Rhead Smart 901-989-6065 615-974-2814 N/A Jerry Jorgensen BR BR C 605-688-5559 3000 128 N/A 605-688-4973 CL,J N/A N/A BR 1000 Milligan College Volunteer State College Rice U. AOR, J, ME, NA, P WZMC WVCP-FM KTRU-FM P. O. Box 870 1360 Nashville Pike, suite A-201 P. O. Box 1892 TENNESSEE Milligan College, TN 37682 Gallatin, TN 37066 Houston, TX 77251 Dusty Garrison Howard Espravnik Erik Benke Chattanooga State Tech. N/A N/A Dr. Bill Wilson WAWL-FM 615-461-8962 615-462-8600x218 713-527-4098 4501 Amnicola Highway 615-461-8755 615-452-3728 713-285-5199 Chattanooga, TN 37406 br BR BR Bob Riley 10000 1000 50000 Bob Riley CR AC REL ACAORCHRCLJMECRCOGURELP CLEFJPSkaREGNA 615-697-4405 615-697-4740 Tennessee State U. Sam Houston State U. BR TSU Campus Radio TEXAS KSHU-FM 6000 PO 639; 3500 John Meritt Blvd. Box 2207 AOR Nashville, TN 37209-1561 Alvin Cmty. College Huntsville, TX 77341 Victoria Sturgeon KACC-FM Don Silcott Victoria Sturgeon 3110 Mustang Road Don Silcott 615-320-3293 Alvin, TX 77511 409-294-1344 N/A Cathy Forsythe 409-294-1598 CC N/A BR N/A 713-331-6111 3000 U1, G, J 713-331-2064 CL,J,AOR BR 800 AC 271 NACB MEMBER STATIONS: RADIO San Antonio College Sul Ross State U. Texas Tech U. Vernon Regional Jr. College KSYM-FM KSRC Radio KTXT-FM VRJC Radio 1300 San Pedro Ave. Box C-22, Dept. of Fine Arts & P.O. Box 4710 4400 College Drive San Antonio, TX 78212-4299 Comms. Lubbock, TX 79409-4710 Vernon, TX 76384 John Onderdonk Alpine, TX 79832 Dr. Clive Kinghorn Gene Frommelt John Onderdonk Lisa Hart Dr. Clive Kinghorn Gene Frommelt 210-733-2787 Keith West 806-742-3916 817-552-6291 210-733-2338 915-837-8218 806-742-3906 817-553-3902 BR 915-837-8046 BR CA, CC 3000 cc 35000 N/A U,P,J, ME, F, G, W, NA, REG N/A U,P1, E, F, J, ME, REG, W CL PACAORCHRCLCREFJRELWU Southern Methodist U. U. of Texas- Arlington Wayland Baptist U. KSMU-AMcc Texas A&M U. KUTA-AMcc KWLD-FM SMU Box 400 3140 Dyer St./309 KANM-FMca PO Box 19107/Communic. Dept. 1900 W. 7th St. #230 Hughes-Trigg Ctr. Student Services Bldg. Rm. #153 Arlington, TX 76019 Plainview, TX 79072 Dallas, TX 75275 College Station, TX 77843-1236 Dr. Ross Brad Snellgrove Sandra Garrison Robert Anderson Dr. Ross Steven Long Dan Rockwell Robert Anderson 817-273-2163 806-296-5521 x428 214-768-5768 409-862-2516 817-273-2732 806-296-4718 214-768-4429 409-847-8854 ca BR CC,CA CA N/A 370 N/A N/A N/A CHR AOR, CHR, CL, F, J, ME, REG, P, U N/A U. of Texas - Austin West Texas A&M U. Southwest Texas State U. Texas Christian U. KVRX-FM KWTS-FM KTSW-FM KTCU-FM P.O. Box D W. T. Box 747 601 University Drive Box 30793 Austin, TX 78713-7209 Canyon, TX 79016-0001 San Marcos, TX 78666-4616 Fort Worth, TX 76129 Carol Teixeira Bart Williams Paul Flanigan C. Bernardez Andrea Morrow L. Browning Bob Shrader C. Bernardez 512-471-5106 ofc 806-656-2797 512-245-3490 817-921-7634 512-471-1576 806-656-2818 512-245-3732 N/A BR BR BR BR N/A 100 10500 3000 F, J, ME, NA, REG, P, U AOREPREGU AOR, F, J, ME, P1 MOR,CL,P 272 NACB MEMBER STATIONS: RADIO UTAH VERMONT Hampton U. U. of Virginia WHOV-FM WTJU-FM Snow College Lyndon State College E. Queen St. 711 Newcomb Hall KAGJ-FM WWLR-FM Hampton, VA 23668 Charlottesville, VA 22901 150 College Ave. Box F Jay Wright Charles Jergens Ephraim, UT 84627 Lyndonville, VT 05851 Jay Wright Michael O’Connor Gary Chidester Dennis Sagers Dawn Bronson 804-727-5670 804-924-0885 Gary Chidester Bill Crangle 804-727-5084 N/A 801-283-4021x674 802-626-5881 BR BR 801-283-5047 802-626-97 10000 1500 cc BR J, REG, P, UEGREGRELUOHJ P 200 3000 CHR AOR1, CHR, J, ME, REG, P, U Mary Washington College U. of Virginia WMWC-AMcc WUVA-FM U. of Utah Norwich U. 1701 College Ave., Box WMWC Station # 1 KUTE-AMcc WNUB-FM Fredericksburg, VA 22401 Charlottesville, VA 22904 Union Building Rm.141 Communications Center Chris Harrell Joseph Walker Salt Lake City, UT 84112 Northfield, VT 05663 Michael Joyce N/A John Larson Dr. Scott C. Fields 703-899-4035 804-924-3194 Philip Thompsen 802-485-2437 703-899-4623 804-296-6397 801-581-7981 N/A CC BR 801-581-6652 BR N/A 3000 Ca 285 AOR, ME, P CHR N/A AOR,CHR AOR CL E J ME P1 U W Radford U. U. of Virginia VIRGINIA WVRU-FM WIRE-AMcc Weber State U. P. O. Box 6973 Box 531 Newcomb Hall Stn. KWCR-FM George Mason U. Radford, VA 24142 Charlottesville, VA 22904 3750 Harrison Blvd. WGMU-AMcc/FMca Jim Newberne Jay Martin Ogden, UT 84408-1906 4400 University Drive Jim Newberne Jay Martin Ira Cronin Fairfax, VA 22030 703-831-5171 804-982-3000 Ty Sanders Roger Smith 703-831-5893 804-982-2190 801-626-6450 Roger Smith BR CC 801-626-6935 703-993-2940 500 N/A BR 703-993-2941 AOR, CO, F, ME, NA, U, J, P, Cl UPMEH 2000 cafm lptv cc CHR, U 25 AOR, ME, P, U P 273 NACB MEMBER STATIONS: RADIO Virginia Tech. Inst. & State U. Dept of Radio & TV, MS-104 Nathan Hale High School/Seattle WEST VIRGINIA WUVT-FM Cheney, WA 99004-2495 Public Schools 350 Squires Student Center N. J. Brown KNHC-FM Bethany College Blacksburg, VA 24061-0546 N. J. Brown 10750 30th Ave. NE WVBC-FM Jay Levin 509-359-4226 Seattle, WA 98125 Bethany House Jeff Bevis N/.A Gregg Neilson Bethany, WV 26032 703-231-9884 BR Gregg Neilson Pat Sutherland 703-231-9889 10000 206/281-6215 Pat Sutherland cc br J 206-2816929 304-829-7853 3500 BR 304-829-7853 Children’s P CLEFJMENAREGUW Green River Cmty. College 30000 BR KGRG-FM CHRPHG 1100 York County School Bd. 12401 SE 320th St. AOR,CL,CO,F,J,ME,NA,P,REG REL WYCS-FM Auburn, WA 98002 U. of Puget Sound P. O. Box 1469 John Ramsey KUPS-FM Marshall U. Yorktown, VA 23692 John Ramsey 1500 North Warner WMUL-FM William M. Swartz 206-833-9111 x431 Tacoma, WA 98416 400 Hal Greer Blvd. Philip Paul 206-939-5135 Matthew Phinney Huntingon, WV 25755-2635 804-898-0357 BR Dale Bundrant Charles G. Bailey 804-898-8235 100 206-756-3288 Charles G. Bailey BR P 206-756-3645 304-696-2294 21000 BR 304-696-3232 CHR AC Mercer Island High School 100 BR KMIH-FM PFCOJMEREGUW 1150 WASHINGTON 9100 SE 42nd St. PACAORCHRCLFREGRELJMECRUNA Mercer Island, WA 98040 Western Washington U. Nick DeVogel KUGS-FM Salem-Teikyo U. Centralia College Nick DeVogel 410 Viking Union Building WITB-FM KCED-FM 206-236-3296 Bellingham, WA 98225 Box 710 600 W. Locust 206-236-3358 Erica Ted Askew Salem, WV 26426-0500 Centralia, WA 98531 BR Kevin Majkut Richie Bing Wade Fisher 14 206-650-4771 N/A Advisor PJAOR 360-650-6507 304-782-5229 206/736-9391x243 BR N/A N/A 100 BR BR P1,E,F,J,REG,W,ME 10 1000 U,CHR CHR

Eastern Washington U. KEWU-FM/AM 274 NACB MEMBER STATIONS: RADIO Shepherd College Burlington Area Schools U. of Wisconsin - Eau Claire U. of Wisconsin- Stevens Point WSHC-FM WBSD-FM WUEC-FM WWSP-FM King St. 225 Robert St. 170 Fine Arts Center 101 CAC Reserve St. Shepherdstown, WV 25443 Burlington, WI 53105 Eau Claire, WI 54701 Stevens Point, WI 54481 Bond Douglas Shaw Jeremy Kunzniar Linda Krause Sara Hahner Elkins George Wilson Terry Havel Ken Loomis Mark Tolstedt 304-876-2511 414-763-6532 715/836-4170 715-346-3755 304-876-9408 414-763-6532 715-836-2380 715-346-3957 BR BR BR BR 950 300 740 11500 P,CHR P AOR, J, ME, REG, P, U AOR,CHR,CL,F,J,P,U F, J, ME, NA, REG, P, U

West Virginia State U. Marquette U. U. of Wisconsin - Madison U. of Wisconsin- Whitewater New Station/ Comms. Dept. WMUR Radio WLHA-FM WSUW-FM P. O. Box 1000 1131 W. Wisconsin Ave. c/o Holt Commons/625 Elm Dr. 800 W. Main St. Institute, WV 25112-1000 Milwaukee, WI 53233 Madison, WI 53706 Whitewater, WI 53190 John McIntyre Jason Pieper Scooter Pegram Wilfred Trembley Dr. David Wohl Greg Porter Lakeshore Halls Association N/A 304-766-3195 414-288-7541 608-262-1206 414-472-5026 414-288-1979 608-265-3549 414-472-5210 WISCONSIN CC BR BR N/A under 10 1300 Beloit College P P1, U, ME, W JMEWUREG WBCR-FM Box 371 Ripon College U. of Wisconsin - Platteville Beloit, WI 53511 WRPN-FM WSUP-FM Station Mgr. 600 Campus Dr., unit 670 42 Pioneer Tower Advisor Ripon, WI 54971 Platteville, WI 53818 414-272-1052 Amy Craig Ellen Keld N/A Jody Dalton Dr. George Smith BR 414-748-8147 608-342-1165 100 414-748-7243 608-342-1254 U,ME BR BR 250 2500 AOR1,CHR,CL,CO,F,ME,NA,O,P,REG AOR Ska REL 276 FOREIGN MEMBER STATIONS CANADA

Dawson College CIXS Radio Rm 2C9, 3040 Sherbrooke St. W Montreal PQ H3Z 1A4 Amy Somsonovich N/A 514-931-8731x110 514-931-3567

Mohawk College- Applied Arts & Tech. CHMR-FM 135 Fennell Ave. W., Box 2034 Hamilton ON L8N 3T2 Canada Andy Posthumus N/A 416-575-2175 416-575-2385 FOREIGN RADIO MEMBER STATIONS DENMARK

Technical U. of Denmark/ DTH Radio Energy 2800 Lungby Denmark Lars Rikart Jensen 011-45-4288-4404 011-45-4288-4446 handbook survey NACB 1995 STATION HANDBOOK

Ninteen 278 STATION HANDBOOK SURVEY GENERAL

Which version of the NACB Handbook did you receive? IBM MAC

Did you duplicate the disc for re-distribution to other station members?

Did you include any of the contents in your own station handbook?

THE NACB STATIONIf yes, which sections? HANDBOOK SURVEY

Do you have a cd-rom player?

Please take a moment to complete this survey about the 1995 NACB Station Handbook. By answering the following information, you help NACB to compile a better edition for 1996. All comments and suggestions will be reviewed. EDITORIAL Station: How do you feel the 1995 edition compared editorially (content) to previous School: editions?

Address:

Phone: Which section was the most helpful?

Fax:

e-mail: Which sections would you like to see expanded? 279 STATION HANDBOOK SURVEY What additional information would you like to see listed?

Are there any sections you feel should be omitted?

DESIGN

How easy was the Handbook for you to use?

Very easy Easy Moderate Difficult Very Difficult

Did you print out the Handbook, or use it on the computer or both?

Please mail, fax or e-mail this survey to NACB. Thanks.

NACB, 71 George St., Providence, RI 02912-1824 401.863.2225 (vox) 301-863-2221 (fax) [email protected] (e-mail)

NACB accepts submissions for the NACB Station Handbook on an ongoing basis. Please send your submissions aboove, or call NACB for more information.