Moss Media - The RSL and Community radio pages.

On these pages you will find a range of information and advice which we think and hope will be helpful to anyone considering setting up any form of smaller scale broadcast operation for the first time. Information here applies very broadly to setting up and operating RSL, Community, School and University stations, though each naturally has its own specific points of difference from the rest. As a result, what follows can only be quite generalised advice, and should be treated as a starting point, to be read before obtaining (or in conjunction with) the paperwork and forms supplied by OFCOM to make an application for the type of licence you are considering.

At any stage in the process of reading what follows or applying for a licence, you're welcome to call Moss Media for further explanation or advice, and we don't mind a bit if the questions are quite basic. Whilst we don't specifically rent RSL equipment packages, we know people who do: we offer RSL advice and RSL Broadcast services in general - and it's the same for Community Radio. We can come up with a station design, specify your ideal package for the job in hand, find the best prices, and get it together for purchase - with all necessary cabling. Alternatively we can supply specific items of equipment, or we'll get a transmission or studio package working if you don't have the expertise, and can negotiate on your behalf if things aren't working as they should.

We can help wherever you get stuck: in filling out your licence application form, pointing you in the right direction for equipment rental, deciding on the best location for studios and aerials, sorting a news feed, or offering a few tips on choosing programming elements, music and broadcast structures (often called 'clocks') to suit what you have in mind. And, since there are people here who've done this before - we can also offer help and training in presenting programmes that won't sound quite as nervous as you feel whilst doing them!

AM considerations
In most circumstances during daylight, AM goes further than FM. However, the quality's nothing like as good. AM's fine for mainly speech RSLs, sporting events, the transmission of lots of information, programming that doesn't rely heavily on modern music... Think about who will be listening, for how long, and on what sort of radio. If you're planning to broadcast well into the night, be warned, incoming interference on AM channels can very severely restrict an RSL area measured in miles in the daylight. In general, on AM, licence costs will be lower, transmitter rental higher than for FM.

FM considerations
FM often doesn't go as far as AM, but the audible quality's much better. Night-time won't affect it much. Use FM if you plan lots of music based programmes, trial broadcasts for a 'real' licence, festival type broadcasts and so on. Again think about who's likely to be listening, on what sort of receiver, at what time of day and for how long. For FM, ask yourself realistically what sort of an area you really want or need to cover. Never expect miracles in terms of range, FM is funny stuff. If in doubt, always choose FM unless there are really convincing reasons (nearly all speech, specialist event, specialist audience, short duration listening, predominantly information led, little night-time coverage needed) why AM can be trusted...

How much Power?
Simply, as much as you can afford. On FM, remember that one watt is not a lot. If all you want is to broadcast in the immediate vicinity of a county show or a music festival covering a few fields, one FM watt could be enough. If your ambitions are much higher, theres no real alternative but to find the money and go for the maximum power you're allowed. Though it's certainly not a lot in absolute terms a 25 watt RSL with a professional signal processor driving it and the right aerial location can usually more or less cover a medium sized town - so long as you select the transmission site with care. A lot of people don't! On AM even low power signals seem to go for miles in daytime - select the power level you can afford and anticipate rather better range than expected.

Where should the transmitter/studio be located?
FM: On the highest point for miles around is the short answer - but unfortunately many hilltops don't have an electricity supply or any sort of building into which you can fit your temporary studio. If you want to keep costs down and things as simple as possible (the two golden rules for RSL's), your transmitter and studio should be co-located, and as close together as possible, ideally in the same building. You need a tallish but secure building with a flat roof as near to 20 metres above ground level as possible, with somewhere to securely attach an aerial (looking similar to a typical FM receiving aerial) built on top of the highest point you can find in the area you wish to cover, with a room for the studio thats not in an international airport flight path or near a high speed railway line, motorway or main road, including a reliable mains power supply - and all on the floor immediately below the roof. Also, ensure theres easy (preferably free) parking. Not a lot to ask is it?

AM:
For the average AM RSL operation aerial location is not so tricky. It needs to be away from possible public contact, and though it'll help, it doesn't have to follow the criteria shown above for FM quite so closely. In favourable conditions you might get several miles daytime range with typical AM RSL power levels - simply by siting the aerial wherever theres room to put it adjacent to your studio. No need to be on top of a hill, but it will help. A good earth connection to the transmitter/aerial equipment will also help enormously. Studio location as above, and still, very preferably, on the same site, co-located. Take advice from the equipment supplier.

AM or FM:
Make absolutely sure that the studio, aerial and transmitter are as vandal and theft proof as humanly possible, particularly if you're not proposing a 24 hour service staffed around the clock. Don't hesitate to take advice on security - it really is a big issue. Take every precaution possible to secure access to your studio and transmission equipment whenever no-one's around. Remember that if equipment is hired, it's entirely your responsibility whilst it's on rental, so arrange full-value replacement insurance. You will be liable for the full cost of anything that goes missing, and some of this equipment costs thousands. Many equipment rental suppliers nowadays insist on insurance, but even if your supplier doesn't, arrange insurance anyway. Even full time stations have been known to have transmitting equipment stolen. Remember the motto: if it's not securely nailed down, it could walk!

Consider insurance cover on a wider range of issues than the possibility of having rented equipment stolen. Public liability insurance is pretty vital, especially if the public will visit or be in the vicinity of your studio at any time. Consider how you will cope if the transmitting aerial was to fall and damage a parked car - or worse, cause personal injury to someone completely uninvolved in the station. What would happen if a volunteer was to trip over a trailing cable, and fall, sustaining a broken arm? If you plan a lot of speech or phone-in broadcasting there may be on-air insurance implications too. If in doubt about what insurances are needed, seek specialist advice before turning the transmitter on.

What if I have to put the transmitter somewhere separate from the studio?
Try very hard not to. Once you get outside the same building (or site) you're into a world of either leased lines (expensive, with long contractual periods) or radio links (also expensive, prone to problems, and, more often than not, a pain that RSL's can do without) or IP links using broadband internet connections (which can be a workable alternative - but one that comes with its own unique range of risks and problems) Most RSL's that can't operate studio and transmitter on the same site tend to rent a radio link transmitter and receiver - which involves an additional licence, for which you will have to pay - together with its appropriate aerials and feeder cables. The signal from the studio is then sent to the link transmitter, and broadcast on a locally unique frequency to the link receiver, which in turn is fed into the FM or AM RSL transmitter. Don't be over-ambitious: such links can be fraught with problems if there is no direct 'line of sight' between transmitter and receiver. They involve additional, often fiddly installation time, and have limited range, often being subject to a plethora of hisses, pops and crackles (and sometimes interference) which are added to your intended signal before the result is then broadcast.

IP-style links can work well, and there are some fine pieces of professional level kit around to make such links a reality, but getting broadcast quality stereo audio over an IP link is not always quite as easy as it sounds. A pre-requisite is a broadband internet connection of adequate capacity (with attendant service costs) at both the studio and the chosen transmitter location. In our experience such connections are not normally found in rooftop locations, and it's not likely to be economic to get broadband installed in such out of the way spots for a week or a month - just for one RSL. The vagaries of the public internet system need consideration too. Unless you pay professional broadband rates, will the service be reliable enough for a professional radio station? And, if broadband does go down at either end of your link, how long will it take to be restored? The 'blocking,' audible delays and compression introduced by IP connections using some data formats can be considerable - how much will that matter to you?

Explore all the possible alternatives carefully and think very hard before going down the route of using a transmitter remote from your studio location. Inevitably, everything sounds good on paper, but in the real world things can be very different. Don't hesitate to take (and act on) specialist advice from suppliers of the equipment that will be provided - whatever sort of link you choose.

Why do I need processing? it's very expensive...
It is, but the station will sound a whole lot better if it's there - always assuming it's properly set up. Ask the supplier to set it up for you. It's an insurance policy against the waywardness of people who've not worked in broadcasting before and don't yet understand the finer points of things like level control, meters, faders, distortion and overmodulation. A good processor, properly set up, can make your station sound just as good as those permanent stations along the dial, despite having the oddest selection of people feeding it the most bizarre collection of signals. If you want to sound professional, get a transmitter processor... The next best thing is a "compressor limiter," which is a lot cheaper and certainly can help - again if it's properly set up. If you're using a separate link between studio and transmitter, to avoid distortion or other problems on the link, you might want to include a limiter/compressor in circuit before the link transmitter. AM or FM we wouldn't recommend running your RSL without either a processor or at least a compressor limiter in circuit before your studio output reaches the transmitter....

Studio equipment
If it's an RSL, virtually everything you need can be rented - at a price. However, if you're setting up a community station, look to purchase everything needed as soon as you can, as after a month or two rental will become hopelessly uneconomic. Domestic equipment can and does serve in RSL and community radio set ups - but your expectations on such kit need to be realistic. For instance don't expect a modest domestic CD player to unfailingly provide faultless 24 hour service for a month or more when subject to over-enthusiastic would-be disc jockeys hitting its buttons and disc tray repeatedly with great force. And they will...

For anything longer than an RSL, we suggest buying or perhaps leasing a professional-standard mixing desk, good quality microphones for presenter and guests, and a quality studio output limiter/compressor - as a minimum. If it's a short-term station relying on music from CD, consider renting two professional-quality CD players, and if it's a community station in a similar situation, consider buying them. Today however, the trend is towards computer playback of music, and free software can be found designed for radio station operations. Some broadcast-station suppliers may offer community stations a discounted rate for their professional software. However, free or discounted, it will be down to you to find a suitable computer with operating system and SSD or hard drive capacity to store enough music and run the playback software. Also think about having a back-up computer ready to go in case of failures.

Logging your station's output - vital and very necessary
In the UK, whether it's an RSL or community station, it's absolutely vital to record all your station's live output, and retain those recordings for a minimum of 6 weeks after the day of broadcast. If you are running a 28 day RSL "live" 24 hours a day, this means you will need to record a maximum of 672 hours of material. If it's a community station, this translates into always having available for replay on a rolling basis at least the preceding 6 weeks (1008 hours) of your 24 hour-a-day output. OFCOM takes any failure to log station output very seriously - no matter what type or size of station is involved. it's also your own safeguard in case of anything controversial or unexpected that happens during your broadcasts, or if any legal claims unfortunately come your way. Quite apart from OFCOM's requirements, permanent logging helps settle all sorts of disputes about who said what, whether a particular ad, sponsor announcement or music track was played, and plenty more besides.

For many years the mainstay of commercial radio station audio output logging was a trio of so-called hi-fi video recorders, with timers set sequentially to run each machine for 8 hour periods recording to E240 cassettes run at low speed - giving 24 hour coverage. It was always asking a lot of a domestic video recorder to record 8 hours one day and 16 hours the next, non-stop for 28 days, and thankfully, today there are other, computer-based, methods of recording output.

With MP3 files now a common and widely accepted audio standard, and vast amounts of computer hard disk storage cheap and readily available, it's easy to record six weeks of programme logging audio files onto a computer - including accessible date and time info, which was always problematic in the past. On many systems it's possible to set a loop that overwrites existing files after a predetermined delay. Not too much of a problem for an RSL, but for community stations set the overwrite for 6.5 weeks and everyone will be happy.

Software ranging from free to expensive is readily available designed for logging purposes, some of it of high quality from well known names in the broadcast business Try an internet search for "broadcast audio logging" and see what turns up. You will of course need to provide a suitable, dedicated computer, as it will be tied up permanently if you have a long term licence - or for 6 weeks after the last broadcast day if it's an RSL - with a lot of audio on its hard drive. Buy a new machine of known reputable brand, and remember that consumer level operating systems running 24/7 do have unaccountable glitches from time to time - so it's worth manually checking at least once a day (and more frequently if possible) that the system is recording normally.

When purchasing, be sure to ask two things. (1) does the system have an easy built-in method of identifying time and date on a recording, and allow easy random access to specified points, and (2) does the system boot back up all the way into record mode after a loss of incoming mains power? These things always happen when least expected or in the middle of the night - and are easily forgotten when the power returns. If possible, confirm for yourself that (2) happens - by unplugging and replugging a working system before spending money. If these facilities are not included and can't easily be enabled or added, shop elsewhere. There is one other precaution you can consider - run your logger system on a UPS. However, bear in mind that UPS battery life is by no means infinite either...

Echoing the days of VCR's, for RSL logging purposes you could use a stand-alone digital hard disk recorder intended for domestic recording of off-air digital TV - via its AV inputs. Your RSL's tuner output could be an AV input, and, if it's less than 24 hours, the machine's programmable timer will allow recording of only your "on-air" periods. These machines are not overly expensive, and come with hard drives sufficient to record many hours of compressed video. Running at the longest recording rate for video, just one machine might be able to contain an entire 28 days RSL output at quite reasonable audio quality, even if you're on air continuously, though you would need to do some maths to be sure. However bear in mind required reliability: if you're running non-stop for 28 days, as with VCR's CD players and the like it's asking quite a lot of a domestic recorder to run continuously and faultlessly for that length of time. A recognised brand name might cost more, but could bring a better chance of reliability. Equally however, a spare machine might make a useful insurance policy.

This approach means you'll need a way of recording the day and time. You could point a cheap CCTV camera at the studio clock and record that on the video channel as a start. If you had a radio alarm clock with audio out and time and date built into the display, that could solve the entire problem in one go!

Copyright...
You'll have to pay fees for the use of and broadcasting of copyright music, which means most, but not quite all, of the music on sale in the shops or appearing in the charts in the last 50 years and found on CD or vinyl (or as an MP3 file if you must!) There are licensing requirements involved in storing music on a playout computer, and for editing music material for broadcast. Make enquiries with the copyright authorities if you're in doubt.

Some speech material may also be under copyright - check before its broadcast if you're thinking of broadcasting book readings, plays or anything similar... There are also various (not well known) copyright issues associated with material found on advertisements which already exist, and have been played on other stations. Don't assume because a client has already got an ad which has been used before that you can simply play it as often as you like. Check the status of its copyright before you play it... Don't try and avoid copyright issues, you could get found out... make sure your budget will run to paying the appropriate copyright fees, and make sure also you fill out the forms correctly. If in doubt - ask!

Useful contacts and general information

Please note: Information provided is believed correct, but Moss Media accepts no responsibility for the contents of external websites, or the accuracy or timeliness of any information provided by others/third parties. If in doubt, seek appropriate professional advice.

Insurance
The matter of adequate insurance cannot be stressed too highly whether you intend to operate an RSL or Community radio station. The type of insurance needed by permanent and temporary broadcasters is quite specialised and can be wide ranging. J.L Morris insurance brokers of Dorset have advised Moss Media that they may be able to provide insurances of the type required. Tel 01202 642840. Website: www.jlmorris.co.uk
Note: This is not the only company arranging such insurance, and you may wish to seek competitive quotations.

Copyright licensing
Copyright is in general a very complex matter. Infringement can be costly. For use of music on RSL and Community radio stations, it is essential that you make contact with the following organisations before commencing broadcasting.

PRS (The Performing Right Society.) www.prsformusic.com
PPL (Phonographic Performance Ltd.) www.ppluk.com
MCPS (Mechanical Copyright Protection Society Ltd.) arrangements are dealt with via PRS.

All the above organisations have helpful information available on their websites, and can offer specific guidance if needed. You will be required to pay fees for licences to broadcast music.

Note that in some cases a licence may also be required to broadcast copyrighted spoken word material. More information may be obtained from the Copyright Licensing Agency at www.cla.co.uk. Other interested parties may be The Authors' Licensing and Collecting Society (Tel: 0207 255 2034) and the Publishers' Licensing Society (Tel: 0207 829 8486)

Various books have been published on copyright matters. Many will be available from your local library. Amongst the titles which may be of interest in an RSL or Community Radio context are:

The Copyright Designs and Patent Act - pub: HMSO.
The law of Copyright and Rights in Performances (Dennis De Freiras, pub: British Copyright Council)
A practical introduction to Copyright (Gavin McFarlane)
Understanding Copyright - A practical Guide (Eric Thorn, Pub: Good Books, Charmouth)

Further helpful information on music copyright issues in general is available from PRS and PPL.