I am haveing trouble streaming live with this. So far I guess they do have there own service to stream because I just dropped allot of music into the music folder and bam it ran even when my pc off however I would like to stream live.
Thanks 🙂
winter4w, study the possibility of streaming direct from your computer, depending on...
A.) Your internet bandwidth;
B.) Whether you have a website.
C.) Your computer and internet combined has enough capacity to handle the number of listeners you might want.
Otherwise you'll need an external streaming service. There are many, I have never paid much attention.
Yep I do havce the internet and PC to do it because I have done livestreams of games before. When I try to connect to it with the live connect useing winamp it just disconnects and trys to recoonect as if there is nothing to connect to. It could be that I do have something setup wrong. I did try to follow step by step instructions such as this ( http://board.radionomy.com/viewtopic.php?f=29&t=72) but I am unabel to connect to it.
If I cant stream it I will just let them do it and stream the online radio to the AM transmitter.
Keep in mind radiononmy auto-kicks listeners after a set time, so you want to feed that transmitter with something that can reconnect automatically.
I'm just gonna toss in my two cents for what it's worth.
I have been running a Procaster for over 2 years in a small town way up in northern Minnesota. I chose the Procaster because it has built in audio processing (adjustable in several parameters) a solid, o-ring sealed weatherproof case, a built in easy to see and use tuning meter, and a rigid aluminum tube antenna. It's processing modulates easily to 125% positive and keeps the negative modulation below 100% for maximum range and volume without distortion. More modulation = more range on AM.
I have this transmitter mounted to a 3 or 4 foot long piece of pvc electrical conduit mounted to the side of a third story attic window with two TV antenna brackets. I have NO ground lead attached. And it's mounted to plastic. I use the supplied cable to run from the transmitter across my attic and down into my studio (formerly a music recording studio and before that my Son's bedroom -- many years ago). It is speculated that this cable is providing some sort of ground that makes operation feasible but the transmitter was certified with this cable and it does NOT show continuity to the ground lug on the transmitter. At the time of installation I didn't take time to run a lot of tests on the hows and whys but feel secure that it is a 100% legal installation. If not, they would have to require that your studio also be built underground so you could have a ground mounted cable for power and sound that never left the Earth.
Anyway, from the day I first put it on the air, it's never been off. 100% reliability from 35 below zero to 103 degrees in the summer. It stays rock solid on frequency.
My solid coverage is 7100 feet "as the crow flies". I drive home this route every single day and I hear my station clearly every single noon hour. I have done field strength readings at over 50 spots around town and out the highways leading out of town. (In real life I'm a broadcast engineer who among other things maintains a commercial directional AM station and have my own field strength reading equipment)
I have also been to the parking lot at this test point with boom boxes, cheap pocket size transistor radios, etc and can always tune my signal.
What building penetration might be here I don't know.
One BIG advantage I believe I have that helps my coverage is up here the AM noise floor is VERY low. There's no industry around me, no typiical urban electrical noise generation. A weak signal can be heard quite well during the day. If I tune to an empty frequency it's darn near silent. However, at night it's a different story. Once the sun sets the noise and skip from a distant station sneaks in. Then I have solid coverage for maybe two blocks, although some nights it goes almost as far as during the day but not very often.
There are a LOT of variables, unique to every AM part 15 installation. Coverage is hard to predict. My entire town is 1/4 mile long and 4 blocks wide, so I cover town quite easily as I'm right in the middle.
I'm also carried on the local cable TV system. So if they can't hear me OTA they can hear me on cable 🙂
So, just throwing MY particular situation out there.
TIB
I don't want to open up a can of worms, and it's been discussed to death all over this board and many others but ...
If you are broadcasting music with the intent of the public being able to listen you must obtain music licenses to be legal. You need them from BMI, ASCAP and SESAC assuming you want to be able to play all music. I won't go into a long dissertation, I'm sure I've posted that elsewhere here in the past. BMI has a Part 15 station form on their website. SESAC had never even HEARD of Part 15 and once I explained it considered me too small, too experimental, and possibly educational, told me I didn't need a license from them, and sent me a waiver. ASCAP also clearly had NO idea what to do about Part 15 (which tells me no one has done it before) and I've been going around with them trying to get some sort of meaningful response. However, they did finally add a LPFM license form to their website. I filled it out changing LPFM to "Part 15 AM", computed the fee and sent it in with a check, and a letter explaining (again) what Part 15 was. If I see that check clear, I'm going to consider my ASCAP license in force.
If you are streaming you also need a license from SoundExchange, and your fees will be a bit higher to the other three as well. BMI (who is the only group that really seems to have it together) has an add on streaming license for Part 15. ASCAP does as well, but listed for LPFM not Part 15 (so far). It appears that the SoundExchange stream license is about $500 a year if you provide the data they want (song titles, artists, number of streaming listener minutes, etc) or $600 if you don't have that data available (this under their "microcaster" license). You CAN use a streaming service whose fees include all the stream licensing for all three PRO's (performing rights organizations) AND SoundExchange. This however does NOT cover the BROADCAST rights for over the air music.
I have written a pretty long dissertation on this here someplace. I've got 40+ years in the business, and to make it even crazier I have my own small record label and publishing company. I know the rights business inside and out. I have a copyright lawyer on retainer for when I need him. I don't speculate when I give answers, I know.
I suspect that one day the downfall of Part 15 isn't going to be the FCC, or incorrect ground leads, or overpowered FM transmitters that don't meet certification, but the music industry cracking down because few seem to license their music. Clearly doing so with anyone but BMI is a pain in the butt right now, but I'm trying to blaze a trail to make it easier.
Everyone seems to hate to pay music licensing but to be fair, if you're on the air every day, 24/7 and play songs that average 2.5 minutes each (I live in a world of oldies) that's well over 200,000 song performances a year. At a penny a play that would be $2000 a year. In reality to be legal (not streaming, just over the air) depending how this shakes down with ASCAP, it's gonne be around $400 a year to be legal. That's less than 1/4 penny per play, and that ain't bad.
Note that ASCAP and BMI people tour the USA visiting bars, stores, listening to radio stations, checking to be sure people playing music in public are licensed. A bar with live bands needs a license. A mall needs a license to play music in the building, etc. My Son is a musician in Topeka, KS and BMI just came through and cited many bars that have live music for not being licensed. Many wind up getting sued, especially when they find out they've had live music for years with no music rights.
Note that you are paying for the rights to the SONGS (their writers) for broadcast over the air, but pay the writers AND the musicians for streaming rights. So even if you have your own band come in and sing the songs you still need the rights to the songs themselves from the 3 PRO's.
Many people over the internet will disagree because they wish it to be so, or believe websites by people who don't actually know. Even if you never earn a penny with your station you need the rights to the performance of the music. Yes, you need the rights to even 30 seconds of the music, UNLESS you're using it in an editorial context, e.g. a review show where you might way "listen to this amazing guitar work" and play a short sipped to illustrate your review, then it's "fair use" however the length of that clip is not defined, and if it's long enough could still get you in hot water.
Just another detail, that I suspect in the end could be the end. And I've babbled on far too long. And like everything else it comes down to how much you think you can get away with. Just like speeding or running an overpower transmitter. You could get away with it for years or a week. It's your own calculated risk.
TIB
Tim this is a major added advantage adding your station to the cable system. That would really get you some listeners. My area does have a noise floor and the Talking house does get around 300 feet on the wire and this is indoors. If we could have an outside antenna here it would be a big help. But there are times I get out a bit further on AM than others. Station 8 and I are working on an inside and outside solution or those who may have Land lord restrictions and yet the antenna will have some nice Gain. He is just waiting for the parts for an ATU so we can conduct tests and tweaks to it. It won't break any laws because the antenna is 6 foot and no ground except with the possibility of the house ground of the Talking House. Again we'll experiment with that too.
This is for Tim.
You and I are both industry professionals, yet I have to strongly disagree with your stance on Music Licensing. As a fellow pro you should know all radio stations have a special deal made by the NAB making our royalty payments around $300 annually. Thats what we pay at my 250 watter for BMI, ASCAP, SESAC. SoundExchange is another $300, bringing us to a total of $600.
Now, as full power licensed broadcasters we pay because we have substantial coverage with listeners in the upper thousands in the smallest of markets.
If you are LUCKY a part15 setup will cover a few hundred reliably. Part 15 stations are not considered broadcasters by anybody in the industry, as such paying royalties would be pointless and seen as a money grab by the music industry. That is clearly evidenced by them not knowing what part 15 is at all.
Part 15 stations would get hosed by the royalty companies since we have zero ties to the NAB.
I personally wouldn't pay them a dime until they went after all the ipod fm transmitters in use.
Hell while we're at it, charge the bluetooth transmissions too.
All that being said, I do understand fully where you are coming from with this. In your case with the cable coverage royalty payments are a must.
Mighty1650, there's a big difference with all those FM transmitters that only go a few feet - they're meant for personal use only. Presumably, if I have the music already by purchasing it (or really, paying a license for personal use), then I (and only I) have the right to listen to it. In the case of Part 15, if you're broadcasting for the general public, no matter how few of them might be able to pick up your signal, then that is a different scenario entirely. At least according to the U.S. rights holders.
The fact that BMI (in the U.S.) has a Part 15 license demonstrates they indeed know about Part 15 broadcasters, and want to be paid.
Here in Canada, we have to pay not only the artists (those who are credited with creating each song) through SOCAN, but we also have to have a performance license as well through ReSound. The only saving grace is that our copyright laws are significantly different than those of the U.S., and performances (specific recordings) go into the public domain after 50 years. So as of today, if I only play recordings released 1964 or earlier, then there is no ReSound licensed required. Luckily that's the music I'm most interested in - obscure teenage-oriented pop music from the late 50s and early 60s.
When I approached SOCAN, they actually agreed with the argument that you have used. They weren't interested in the over the air component of my station (even with the relaxed Canadian FM rules, the range is so limited in urban areas (i.e., my townhouse complex) that I'm essentially broadcasting for personal use. They did want me to get a streaming license, the costs being associated with revenue. Since I have chosen not to generate revenue (at least in Artisan Radio's current incarnation), the amount I pay is the minimum (C$100.00). Which is not too bad, considering that the license allows you to legally obtain the music you are going to play by any means you deem fit, from ripping CD's to downloading from the Internet.
But if I was going to generate revenue from my station (and I have in the past), then I would (and did in the past) gladly pay the artists who assist in the generation of that revenue.
Artisan mentioned recordings we purchase for home use, and of course there is the family, extended family, neighbors and friends who come and go on visits, and they are likely to hear your music.
House parties might include everybody from work, church, the club, or gardening society, and they'll all hear your music.
Your conscience should get the better of you and you should get licenses from all those hands-out reaching for payment.
"Hello, Record Exchange? I'm having a wedding party in the home with 70 people in attendance and a record player, will you please send a bill?"
Mighty1650: I'm totally in agreement with you on this issue. It was hashed out several years ago on another radio discussion forum and a few posters even attempted to reach out to ASCAP and explain about Part 15 broadcasting. The agency did nothing about it. To this day they have done nothing about it. There is absolutely no license category for unlicensed .1 watt AM broadcasting. So the conclusion was and still is: let sleeping dogs lie. SESAC isn't interested, ASCAP isn't interested. No one gets to be a Boy Scout here. They've been notified. It's on them.
mighty1650, are you sure your music license figures are correct? I own a small market FM, and we pay a combined $19,000 per year to ASCAP, BMI, SESAC... and that dollar figure does not include streaming royalties. (ASCAP and BMI fees are based on station revenue; SESAC on market size and station ad rates.) These numbers are far less than what we paid in my previous radio life in a larger market.
I'd hate to have further resentment stirred up against the NAB in the Part 15 community, thinking that commercial broadcasters get away with murder on royalty payments. At least in my case, we're not.
If this is true then why is it that the two commercial stations I work for, where I've worked for the past 27 years, in a town of 15,000 people, pay out nearly $20,000 to ASCAP, BMI and SESAC EVERY YEAR!
Why is it that BMI has a Part 15 license form on their website? The fee of which is just shy of $300 a year? Why is it if you go to the SoundExchange website right NOW and look up the forms and paperwork for a "Microbroadcaster" license for streaming, it's currently $500? They must be just making up fake deals, eh?
All this must just be made up and all other radio stations and licensing agreements have secret deals with the PRO's for $300 a year? LOL.
Last year radio paid over 300 MILLION dollars in music licensing. They didn't do this at $300 a pop.
NAB member for 42 years here. Broadcaster for 47. Perhaps I'll call my BMI rep today and inquire about the specially agreed to $300 license. I assume once he gets up off the floor from laughing he'll fill me in.
ANY performance of music intended to be heard by the public is chargeable. Part 15 included. Ipod FM transmitters and bluetooth are NOT "radio stations" intended for the public to be listening. Streaming music to your car stereo is completely different in intent that running a broadcasting station, no matter how low powered.
Please show me your current BMI, ASCAP and SESAC invoices. Note there is no group payment system in place for these three PRO's. Each invoice radio stations themselves, either yearly, twice yearly, or quarterly depending on which you prefer. How many BMI/ASCAP logging days (for broadcast not streaming) have you filled out?
Clearly, you're the only one who is aware of music from all the PRO's available for broadcasting at $300 a year.
Here's the ASCAP Low Power license form:
http://www.ascap.com/~/media/files/pdf/licensing/radio/low-power-radio-license.pdf
But I guess that's not valid or real, huh?
The paperwork for larger stations is more complex, takes into account revenue, etc. So I can't link you to a typical license/price.
A few minutes around the ASCAP or BMI web sites will show you the actual rates for broadcast music licenses.
TIB
I'll put my foot in my mouth if I find out differently on the royalties. So I'll look into it guys. Keep in mind I'm not in a ranked market of any size, with a population size below 25,000 in our coverage. So our situation might be very different than yours.
I don't know the exact figures, But I do know we don't pay anywhere near $20,000. I wanna say last year it was around $800 give or take, then another $300 for SE. This is likely on the low side, but this is what I remember the owner telling me.
The only price I know for a fact is the SE flatrate of $300, I signed us up for that.
In all honesty, I'd be amazed if the station paid more than $1,500 to $2,000 in royalties.
I didn't mean to make it sound like an attack Tim, just a light hearted disagreement. So I apologize of it came off that way. If it helps the AM bills around $2,200 monthly.
As far as part 15 is concerned, unless you are making money with it; you are wasting your time paying them. But that is just my opinion.
Upon further review on some overlooked wording.
Tim makes very good points regarding legalities.
It is true that public performances are subject to royalty payments, and a part 15 station would technically fall under public performance.
The question arises however, when does part 15 stop being personal and become public.
It could be argued that all part 15 stations are for our personal use. (That is unless you are actively seeking out advertising revenue)
You guys say there is a big difference between the part 15 fm transmitters for ipods, and what we do. I say there isn't, and I'd venture to guess ASCAP, BMI, ect feels the same. BMI has a part 15 form because they CAN. As far as the LPFM form for ASCAP, of course LPFM has one. They are actual LICENSED BROADCASTERS. Part 15 isn't considered a broadcaster by anybody, LPFM has mileage, Part 15 has footage, yardage if you are lucky.
That being said, my argument goes straight out the window if you are making money with your part 15 setup. If you get paid, they need to get paid. That I can fully agree with.