A New Chapter Opens for the RF Venue Blog

subway stop

The official RF Venue blog has a new name: Audio Gloss.

The name is different, but our commitment to writing accurately about interesting things from all over the audio industry – especially the wireless audio industry – remains the same.

The name “Audio Gloss” comes from the medieval use of “gloss” as “an explanation, interpretation, or paraphrase” of a written text.

We do our best to collect scattered knowledge into one place, and explain, or “gloss,” the more technical topics in entertaining ways.

There are some design changes, too. The text is easier to read, the layout prettier and more responsive, and photographs gigantic, like this one:

eagles

We’re placing our current blog subscribers into a weekly email roundup of recent stories. No more instant or daily notifications. You can join the list on the top right of the upper navbar if you aren’t already subscribed.

Once the New Year has come and gone there will be a rush of exciting articles and videos. If you love pro audio and wireless audio tech, you’ve come to the right place.

RF Venue Releases Two New Antenna Distribution Products for Mics and IEMs

COMBINE4 and DISTRO4

It’s been a while since we’ve written anything that’s actually related to our business, but here it is: we’ve just released two new antenna distribution products! COMBINE4, a four channel transmitter combiner, and DISTRO4, which has been updated to include cascade ports. 

COMBINE4 is a professional, affordable combiner for any brand in-ear monitor. It joins four IEM signals into a single RF output for dramatic improvement in signal quality and extended range via optional directional antennas. 

combo_scheme

“With performers of all kinds demanding IEMs, the challenge is for engineers to minimize dropouts and interference,” said our CEO Chris Regan. “Using a robust antenna combiner like the new COMBINE4 paired with a dedicated transmit antenna makes an enormous difference, even on small IEM systems.”

RF Venue’s updated DISTRO4 retains all powerful features of the previous generation antenna distributor, but adds a fifth cascade port to allow multiple DISTRO4s to cascade together for 16 or more receivers running through a single diversity antenna pair. 

DISTRO4_diagram-1DISTRO4 cascade ports

“The original DISTRO4 has been one of our best selling products because it has everything the audio pro needed for professional grade antenna distribution, and it works with any wireless microphone brand,” says Regan. “The only request we consistently received for that model was the addition of a fifth cascade port, and we’re pleased to announce that the current DISTRO4 now incorporates this feature.” 

Both COMBINE4 and DISTRO4 include internal power supplies, DC jacks for elimination of wall-warts, and ship with all RF and power jumpers required for four channel operation and cascading. Both products are also available in discounted packages with RF Venue’s high performance directional antennas. 

DISTRO4 is priced at $559 MAP, and COMBINE4 $575 MAP. Both can be purchased at MAP directly on our online store. For questions, additional ordering information, or to join the fast growing community of RF Venue authorized dealers, go to www.RFVenue.com or call 1-800-795-0817.

Five Things Every Audio Pro Should Know How to Do

Man soldering

These five common concepts and skills separate the skilled audio professional from the beginner.

In our opinion, they are essential to a full understanding and mastery of audio systems.

They are evenly divided between simple overarching concepts that can be applied to any project, and practical skills that can be used to save time and money, or engineer elegant solutions to problems that emerge in the field. 

 

1. How to coil cables right.

Many types of audio-visual cables contain twisted wires inside a sheath. This gives them a natural coil that can easily be disturbed by improper coiling. The wires become tangled inside the sheath, and the natural coil ruined, shortening the cable’s life. Other types of cable, like coaxial cable, have no natural coil. They still benefit from proper handling, which avoids knots, tangles, and crushed insulators.

The right way to coil a cable is by using the “over-under” method, which is better shown than explained. This video from the London School of Sound does an excellent job showing how to coil cables using the over-under technique.

 

 

2. How to build cables from scratch.

Many audio cable connector schemes follow a basic blueprint: positive, negative, ground. If you know how to strip and make a connection from raw cable, you can build cables to custom lengths and salvage good portions of damaged cable – which is incredibly useful. Although the specific procedure for soldering a connector varies by type, a soldering station (iron, sponge, solder, helping hands), box cutter, and pliers with wire snips are often all that is required to solder the more common types, like XLR, ¼”, and 3.5mm, during an emergency repair.

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For best results, and to avoid damaging equipment, do a little research on the construction and connection design for each type of cable and connector, and use specialized strippers and fabrication tools for routine or bulk cable work. This document from Suffolk County Community College does a great job explaining how to make ¼” and XLR cables. If you’re new to soldering, Smith College has a great guide and collection of resources here.

RF connectors for use with external antennas, like BNC and N connectors on 50 ohm coaxial cable, must be treated with additional care. They must be properly terminated and impedance matched to prevent signal loss or radio reflections, which aren’t as relevant when dealing with audio cables. Ideally, an RF termination is tested afterwards using some sort of cable or network analyzer to verify the connection across a range of frequencies. A basic guide to terminating coax with a BNC connector is here, courtesy Del Mar College.

 

3. Ohm’s law.

200px-Ohms_law_wheel_PURI.svg

This one is not exactly a “how to,” but it is still extremely important. Audio systems pull heavily from electrical engineering. Electricity is a complicated topic, but one of its most practical rules – Ohm’s Law – is not.

To understand Ohm’s law, you need to know three concepts: voltage, current, and resistance.

Voltage is the measure of electrical potential energy. Voltage motivates electrons to move across the surface of a conductor, but it does not describe the movement itself – only the potential for movement, or “pressure” as is often invoked when comparing electricity to water in a pipe. The unit of measure for voltage is the volt.

Current is the number of electrons that move through a conductor during a period of time. It is a measurement of electron flow. The unit of measure of current is the ampere.

Resistance is the likelihood of a material to offer up a free electron to its neighbor. Electrons within a conductor move by hopping from one electron orbit of an element or compound to another. Resistance is measured in ohms.

Ohm’s law simply states that current is directly proportional to voltage, if resistance is constant.

Current = voltage/resistance

Wrap your head around that and you can algebraically derive voltage, current, and resistance if you have any other two – and you have the foundations for understanding basic circuits and many other types of simple electrical devices.

For example, if a wire with a resistance of 3 ohms creates a circuit across the negative and positive terminals of a 9 volt DC battery, we have the voltage and resistance values we need to find current. In this case, the current equals 9/3, or 3 amps. Bump the voltage up by 100%, and the current will rise proportionally. Current will be 6 amps if 18 volts is divided by 3 ohms.

For the eager student, this 1945 instructional video is actually a very good explainer of basic electricity.

 

4. How to use a multi-meter.

Now that you know all about Ohms law, I bet you wish there were some sort of magical device that could tell you voltage in a battery or power source, current in a circuit, or the resistance of a wire. There is! It’s called a multi-meter.

320px-Tektronix_DMM157Image courtesy Andrew Fogg.

Step by step instructions on how to use a multi-meter are too detailed for this post. But with an understanding of Ohms law and your meter’s instruction book, you can be up and running in a few minutes. There are also numerous online tutorials for using the device.

Multi-meters aren’t just for tinkerers and engineers. A multi-meter is an indispensable tool for tracking down problems with cables. As we heard from the worlds best monitor engineers in this post, bad cabling is an all too common culprit of signal problems. Sometimes, damage to cables is invisible. Cables may also be functional, but not at peak performance. One way to gauge an underperforming cable is to check its resistance. The quickest way to diagnose a failed cable (that creates a short circuit) with no visible signs of damage is to use the continuity function of a multi-meter, which we do in the following video. In this case, the ohm-meter (one of many tools on a multi-meter) does not reveal a short circuit, because there isn’t one. Instead, we use the multi-meter to demonstrate just how fragile coaxial cable can be – but the demonstration of the multi-meter is still useful.

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5. How to set gain structure.

Gain structure is the management of voltages between signal stages to maximize signal-to-noise ratio, and avoid audio overloads, distortion, and noise. Setting levels on any audio device in the signal chain changes the voltage that is output to the next device. Levels need to be carefully managed because they have the potential to upset the electrical balance in the entire system. Synaudcon has a great 5 minute overview of what gain structure is and why it’s important. Their other training materials are much more detailed and worth a look.

Unity gain is the textbook practice of ensuring that the same voltage output is maintained between every intermediary step between the microphone and loudspeaker. In fixed signal chains using simple audio modulation, unity gain is a must.

But when frequency modulated wireless microphones are introduced, unity gain is not as important in the wireless portion of the pathway. In fact, we argue that too much fuss about unity gain between the transmitter output and receiver input is much ado about nothing for the majority of users. Take a look at a video we did earlier this summer on the topic, which dovetails with Synaudcon’s explanation of gain structure.  

//fast.wistia.net/embed/iframe/2fjpvqqetx

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Leading image courtesy Mitch Altman.

The Ultimate Guide to In-Ear Monitors, Straight from the World’s Best Monitor Engineers

The best monitor engineers

Bar none, in-ear monitoring is the most tempermental component of a wireless audio rig. Countless times, we’ve heard customers say, “our wireless microphones and intercoms operate great, but our in-ears drop out all the time.”

We reached out to four of the best, and we do mean the very best, monitor engineers in the live sound industry and asked them why IEMs fail, and how to make them work.

Continue reading

The Top Three Wireless Microphone Problems and How to Solve Them

Top wireless microphone problems

Wireless microphones are prone to interference, noise, drop-outs, and many other, and more severe, RF problems. These problems can be disastrous for both live productions and installed systems. Everyone remembers an embarrassing time when a wireless mic suffered harsh static or intermittent dropouts. Malfunctions lasting even a fraction of a second can destroy presentations and performances, while making everyone involved as crazed as a pack of feral hogs. Below are the three most common problems, and a few basic techniques to solve them. Continue reading

Five Wireless Microphone Mistakes That Are as Common as They Are Avoidable

dead battery

They’ve happened to the best of us. After paging through stacks of manuals, phoning and perhaps yelling at manufacturer technical support lines, and checking and re-checking dozens of options on menu screens, we discover the cause of our wireless microphone malfunction is something so breathtaking simply, so glaringly obvious, that we can’t believe we didn’t think of it in the first place.

The following five mistakes are blunders shared by inexperienced and experienced audio pros alike. Do not be ashamed. Continue reading

Football Referee Wireless Microphone Q&A with Professional Wireless/Radio Active Designs’ James Stoffo, and Wireless System Technician Gary Trenda

wireless microphone referee

There isn’t a month that goes by that we don’t take a few calls from exasperated athletic directors or A/V techs charged with getting a referee’s wireless mic to work. And as football season approaches, most fans can relate to the awkwardness of having a ref un-mute his wireless mic to call out a penalty only to have silence come through the TV or worse–an unintelligible series of dropouts or harsh interference. This is one reason why the NFL is one of the most outspoken groups lobbying to preserve RF spectrum for wireless mics. 

Continue reading

Comparing UHF and 2.4 GHz Wireless Microphones

WiFi channelization

A lot of our dealers are asking about the benefits and drawbacks of UHF/TV-Band (470-698 MHz) wireless mics versus the newer 2.4 GHz digital wireless systems that have come on the market. Indeed, there have been quite a few in recent years from the early Sabine 2.4GHz system, to the newest whizbang tech from Line 6 and intercom manufacturers like ClearComm

There seems to be a fair amount of misinformation about this topic, so we’re hoping to use this post to bust a few myths and hopefully present some unbiased info on each platform–since we believe they both have their place in professional live and installed sound.  [Full disclosure: [RF Venue](http://www.rfvenue.com) manufactures remote antenna systems for both UHF and 2.4 GHz systems, so we have no real horse in this race] 

First off, a common misconception is that the 2.4 GHz band is less crowded than UHF. But guess what?  They’re both crowded! 2.4 GHz is less busy only when looking at other wirelessn 2.4 GHz mic systems or over the air TV stations, but not if you take into account all the wireless access points (WAPs) and routers that crowd the 2.4 GHz band in densely populated areas. New TVBDs are coming to the UHF white spaces and the density of TV stations in places like Los Angeles and Manhattan makes reliable wireless audio in the UHF band pretty daunting today. When UHF white spaces are sold off there will be even less RF real estate for wireless mics in that band.

The other misconception concerns operating range. There seems to be an idea that UHF goes long and 2.4 GHz falls short.  For most bread and butter 4-8 channel mic systems, reliable operation within 200 feet is more than adequate, a range which both bands easily achieve. Technically, the UHF band has longer range and better propagation outdoors and through solid objects, but the difference is mostly negligible since both frequency bands are fairly power limited as dictated by the FCC.  In our experience, people have a tendency to overestimate how much operating range they actually need, overcompensating with higher gain system components and output power settings.

So if range is not as big of an issue for most systems–and both bands are in fact pretty crowded–what are some real differences?

 

  • Transmission line loss: Transmission line loss is the signal lost over coaxial cable runs. 2.4 GHz is very lossy compared to 600 MHz. With 100′ RG8X coax cable 2.4 GHz loses 21.5 dB while 600 MHz loses 9.7 dB.  So if you need to remote antennas or racks, you need very low loss coax cable like LMR400, in-line amplification to boost RF signals ahead of the receiver, or a RFoF system.  Higher gain 2.4 GHz antennas like the CP Beam can offset some of this line loss, but the higher the operating frequency of your wireless system there will always be higher transmission line loss.
  • Channel Count: UHF band wireless mics are able to accommodate more wireless channels than 2.4 GHz. It is difficult to fit more than 12 channels in 2.4 GHz. Wi-Fi uses a digital protocol that aggressively and rapidly switches frequencies, making it much more difficult for other devices to compete for spectrum and limiting the total number of devices that can reliably fit. Plus, there is simply less spectrum available. About 80 MHz is up for grabs in 2.4, while more than 200 MHz is available in UHF.
  • Procurement and Configuration:  With 2.4 GHz there is a single SKU to rule them all, worldwide. As manufacturers we see this alone as huge motivation for mic makers to move to unlicensed 2.4 GHz, and can understand why system integrators and touring companies see a lot of benefit on procurement and configuration with a standard set of tools and a universal setup procedure wherever the system is deployed.
  • Sound Quality: We’re not going out on a limb on this one since we’ve heard excellent sound and atrocious sound from both platforms under different circumstances (and mixes!), so we’ll leave that one for the golden ears crowd.

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Big Changes for Wireless Audio Industry in Store, Reveals New FCC Document

NYC black and white spectrum

On Tuesday, the FCC convened to discuss wireless microphone regulation at the September Open Commission Meeting. The ensuing Notice of Proposed Rulemaking hints at exciting, or scary, possibilities for the wireless audio industry, depending on your perspective.  

[Update: Our discussion on the second NPRM is here.]

Although nothing is set in stone, this is still important stuff. The NPRM is a call to action for industry representatives and end-users to make their voices heard on future regulatory changes. The document does not constitute any law in itself. It provides regulatory trajectories that the Commission is considering while offering the public an opportunity to weigh in on the issues.

Those trajectories, however preliminary, will inform how wireless microphones operate in the future.

At the top of the list is the possibility of allowing wireless audio equipment to operate in a larger number of frequency bands than is currently allowed. The bulk of new wireless audio allocations seem to be for licensed, Part 74 users. New spectrum discussed for potential use by unlicensed Part 15 devices is limited.

There is also discussion on other important topics, like the amendement of Part 74 rules and cutoff dates for the manufacture of 600 MHz wireless audio equipment.

First up, wireless audio is getting new spectrum. Where, when, and for what types of devices are all up for debate, but the possibilities are many. They include:

  •  26.1-26.48 MHz, 161.625-161.775 MHz, 450-451 MHz, and 455-456 MHz. This doesn’t sound like much but, as we have said before, every slice of spectrum is valuable, and every bit that is available to offload devices of secondary importance (like intercoms) from prime UHF spectrum, the better.
  • 88-108 MHz. Yes! This is broadcast radio FM spectrum. Perhaps a descendant of Mr. Microphone will be used by professionals, as well as children and clownish adults. Since the manufacture of low power FM transmitters is allowed for cigarette lighter transmitters, this actually makes more sense than it does at first pass. The suitability of broadcast FM spectrum for multiple and long-range wireless audio links may not be very good, though. 
  • 169-172 MHz VHF, currently allocated to public safety and industrial applications, as well as an extremely limited number of <50 mW wireless mic licenses on only eight frequencies. Operation here is narrowbanded to a dainty 12.5 kHz. Wireless audio would be of low quality under current rules, although the Commission expresses interest in revising the rules. It seems open-ended enough to allow for the possibility of unlicensed operations as well, but I wouldn’t count on it.
  • 944-952 MHz, 941-944 MHz, and 952-960 MHz. Expanding access to all parties eligible for Part 74, not just film and broadcast users.
  • 944-952 MHz. Again, expanding eligibility from broadcast only Part 74 users to all Part 74 users under the new rules for the UHF broadcast band.
  • 941-944 MHz, and 952-960 MHz. Currently home to many delightfully obscure broadcast and industrial ephemera, such as municipal SCADA. Operation here is being considered for Part 74 users.
  • 1435-1525 MHz.  Used for aeronautical, federal, and military applications, the Commission reports that event production companies have acquired Special Temporary Authority licenses (STAs) to use up to 90 MHz of spectrum for special events, and proposes opening the doors to this spectrum to other professional licensed users. Coordination and protection of incumbents seems to be a priority, more so than the other bands mentioned.  
  • Revising Part 15 rules in the 900 MHz, 2.4 GHz, and 5 GHz ISM bands, and 1920-1930 MHz PCS or “DECT” band to better suit the needs of wireless audio users. This is discussed at greater length in a companion NPRM, see end of post.
  • 3.5 GHz. Any operation here will fall under the yet to be finalized rules for the “Citizen’s Broadband Radio Service,” which Jessica Rosenworcel mentioned in her recent speech on unlicensed spectrum. Right now it appears unlicensed rules are geared towards cognitive data devices like TVBDs, with more or less suitability for real time wireless audio. The tiered model of incumbancy needs further investigation. I’m holding out hope that unlicensed microphones will be allowed here, and the rules revised in such a way to allow microphones to thrive.  
  • 6.8 GHz – 7.1 GHz. They propose allowing a greater variety of licensed users here. Propagation characteristics of frequencies this high are undesirable. Hopefully transmission limits are upped to allow for 100 meter + operation. 
  • UWB in 3 – 10 GHz. Seems to include unlicensed operation. Modulation of signal by very low power, ultra wideband RF pulses over short distances, á la Audio Technica’s “Spectra Pulse” system.

 

Other matters:

  • Revising power rules in VHF for Part 74 to allow 250 mW operation, instead of 50 mW
  • Should licensed wireless microphones be allowed to operate closer to TV stations within a given TV stations channel than the current rules allow? – The FCC here proposes not a defined radius, but rather allowing operation at any location with a received TV signal strength below a certain threshold. This means Part 74 users could now operate indoors, even if they are near a TV transmitter.
  • Requiring wireless audio devices to adhere to a stricter and slimmer spectral footprint, or “requiring wireless microphones to meet…tighter emission requirements [over 200 kHz channels] in Section 8.3 of ETSI EN 300 422-1.
  • Expanding eligibility for Part 74 operation in the newly created duplex gap to include both newly eligible users (ie., “50 devices or more”), or only broadcast and film license holders. This is explored more in the accompanying NPRM docket 14-165.
  • Expanding consumer outreach and product disclosure literature to better educate consumers on permitted bands of operation and events of the incentive auctions.
  • Establishing cutoff dates for the prohibition of manufacture of wireless audio devices in the 600 band.
  • We learn that the total number of licensed wireless audio users is only 1,200, with 600 of them being specific to UHF. Only 1,200 in the entire United States. This number is likely to rise sharply since the eligibility requirements have been expanded to include any entity that routinely uses 50 or more devices. 

The FCC is also considering amendments to Part 15, which regulates unlicensed wireless services. This information is contained in a separate 95 page NPRM, “Amendment of Part 15 of the Commission’s Rules for Unlicensed Operations in the Television Bands, Repurposed 600 MHz Band, 600 MHz Guard Bands and Duplex Gap, and Channel 37, and Amendment of Part 74 of the Commission’s Rules for Low Power Auxiliary Stations in the Repurposed 600 MHz Band and 600 MHz Duplex Gap”

We will dip into and summarize this document as well, but not today.

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The Godfather of WiFi Wants Wireless Microphone Users to Pay for Spectrum

Michael Marcus wireless microphones

 

Michael Marcus knows a thing or two about wireless. His contributions to regulations and technologies in the 80s (that went on to become millimeter waves, Wifi, and other technologies) are, to some, the stuff of legend. In a 2004 article, the Economist described Marcus as the “visionary engineer” whose foresight opened the gate for WiFi. His other laurels are numerous.

Over the past few years, Marcus has voiced concern over wireless audio’s use of TV band spectrum, and proposed frameworks for resolving the wireless audio industry’s spectrum woes while simultaneously enabling more efficient utilization of UHF spectrum. 

One of his ideas is to have users with high channel counts (broadcast events, large concerts, etc) lease spectrum from cellular carriers and operate with a modified radio technology that allows high fidelity, real-time operation. Among all the ongoing discussions and proposals on the future of wireless microphones, Michael Marcus’ voice is unique. Although there is considerable controversy on this topic, the least we can do is hear him out and recognize that many of his arguments are plausible. 

Marcus received a doctoral degree from MIT in 1972. He worked for the USAF and Institute for Defense Analyses, before becoming Chief of the Technical Analysis Division at the FCC’s Office of Science and Technology in 1981. He remained in this role until 1985, when he was booted for political reasons. He worked in FCC on radio enforcement matters, like finding satellite jammers such as “Captain Midnight,” then returned to his old office after several years until retiring in  2004. During his public sector career he pushed a series of regulatory changes that much of our wireless infrastructure now depends upon, including the 2.4 GHz, 5.8 GHz, and 900 MHz unlicensed ISM bands.

 

In an oft cited example of government myopia, the FCC regarded the 2.4 GHz and 5.8 GHz bands as “garbage” with no commercial potential. Very few of his contemporaries in private and public sectors realized the potential of his ideas. Yet the seeds Marcus sowed there would go on to grow thousands and thousands of wireless technologies worth untold billions of dollars. 

A decade later, Marcus won the inaugural IEEE Electrotechnology Transfer Award for “his pioneering work in the conception, drafting, and enactment of the Federal regulations that legalized commercial spread spectrum radio under FCC Part 15, the rules governing unlicensed devices.”

Dr. Marcus was kind enough to spend a few hours on the phone with me, discussing unlicensed spectrum, cellular technology, and the “problem,” as he puts it, of wireless microphones and current TV band regulations. 

At the heart of his concern is that most commercial users need to pay to use electromagnetic spectrum if they want access to the broadband, real-time, high fidelity performance their systems currently require.  

“Some segments of the wireless microphone industry are big money makers, like concerts and broadway shows,” Marcus points out. “They apparently missed the message in late 1990s that people who use spectrum to make money don’t get a free ride. If you’re using spectrum to make money, don’t expect free spectrum.” 

Marcus explains that, historically, wireless microphone operation in the UHF broadcast band made a lot of sense when that band was organized around the NTSC standard. The rules at that time were built around the performance characteristics of analog TV stations. In any given area, only about one in every six channels could be used, leaving a lot of empty spectrum.

 

UHF_TaboosTable from the original 1952 Report and Order outlining mileage separation requirements for analog TV stations – what are now known as the “UHF Taboos,” since they were based on interference limitations of current technology that quickly become obsolete. 

“The low power sharing of interstitial channels made great sense ,” says Marcus, “because there was nothing else it could have been used for. There was no opportunity cost for wireless microphone use of vacant channels. All of that changed with the move to DTV and the growing demand for cellular spectrum.”

After NTSC was phased out, the HDTV standard packed channels much closer together. Simultaneously, the social and economic value of using TV band frequencies for wireless microphones atrophied in comparison to using those same frequencies for cellular and mobile broadband.

Even the staunchest wireless microphone enthusiast is at odds to assume OTA TV and wireless microphones are using beachfront spectrum in a way that is more valuable and efficient than mobile broadband might. 

But as the recent Sennheiser Petition for Reconsideration mentions, most vocal users are not asking to continue using all of the UHF spectrum they use now – the bulk of it should go to mobile broadband – they’re only asking for a small slice of what they used to use. 

“The industry is working hard to move non-critical applications out of UHF, and to pack more microphones into every available slot of UHF spectrum,” the petition reads. “Still, at least for some hypercritical applications, past and foreseeable innovation does not eliminate the need for the particular propagation characteristics available only in UHF… We ask that both channels be made available exclusively for wireless microphones.” (“two channels” refers to both channel 37, now reserved for medical telemetry and radioastronomy, and the “naturally occurring white space channel.”)

Sennheiser echoes many in the broadcasting industry who question eliminating the two reserve channels currently set aside for wireless microphones, amid broader concerns over evaporating UHF spectrum. They assert that, even with registration priority available to Part 74 users through a database that eliminates the possibility of interference from white space devices (which takes 15 minutes to kick in), nothing less than exclusive use of two blocks, especially in urban areas, each between 4-6 MHz post-auction, is acceptable for split-second coverage of breaking news and “hypercritical” applications.

Marcus agrees that some spectrum should be put aside for breaking news ENG (and a small number or priority concert wireless audio devices), but he thinks the amount of spectrum required is on the order of 1-2 MHz, not 4 MHz or more, and should be open to churches, conference rooms, and other users with need for a small number of channels as well. For such small users the transactions costs of accessing spectrum through a commercial system would be burdensome.

“The problem I’m concerned with in the recent proposal for wireless microphones of four or more megahertz that in 99.9% of the U.S. 90% of the time is not going to be used. It’s going to be very heavily used within a block or two in Central Park, and at the Burning Man Festival for a week or so, and that’s a real problem. The challenge in using spectrum efficiently is trying to match demands with resources. Already we have large blocks of spectrum in many bands that are lightly used even though they have allocations and licenses. Earmarking spectrum like that tends to result in underutilized spectrum.”

A tiny dedicated band for microphones makes sense because, on a macro scale, the sum of that spectrum will be in use a greater percentage of the time in a greater percentage of the country. The more spectrum you put aside for this purpose, the less likely that spectrum is to be used. For the larger users who need dozens or hundreds of channels, Marcus has some harsh words: “they’re big guys, they can pay, just like PMSE users pay for spectrum access in UK.”

Of course veterans of the 700 MHz auction will recall UHF spectrum, even small bits of it, is very expensive. Two blocks with a total of between 8-12 MHz might be worth around $1.8-2.7 billion, based on the $227 million each megahertz went for in the 700 band.

 

700mhzauction
Results of the 700 MHz auction. 

“I don’t necessarily disagree with the idea that if you want to use spectrum, you pay for it,” says Henry Cohen, Senior RF Design Engineer at CP Communications. “But can our industry afford the going rates? Not at what the auction is going for.”

Auctions are a visceral proving ground for free market capitalism. Whatever 600 MHz ends up going for, that price is supposed to be a reflection of the value auction participants ascribe to it for real economic reasons.

If the wireless audio industry and the other industries that rely on wireless microphones cannot raise the necessary capital to purchase spectrum outright, their use is less valuable to society than whatever the winners of the auction end up using it for – or so the capitalist reasoning goes.

In the case of the UHF broadcast band, the wireless audio industry, and to some extent the OTA TV broadcasters, have failed to demonstrate their applications are more valuable than mobile broadband in the current political climate. That is not to say these services are not valuable, which they certainly are, but that under the current system those services will probably be displaced. Does this represent a failure of the free market? Possibly. Is there a way to preserve the public use principle of the UHF broadcast band while still allowing mobile broadband to operate? Perhaps, but at this point it doesn’t seem very likely.

So if the writing is on the wall for UHF spectrum (the outcome of the NAB lawsuit will reveal the writing), and even small slices of spectrum are way out of budget for a cross-industry coalition of wireless audio manufacturers and power users, what is to be done? 

Well, for some time, Dr. Marcus has mentioned the possibility of leasing spectrum from cell carriers and deploying a protocol to allow wireless microphones to operate on a large number of dormant frequencies. 

In a February, 2011 post to Marcus’ excellent blog, he discussed the promise of a new technology to support on-demand wireless microphones on leased cellular spectrum originally developed as a research project by Qualcomm, called FlashLinq: 

” FlashLinq is a synchronous TDD OFDMA technology operating on dedicated licensed spectrum and is distinguished by its high discovery range (up to a kilometer), discovery capacity (thousands of nearby devices) and distributed interference management… Sources at Qualcomm have confirmed that it is the underlying technology of the cryptic Qualcomm presentation in Brussels in October 2010 on alternative wireless mic technology that would have a quantum jump in spectrum efficiency over the archaic wideband FM embraced by present wireless mic manufacturers and users… Now that an alternative wireless mic technology has a major player behind it, we hope that FCC and people interested in UHF spectrum start pressing harder for an orderly phase out of wideband FM except for small users who need only a handful of audio channels. “

Marcus thinks a technology like FlashLinq will let wireless microphones access practically unlimited spectrum instantly and seamlessly. 

“In a cell system, inevitably, there is always free spectrum that can be used if you keep the power low.” He draws an analogy to femtocells, which are low-power base stations that increase network capacity by operating at low power and relatively short distances to exploit slack inherent in high power base-station coverage. “A cellular system in any spot is not using its whole spectrum. Just like you can put wireless microphones in vacant TV channels, you can put low power transmitters in that space in a cell plan.”

Marcus wonders if FlashLinq itself is “abandoned or virtually abandoned” by Qualcomm, but still thinks operating a tailored, short distance femtocell-esque technology on leased cellular spectrum is possible. “If you have a cellular license in the US, you can use it for almost anything under the sun. The US cellular rules are amazingly, amazingly flexible.”

Besides the more obvious challenge that nobody, nobody, who uses a wireless microphone wants pay-to-play, there is another problem: the wireless microphone user base is very small compared to the volume of units cell networks and technology providers, like Qualcomm, are accustomed to profitably dealing with. 

“I’m fascinated by the concept,” says Cohen, on using FlashLinq for wireless audio. “It’s something we in this industry have to look at. But the entire business model has some significant challenges to it. The amount of money that would make it worth AT&T or Verizon’s while to expend time and energy to implement such a system would be cost prohibitive to us. The cell companies are dealing with hundreds of thousands or millions of subscriber units at any given instant in time… [Wireless audio is] an extremely small potential revenue stream.”

A few days earlier, Dr. Marcus told me the same story using different words. “The cellular industry doesn’t want anything to do with you, and you don’t want anything to do with them! For different reasons, neither side wants anything to do with the other. But the cell phone industry should look at wireless mic users not as a potential source of a small amount of revenue that may not be worth their while, but rather as a competitor for scarce spectrum access.  By offering FlashLinq-like service to wireless mic users they could gain some small revenue and eliminate a competitor for spectrum – their life blood!”

For many, the motivation for switching to a leased model is hard to find. The most difficult thing about adopting a concept like Marcus’ is that it involves reinvestments in new technology, even though those investments could potentially pay off in the long run to transition the industry onto a more sustainable business model. In recent years all consumer TV systems have transitioned to new DTV technology and Part 90 mobile systems are nearing the end of a transition to narrowband technology. So such transitions are not unsual for spectrum users.

Marcus also points out in a 2012 post during the London Olympics that in the United Kingdom, regulators have required professional wireless microphones to register and pay for their frequencies for quite some time, with no ill effect.

” Watching the Olympics, you might not have noticed an interesting spectrum policy point: Wireless microphones (mics) are being used widely without any technical problems in a spectrum policy environment very different from the US: wireless mic users like most other spectrum users in the UK (including military users) are paying for spectrum access! […] In the UK, Ofcom’s “dedicated band manager” for “programme-making and special events”/PMSE is JFMG… JFMG buys spectrum at market prices and then leases it for PMSE uses such as wireless mics to users who pay according to the amount of resources they use. “

If broadcasters and other hypercritical business users are able to lease frequencies while still remaining profitable in the U.K., professional users in the U.S. should be able to figure out a way to pay for spectrum, too, without running their organizations into the ground or compromising the technical quality of their productions.

“Charging for spectrum in the U.K. has not resulted in the day the music died,” Marcus claims.

While at first glance, paying for spectrum, no less transitioning all licensed users to a new radio technology, seems to border on insanity – when you consider the current regulatory climate, rampant uncertainty, ubiquitous interference, and all the other lukewarm options at hand, pay-to-play becomes, at the very least, one of many plausible alternatives. 

“I would love get someone at the cellular companies interested in this, to see how we could facilitate it,” Cohen dreams. “Because we’re going to have to pay for spectrum, end of discussion. It’s really that simple and straightforward. Spectrum is too valuable a commodity, and the free ride is over.”

At the end of our phone call, Dr. Marcus told me his first impression of the incentive auctions: “I said ‘this is crazy.’ It’s grown on me since then. My friends who are involved say it is unprecedented. But you know, let me say I was personally involved in the creation of what became WiFi, and that was unprecedented, too. The unprecedented takes a little longer to sink in.”