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Available channels under current rules (top) vs 2 nd and 3 rd adjacent waivers. (Courtesy: Prometheus Radio Project) Quality used equipment can be found easily on eBay, or by checking with local radio stations, as they often cycle out older models. Though cheap and used equipment may be less durable and user-friendly than newer professional technology, it should suffice for a studio on a shoe-string budget. Still, given the limited durability of used equipment, as well as the fact that it is often easier to raise money for start-up costs than maintenance, some higher quality equipment may be worth considering. Since more expensive models tend to be more user-friendly, prioritize spending money on complex equipment that requires training to use, such as audio mixers or consoles, which can purchased new for around $3,000. Meanwhile, more basic studio equipment such as microphones, CD players, and turntables should be relatively easy to operate regardless of their age or quality. Along with these standard items, a radio studio will also need audio cables, headphones, a telephone to take calls on the air, and an FM tuner, which allows the DJ to hear the station’s signal. A computer allows stations to stream their broadcasts online, play recorded music, automate programming, as well as edit and produce audio. Finally, the FCC requires that each station have an emergency alert system (EAS), which monitors the airwaves for emergency alerts and rebroadcasts them on your station. This piece of equipment generally costs around $3,000 and may be difficult to buy used because other radio stations rarely replace them. Once you have your studio set up, you will still need a transmitting system to broadcast your signal. LPFM radio must operate at 100 watts or less, which provides coverage over a radius of approximately 3.5 miles, though high quality radios may pick up the signal from up to ten miles away. In order to take to the airwaves, you will need a transmitter, an antenna, an audio processor, transmission line, and a place to hang the antenna with a lightning arrestor. The cost of this transmission system ranges from around $4,500 to $12,000, largely depending on the quality of the transmitter and antenna, and whether there is an existing structure to mount an antenna. Though there is some variance in the cost of transmitting equipment, it is more difficult to find used because the FCC enforces specific requirements for certified LPFM transmitters, making them much more scarce than the equipment found in radio studios. Once your antenna is up and your station is finally on the air, there is also a licensing fee of about $600 per year to Performance Rights Organizations (PROs), which support the artists who create licensed content. For a more comprehensive account of the equipment needed to operate an LPFM station, check out the Prometheus Radio Project’s Radio Equipment Guide at www. prometheusradio.org/studio_info. To have a successful community-driven LPFM station, you’ll need to build your community as well as your studio. Since LPFM stations are required to broadcast at minimum 36 hours weekly and at least five hours per day for six days a week, programming often comes from a wide variety of sources. For example, WSCA 106.1 LPFM in Portsmouth, New Hampshire, fills out its weekly schedule by featuring shows on subjects as diverse as disabled living, writing, the environment, holistic health, and pet ownership. By drawing in participants from every corner of your community, you will not only benefit from the increased capacity for programming and station management, but you will also be able to build a station that serves a wider range of listeners. A station that’s truly responsive to the needs of your community will be valued and supported by that community – keeping you relevant and on the air. Getting Help Although starting an LPFM station clearly 18 MONITORING TIMES August 2012
equires significant planning and organization, there are a few places you can turn to for help. Groups anywhere in the country can consult the Prometheus Radio Project website, which offers information on the numerous steps required to start a station as well as interactive webinars at http://prometheusradio.org/webinars. Prometheus has a particular focus on supporting stations with a strong community engagement or social justice ethos, and groups that fit this description are eligible for more hands-on help from Prometheus staff and volunteers. If you’re a prospective community station located near the Pacific Northwest, an organization named Common Frequency may be able to provide cheap or even free help with navigating FCC bureaucracy and other legal issues that arise during the application process. For assistance with handling the regulatory and legal challenges in starting a community radio station, many law firms and Certified Public Accountants do pro-bono work for non-profits. Find a list of state-by-state resources at http:// prometheusradio.org/state-legal-supportnon-profit-organizations. For help with the technical side of radio, broadcast engineers can not only perform frequency searches, but can also help with choosing and setting up equipment. Those on a tight budget should also look for a local non-profit resource center, which can offer information on available funding for non-profits in your area, and local community foundations, which may be interested in funding your project in order to support civic engagements, arts, or community development. WQRZ-LP FM post-Katrina 2005. This LPFM station was somehow able to serve its community in the aftermath of the hurricane. (Courtesy: WQRZ-LP) It is important to take advantage of any help you can find, because starting a community radio station is no simple task. Successful applicants must be resourceful and well-organized to meet eligibility requirements and raise the funds to build a station. But the most crucial part of starting an LPFM is forming a mission that can inspire a community to join in the effort. With the help of a committed group of supporters, your community radio station can become not only a possibility, but a powerful reality. Brad Gibson is a Community Radio Organizer at the Prometheus Radio Project. His job includes managing relationships with representatives from radio stations, non-profit organizations, and community groups, as well as providing support for LPFM station hopefuls. August 2012 MONITORING TIMES 19
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