• Get involved.
    We want your input!
    Apply for Membership and join the conversations about everything related to broadcasting.

    After we receive your registration, a moderator will review it. After your registration is approved, you will be permitted to post.
    If you use a disposable or false email address, your registration will be rejected.

    After your membership is approved, please take a minute to tell us a little bit about yourself.
    https://www.radiodiscussions.com/forums/introduce-yourself.1088/

    Thanks in advance and have fun!
    RadioDiscussions Administrators

Radio Station for Sale

You have to buy the diplexing gear, install, and proof. Value is maybe 500 bux, assuming the transmitter could be sold for that amount. Plus a stamp to send the license back to the FCC. Perhaps some leather haired mega-preacher wants a radio station?
 
If you really want to spend some money, 1310 in Chattanooga was delisted. You could go directional north or northwest with a whole lot of power daytime if the 1420 site would work. Still no night usable night coverage. This station could "cover" a translator. Would it be cheaper to rent a HD channel?
 
I could start a Kickstarter campaign: SOFT ROCK 1310!!!! $550K to buy the station plus two years of operational expenses including staff. #MakeB985GreatAgain
 
Last edited:
I could swear that one of the presidential candidates has been using "Make B98.5 Great Again" as his campaign slogan. Or is it a candidate for Atlanta mayor?
 
I assume the CP to diplex is at the 1420 site.

There isn't a CP. Buyer apparently would have to rush to get a CP and get it on the air to maintain service -- or more likely they would be buying a dark station.
 
There isn't a CP. Buyer apparently would have to rush to get a CP and get it on the air to maintain service -- or more likely they would be buying a dark station.

The FCC is flexible (for a federal agency) in issuing "emergency" STA's. Especially if the circumstances are "beyond" the control of licensee. If I were selling this station I would go ahead and file for an STA or CP. If there is an issue with a permanent site any body who does "due diligence" will find out anyways.
 
You say playing a 10,000 oldie rotation would work on AM? Here's your chance!

Reading the ad, it appears the station is already operating in violation of the rules. It's supposed to have an office, employees, business hours and an immediately-connectible studio. Running "automatically from the transmitter" isn't exactly what the Commish defines as "serving the public".

Aside from small market, full service stations and a few 60+ outlets, are there many examples of successful, medium-to-large market AM music stations? I get the impression that the two or three in my general area continue to exist, mainly due to being part of a local cluster.

Unless you're using it as a vehicle for a translator, it seems to me that general entertainment programming on any sized AM is a tough nut these days, especially if the station is expected to carry the entire economy of its supporting business.

This reminds me a bit about the movie theatre business, which I also have a heavy involvement in. As the business model moved to smaller auditoriums and multi-screened venues, many older, sloped-floor, single-screen buildings either went dark or are just barely hanging on. That has given rise to many "wannabes", who believe all they need is to get their foot in the door to become successful exhibitors. They have blinders to the notion that the theatre would likely be in the hands of a competent operator, if it was worthwhile in the first place. Without much (if any) research, they believe instead that all they need is the keys to the doors and a VERY low entry fee and all will be well.

It happens, I suppose, but then a lot of people fancy themselves as potential major league athletes, too.
 
Last edited:
The station might not be operating illegally. Office and employees can be non-transferable. One station I worked for had a studio/business office in the back of his retail location. We had a functioning studio and met all the requirements. Granted the station was not a cash cow but was leased with the tenant having their own studio and staff.
 
That's true, but to me, the ad reads like the current operation has nothing but a computer at the transmitter site. Possibly poor writing, but....
 
Computer at the transmitter is perfectly legal as long as it has provision for a mic input. Business office and hours can be at the site, or at your house. It still ain't gonna make any money.

And, I've never seen a film in a hundred seat auditorium which came close to the quality of a big frame with an arc behind it. Money loser, but golly they look good. Of course, you can't operate 8 of them with a guy who bin batches the reels and sells popcorn in the meantimes.....
 
Here's a link that, I think, does a good job of laying out the FCC requirement here (it also touches on using the transmitter site as the 'program entry point').

http://www.broadcastlawblog.com/201...-recent-21000-fine-offers-some-clarification/

As for theatres... arc lights, eh? Dates you a bit! :) Those days largely disappeared in the '70s. Today, I'd be impressed if 1 in 1,000 of today's generation had seen an arc-backed film. You're right though. There was a different effect to using arc lamps. For that matter, nitrate had really great contrast, but you probably know where that went...
 
Last edited:
Nowadays "films" are delivered on password-protected hard drives...no scratches, no hair, no dirt, no reel change marks (no reels, either).

According to Wiki nitrate film gave way to acetate film around 1950-1951. If you know the difference, you know why.
 
Yes, I know. I've been in the business for 45 years and own a multiplex drive-in. We converted it to digital 4 years ago.

Actually, the hard drives themselves aren't password protected. The content is encrypted, and all theatres, that don't get their content by satellite, get identical drives. Decryption "keys" are sent separately by email and are serialized to the projectors in the specific client theatre.

Sorry for the topic creep.....
 
Last edited:
Having owned several movie theatres I can tell you it is tough for the small guy. The film companies do not want to do business with small operators, but that is a discussion for another forum.

I will add this, out of my five locations I had one 300 seat house that was my showpiece. It was not beautiful, but had the best 35mm picture I had ever seen. I came across a $30,000 studio scope lense that would work in that auditorium. I could focus it so fine that we would send someone down to the screen with a walkie talkie to fine tune the focus. The sub-woofers in the auditorium could be felt through the pavement in the parking lot. :)

As for digital, it is good if the theatre has bought top of the line projectors. Most have not.

Now, back to the topic of how this AM is going to end up turning in the license.
 
Status
This thread has been closed due to inactivity. You can create a new thread to discuss this topic.


Back
Top Bottom