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Lost amid the year’s economic upheavals was the end of a years-long technology battle that pitted media technology Goliaths and the nation’s major broadcast networks against each other, over the "white space" frequency spectrum. The FCC’s decision in November to open these broadcast frequencies up for wireless consumer electronics development creates a new chapter in media history.

The white spaces are the frequency bands between analog television channels in the VHF and UHF range (up to 806mHZ), where over-the-air channels 2-13 (VHF) and 14-69 (UHF) have operated for over half a century. Two huge forces vied for them: a consortium led by Google and Microsoft that wanted to exploit the new space for CE wireless devices, and a collection of interests, spearheaded by national television and radio networks that had been the longtime primary legitimate users of the space, but also by theaters, houses of worship, corporate productions, and other entities that have come to rely on wireless microphones but which operated in a kind of gray area in the FCC regulations. Of particular interest was the 700mHz range, where most professional wireless operates thanks to its optimal frequency propagation, low power-versus-distance characteristics and ability to let RF travel around or through almost all obstacles.

The FCC, caught between interests, commissioned a lengthy series of tests to find ways to allow new and existing applications use the space without bumping into each other. Various systems, including a leading contender from Microsoft, that asserted to be able to keep any new white-space consumer devices from interfering with existing wireless users and the new digital TV spectra, underwent months of testing, including a closely watched one that used an NFL game in September as a test bed. (The NFL, also a broadcaster, is one of the parties that opposed to opening the white spaces to consumer applications.) Despite generally negative reviews of the outcomes of the tests, on Nov. 4 FCC chairman Kevin Martin ruled that the white spaces would be open to new media.

CE technology companies cheered. Martin’s own words reflected their sentiments: "Opening the white spaces will allow for the creation of a WiFi on steroids. It has the potential to improve wireless broadband connectivity and inspire an ever-widening array of new Internet-based products and services for consumers… in TV white spaces."

Wireless users were disappointed and noted the potential economic impact: for instance, Broadway, where shows routinely run as many as 48 channels of wireless microphone a night, took in $939 million during the 2006-2007 season. RF interference from a new generation of wireless devices in the middle of a show could be devastating. And at a time when prerecorded music sales continue to decline, live performances are becoming the bread and butter of the evolving music industry. Of particular concern was the fact that one of the key elements of the order stipulated that wireless users would have to vacate the 700mHz part of the spectrum, where most of the music and theatrical wireless systems operate.

But Wait, There’s More
The good news, however, is that there are—on paper, at least—significant allowances and protections as part of the FCC order opening the white spaces. For instance, all new devices will be required to incorporate spectrum sensing—the ability to scan the airwaves to detect and avoid signals in operation. Furthermore, the FCC determined that spectrum sensing alone would not keep devices from interfering with the signal—at least for now. To augment that, the FCC order also stipulates the establishment of an RF database to document what channels are in use in specific areas around the country (though who will compile, maintain, and manage it is still undetermined). All white space devices will need to be able to geolocate (through GPS, for example) and access this database over the Internet. Venues where wireless microphones are in use can be registered in the database, limiting white space devices in those areas (and offering a kind of amnesty for non-broadcast users), making the devices network-dependent: They cannot connect with other devices in the area until they access the Internet and geolocation system. Finally, white-space devices cannot use channels directly adjacent to ones that are being used by a fixed broadcaster, and mobile devices must avoid channels 14 through 20 altogether.

Major metropolitan areas have yet another layer of wireless protection. In 13 key media cities, including New York and Los Angeles, where public safety radios utilize channels 14 to 20 (470 to 512mHz), the FCC will block CE devices from an additional two channels between 21 and 51 (512 to 806mHz) in the UHF spectrum. And the FCC doesn't want white space devices operating on VHF channels 3 or 4, in case they might interfere with DVD players and video game consoles that connect to the TV on those channels.

Now What?
In the last three decades, wireless has mushroomed into a significant part of the professional audio revenue stream. With most systems operating in the 700-MHz range using frequency modulation (FM), virtually every manufacturer’s products are affected. The strategy at Shure, which as the wireless sector market leader had taken the point position early in the controversy, involves adding more frequency selections to their existing wireless product lines, and the company will enhance their existing frequency-finding software to show more precisely which the best open channels available are for a given time, place and anticipated local white-space device usage.

Lectrosonics, another large wireless player, offers a plan by which users of its 700mHz products can have them reset, for a fee, to a usable frequency block in a lower range.

Joe Ciaudelli, a consultant at Sennheiser, says the protections built into the FCC rulings could allow professional wireless users to stay in the UHF range successfully with a few tweaks, such as retuning for frequencies below 698mHz and employing tactics such as sharp filtering of antenna systems, distance and power management techniques, zone isolation with enhanced shielding, and time multiplexing (scheduling different frequencies for different times). But, Ciaudelli cautions, that’s still a big if. "If reality matches what the FCC order calls for, great, but there are still a lot of loose ends hanging, such as exactly when we have to vacate the 700mHz range," he says. But he believes that the decision is also an opportunity for the FCC to modernize its regulations. "Churches, casinos, corporations, and theaters all need wireless routinely now. The regulations are decades old and have been outpaced by technology."

At Audio-Technica, the strategy is to leave the mHz range behind almost all together. The company began working on its SpectraPulse system six years earlier, in anticipation of a less-predictable white space environment, according to Jackie Green, A-T’s VP of R&D. SpectraPulse is a purely digital system that does not use a carrier like FM or SpreadSpectrum, but rather operates in the 6.35gHz range, far above conventional RF frequencies and actually closer to that of microwaves. Green acknowledges that this stratospheric frequency range is not as straightforward or stable an RF environment as the 700mHz or even the increasingly common 2.4gHz range has been. "That’s why it took six years," she says. "But once you get it right, it’s rock-solid and completely unaffected by white-space issues." Enough so that it was used on the third and final presidential debate broadcast in October.

But SpectraPulse's cost—twice that of other high-end professional wireless systems and about 10 times that of the 700mHz ones used by garden-variety rock concerts—means most pro white-space users will have to deal with an often-strange new world for the immediate future, once that Big Switch in the Sky gets flipped for good and the white spaces go from being a quiet-but-chummy little club to a massive CE acropolis where white space and MySpace collide.

Dan Daley (danwriter at aol.com) is an experienced journalist and author, covering the business and technology of the entertainment industry for over 20 years. His work has appeared in numerous publications, both trade and general interest, including Billboard, The New York Daily News, Mix Magazine, GRAMMY Magazine, American Way, Spin, History Channel, TravelHost, International Business, USA Today, ArchiTech, and many others.

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The Authoritative Blu-ray Disc (BD) FAQ: Updates

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Future of Packaged Entertainment Summit Conference Registration is Open

The Future of Packaged Entertainment Summit, jointly produced by MEDIA-TECH Association, Entertainment Merchants Association, and the Content Delivery Storage Association, will take place February 3 to 4 at the Universal Hilton in Hollywood, California, USA.

Specific topics to be addressed include the future of brick and mortar retailers; whether entertainment media are recession-proof; green packaging; consumer attitudes towards packaged media; the marketing of Blu-ray Discs; case studies in media manufacturing operations; and the impact of the credit crunch.

The two-day program will address technology challenges on the first day and content and marketing challenges on the second. In addition, the event will feature a Showcase so supporting companies will be able to exhibit their products and services.

Conference registration is now open. You can register directly at the conference web site at www.futurepackagedmedia.com.

Discounted conference hotel reservation information is also on the hotel web site at www.hilton.com/en/hi/groups/personalized/BURUCHF-MTE-20090202/index.jhtml

For information on sponsorship and exhibit opportunities please content Gail Muller at +1 609-279-1700 or email us her at gmuller@contentdeliveryandstorage.org

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COMAG Enters into MPEG LA’s MPEG-2 License

MPEG LA, LLC today announced that COMAG Handels AG has entered into the MPEG-2 Patent Portfolio License offered by MPEG LA. As a result of this agreement, several companies that license their essential MPEG-2 patents through MPEG LA will withdraw patent enforcement actions pending before the District Court Düsseldorf, Germany.

MPEG LA, LLC
MPEG LA is the world leader in alternative technology licenses, enabling users to acquire worldwide patent rights necessary for a technology standard or platform from multiple patent holders in a single transaction as an alternative to negotiating separate licenses. Wherever an independently administered one-stop patent license would provide a convenient marketplace alternative to assist users with implementation of their technology choices, the licensing model pioneered and employed by MPEG LA may provide a solution. Among MPEG LA’s licenses is one for MPEG-2 digital video compression that has helped produce the most widely employed standard in consumer electronics history. The MPEG-2 Patent Portfolio License, which includes more than 870 MPEG-2 essential patents in 57 countries, has more than 1400 licensees accounting for most MPEG-2 products including set-top boxes, DVD players, digital television sets, personal computers and DVD Video Discs in the current world market. MPEG LA is an independent licensing administrator; it is not related to any standards agency and is not an affiliate of any patent holder.

For more information, please refer to http://www.mpegla.com.

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Ridata Announces Blazing Fast 300X Supreme Series Compact Flash SLC Card

Advanced Media, Inc., manufacturer and marketer of the popular Ridata brand of recordable DVD, flash media, electronic storage products, solar power and digital accessories announces a new 300X speed CF flash Memory card for professional photographers and other critical mobile devices. The Ridata® 16GB/300x SLC (Single Level Cell) Supreme CompactFlash® card boasts a large capacity (16GB) and one of the fastest transfer rates available.

"Professional photographers are faced with shooting larger, high resolution - once in a lifetime photos. They cannot risk losing these photos or their clients. We developed the Ridata 300X SLC CF card for these people," remarked Harvey Liu, president of Advanced Media, Inc. "In today’s world of sophisticated mobile digital products needing secure SLC data storage and faster read times it just makes sense."

The Ridata 16GB/300X CF card is ideal for users of higher megapixel digital cameras, MP3 players, and PDAs. Its large 16GB capacity allows more storage while virtually eliminating the nagging wait time for data to record. Designed to work with most devices and operating systems, it can withstand extreme operating temperatures, ranging from below freezing to excessive heat.

Its 300x high-speed reading capability equates to approximately 45MB/per sec, while the high-speed writing capability is about 31MB/per second. (Note: Speeds may vary depending on device used.)

The Single Level Cell (SLC) CF card includes many superior technical features Ridata products are known for. Some of these are: safer single bit per cell storage; controller support for Ultra DMA Mode up to Mode 4; 8 or 16-bit host transfer support with any host speed using IORDY; and embedded Error Correction Code (ECC). The card also provides forward and backward functionality.

The Ridata 16GB/300x Supreme Series CF card is an excellent choice in solid-state mass-storage cards for SLR cameras or other applications that require high-environmental tolerance. It offers flash technology ruggedness, reliability, performance, and convenience. An automatic power management feature assures low power consumption.

Cost and Availability
The Ridata 16GB/300x Supreme Series CompactFlash card is competitively street priced. It is available through selected retailers, Ridata distributors, and at various online outlets, including Amazon.com. A complete listing of locations may be found on the Advanced Media/Ridata website. It carries a two-year warranty.

The Ridata website now offers a tutorial with tips on how to care and handle flash media. Some of the topics covered include formatting cards, when and how; the importance of programs such as ‘PhotoRescue’ to ensure proper image recovery; problems with over shooting cards; mixing cards between different systems, good or bad idea; and when to remove cards from a product.

For more information, visit www.ritekusa.com.

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Blu-ray Sales Accelerate to Record Levels in Japan

Latest GfK Retail and Technology Japan figures have revealed that in the first week of November 2008, Blu-ray Disc Recorders have surpassed a 50% market share for DVD Recorders in unit terms.

Looking back to October 2007, Blu-ray Disc Recorders accounted for a market share of 10% and have since exhibited rapid growth.

The average sales price has begun to come down in 2008. In the first week of June 2008, the average sales price of Blu-ray Disc Recorders was between 110,000 – 120,000 JPY. By the third week of October, it dropped to between 100,000 – 110,000 JPY.

GfK Retail and Technology estimates that the price will continue to be reduced in the build-up to Christmas and the product may become ‘one-to-watch’ during the winter sales.
Blu-ray transition outpacing DVD recorders

In addition to this impressive growth, according to GfK’s retail audit survey, Blu-ray Disc Recorders are replacing DVD Recorders 1.5 times faster than DVD Recorders replaced VHS Recorders.

DVD recorders exceeded 10% market share in the fifth week of April 2002 and continued to grow steadily, eventually surpassing 50% after 82 weeks in the fourth week of November 2003. In comparison, Blu-ray Disc Recorders exceeded 10% market share in the fifth week of October 2007 and after 53 weeks, in the first week of November 2008, surpassed 50%.

One of the principal reasons for this quicker rate of change is the rise in sales of Flat Panel TVs, enabling viewers to experience digital high definition broadcasting. Blu-ray Recorders can record digital high definition broadcasting without any drop in quality, which has assisted the accelerated demand for this product.

www.gfkrt.com

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