stereo FM

FM broadcasting is a method of radio broadcasting that uses frequency modulation (FM) of the radio broadcast carrier wave. Invented in 1933 by American engineer Edwin Armstrong, wide-band FM is used worldwide to transmit high-fidelity sound over broadcast radio. FM broadcasting offers higher fidelity—more accurate reproduction of the original program sound—than other broadcasting techniques, such as AM broadcasting. It is also less susceptible to common forms of interference, having less static and popping sounds than are often heard on AM. Therefore, FM is used for most broadcasts of music and general audio (in the audio spectrum). FM radio stations use the very high frequency range of radio frequencies.

Broadcast bands

Throughout the world, the FM broadcast band falls within the VHF part of the radio spectrum. Usually 87.5 to 108.0 MHz is used, or some portion of it, with few exceptions:
* In the former Soviet republics, and some former Eastern Bloc countries, the older 65.8–74 MHz band is also used. Assigned frequencies are at intervals of 30 kHz. This band, sometimes referred to as the OIRT band, is slowly being phased out. Where the OIRT band is used, the 87.5–108.0 MHz band is referred to as the CCIR band.
* In Japan, the band 76–95 MHz is used.
* In Brazil, until the late 2010s, FM broadcast stations only used the 88–108 MHz band, but with the phasing out of analog television, the 76-88 MHz band (old band channels 5 and 6 in VHF television) are allocated for old local MW stations which have moved to FM in agreement with ANATEL.

The frequency of an FM broadcast station (more strictly its assigned nominal center frequency) is usually a multiple of 100 kHz. In most of South Korea, the Americas, the Philippines, and the Caribbean, only odd multiples are used. Some other countries follow this plan because of the import of vehicles, principally from the United States, with radios that can only tune to these frequencies. In some parts of Europe, Greenland, and Africa, only even multiples are used. In the United Kingdom, both odd and even are used. In Italy, multiples of 50 kHz are used. There are other unusual and obsolete FM broadcasting standards in some countries, with non-standard spacings of 1, 10, 30, 74, 500, and 300 kHz.

To minimise inter-channel interference, stations operating from the same or nearby transmitter sites tend to keep to at least a 500 kHz frequency separation even when closer frequency spacing is technically permitted. The ITU publishes Protection Ratio graphs, which give the minimum spacing between frequencies based on their relative strengths. Only broadcast stations with large enough geographic separations between their coverage areas can operate on the same or close frequencies.

In most countries the maximum permitted frequency error of the unmodulated carrier is specified, which typically should be within 2 kHz of the assigned frequency.

Technology

Modulation

Frequency modulation or FM is a form of modulation which conveys information by varying the frequency of a carrier wave; the older amplitude modulation or AM varies the amplitude of the carrier, with its frequency remaining constant. With FM, frequency deviation from the assigned carrier frequency at any instant is directly proportional to the amplitude of the (audio) input signal, determining the instantaneous frequency of the transmitted signal. Because transmitted FM signals use significantly more bandwidth than AM signals, this form of modulation is commonly used with the higher ( VHF or UHF) frequencies used by the FM broadcast band and land mobile radio systems.

The maximum frequency deviation of the carrier is usually specified and regulated by the licensing authorities in each country. For a stereo broadcast, the maximum permitted carrier deviation is invariably ±75 kHz, although a little higher is permitted in the United States when SCA systems are used. For a monophonic broadcast, again the most common permitted maximum deviation is ±75 kHz. However, some countries specify a lower value for monophonic broadcasts, such as ±50 kHz.

Bandwidth

The bandwidth of an FM transmission is given by the Carson bandwidth rule which is the sum of twice the maximum deviation and twice the maximum modulating frequency. For a transmission that includes RDS this would be  = . This is also known as the ''necessary bandwidth''.

Pre-emphasis and de-emphasis

Random noise has a ''triangular'' spectral distribution in an FM system, with the effect that noise occurs predominantly at the higher audio frequencies within the baseband. This can be offset, to a limited extent, by boosting the high frequencies before transmission and reducing them by a corresponding amount in the receiver. Reducing the high audio frequencies in the receiver also reduces the high-frequency noise. These processes of boosting and then reducing certain frequencies are known as pre-emphasis and de-emphasis, respectively.

The amount of pre-emphasis and de-emphasis used is defined by the time constant of a simple RC filter circuit. In most of the world a 50 μs time constant is used. In the Americas and South Korea, 75 μs is used. This applies to both mono and stereo transmissions. For stereo, pre-emphasis is applied to the left and right channels before multiplexing.

The use of pre-emphasis becomes a problem because many forms of contemporary music contain more high-frequency energy than the musical styles which prevailed at the birth of FM broadcasting. Pre-emphasizing these high-frequency sounds would cause excessive deviation of the FM carrier. Modulation control (limiter) devices are used to prevent this. Systems more modern than FM broadcasting tend to use either programme-dependent variable pre-emphasis; e.g., dbx in the BTSC TV sound system, or none at all.

Pre-emphasis and de-emphasis was used in the earliest days of FM broadcasting. According to a BBC report from 1946, 100 μs was originally considered in the US, but 75 μs subsequently adopted.

Stereo FM

Long before FM stereo transmission was considered, FM multiplexing of other types of audio-level information was experimented with. Edwin Armstrong, who invented FM, was the first to experiment with multiplexing, at his experimental 41 MHz station W2XDG located on the 85th floor of the Empire State Building in New York City.

These FM multiplex transmissions started in November 1934 and consisted of the main channel audio program and three subcarriers: a fax program, a synchronizing signal for the fax program and a telegraph ''order'' channel. These original FM multiplex subcarriers were amplitude modulated.

Two musical programs, consisting of both the Red and Blue Network program feeds of the NBC Radio Network, were simultaneously transmitted using the same system of subcarrier modulation as part of a studio-to-transmitter link system. In April 1935, the AM subcarriers were replaced by FM subcarriers, with much improved results.

The first FM subcarrier transmissions emanating from Major Armstrong's experimental station KE2XCC at Alpine, New Jersey occurred in 1948. These transmissions consisted of two-channel audio programs, binaural audio programs and a fax program. The original subcarrier frequency used at KE2XCC was 27.5 kHz. The IF bandwidth was ±5 kHz, as the only goal at the time was to relay AM radio-quality audio. This transmission system used 75 μs audio pre-emphasis like the main monaural audio and subsequently the multiplexed stereo audio.

In the late 1950s, several systems to add stereo to FM radio were considered by the FCC. Included were systems from 14 proponents including Crosby, Halstead, Electrical and Musical Industries, Ltd (EMI), Zenith, and General Electric. The individual systems were evaluated for their strengths and weaknesses during field tests in Uniontown, Pennsylvania, using KDKA-FM in Pittsburgh as the originating station. The Crosby system was rejected by the FCC because it was incompatible with existing subsidiary communications authorization (SCA) services which used various subcarrier frequencies including 41 and 67 kHz. Many revenue-starved FM stations used SCAs for "storecasting" and other non-broadcast purposes. The Halstead system was rejected due to lack of high frequency stereo separation and reduction in the main channel signal-to-noise ratio. The GE and Zenith systems, so similar that they were considered theoretically identical, were formally approved by the FCC in April 1961 as the standard stereo FM broadcasting method in the United States and later adopted by most other countries. It is important that stereo broadcasts be compatible with mono receivers. For this reason, the left (L) and right (R) channels are algebraically encoded into sum (L+R) and difference (L−R) signals. A mono receiver will use just the L+R signal so the listener will hear both channels through the single loudspeaker. A stereo receiver will add the difference signal to the sum signal to recover the left channel, and subtract the difference signal from the sum to recover the right channel.

The (L+R) signal is limited to 30 Hz to 15 kHz to protect a 19 kHz pilot signal. The (L−R) signal, which is also limited to 15 kHz, is amplitude modulated onto a 38 kHz double-sideband suppressed-carrier (DSB-SC) signal, thus occupying 23 kHz to 53 kHz. A 19 kHz ± 2 Hz pilot tone, at exactly half the 38 kHz sub-carrier frequency and with a precise phase relationship to it, as defined by the formula below, is also generated. The pilot is transmitted at 8–10% of overall modulation level and used by the receiver to identify a stereo transmission and to regenerate the 38 kHz sub-carrier with the correct phase. The composite stereo multiplex signal contains the Main Channel (L+R), the pilot tone, and the (L−R) difference signal. This composite signal, along with any other sub-carriers, modulates the FM transmitter. The terms composite, multiplex and even MPX are used interchangeably to describe this signal.

The instantaneous deviation of the transmitter carrier frequency due to the stereo audio and pilot tone (at 10% modulation) is

:\left 0.9 \left [ \frac + \frac\sin4\pi f_pt \right + 0.1\sin2\pi f_pt \right ">\frac_+_\frac\sin4\pi_f_pt_\right_.html" ;"title="0.9 \left [ \frac + \frac\sin4\pi f_pt \right ">0.9 \left [ \frac + \frac\sin4\pi f_pt \right + 0.1\sin2\pi f_pt \right \times 75~\mathrm

where A and B are the pre-emphasized left and right audio signals and $f_p$=19 kHz is the frequency of the pilot tone. Slight variations in the peak deviation may occur in the presence of other subcarriers or because of local regulations.

Another way to look at the resulting signal is that it alternates between left and right at 38 kHz, with the phase determined by the 19 kHz pilot signal. Most stereo encoders use this switching technique to generate the 38 kHz subcarrier, but practical encoder designs need to incorporate circuitry to deal with the switching harmonics. Converting the multiplex signal back into left and right audio signals is performed by a decoder, built into stereo receivers. Again, the decoder can use a switching technique to recover the left and right channels.

In addition, for a given RF level at the receiver, the signal-to-noise ratio and multipath distortion for the stereo signal will be worse than for the mono receiver. For this reason many stereo FM receivers include a stereo/mono switch to allow listening in mono when reception conditions are less than ideal, and most car radios are arranged to reduce the separation as the signal-to-noise ratio worsens, eventually going to mono while still indicating a stereo signal is received. As with monaural transmission, it is normal practice to apply pre-emphasis to the left and right channels before encoding and to apply de-emphasis at the receiver after decoding.

In the U.S. around 2010, using single-sideband modulation for the stereo subcarrier was proposed. It was theorized to be more spectrum-efficient and to produce a 4 dB s/n improvement at the receiver, and it was claimed that multipath distortion would be reduced as well. A handful of radio stations around the country broadcast stereo in this way, under FCC experimental authority. It may not be compatible with very old receivers, but it is claimed that no difference can be heard with most newer receivers. At present, the FCC rules do not allow this mode of stereo operation.

Quadraphonic FM

In 1969, Louis Dorren invented the Quadraplex system of single station, discrete, compatible four-channel FM broadcasting. There are two additional subcarriers in the Quadraplex system, supplementing the single one used in standard stereo FM. The baseband layout is as follows:

* 50 Hz to 15 kHz main channel (sum of all 4 channels) (LF+LR+RF+RR) signal, for mono FM listening compatibility.
* 23 to 53 kHz (sine quadrature subcarrier) (LF+LR) − (RF+RR) left minus right difference signal. This signal's modulation in algebraic sum and difference with the main channel is used for 2 channel stereo listener compatibility.
* 23 to 53 kHz (cosine quadrature 38 kHz subcarrier) (LF+RR) − (LR+RF) Diagonal difference. This signal's modulation in algebraic sum and difference with the main channel and all the other subcarriers is used for the Quadraphonic listener.
* 61 to 91 kHz (sine quadrature 76 kHz subcarrier) (LF+RF) − (LR+RR) Front-back difference. This signal's modulation in algebraic sum and difference with the main channel and all the other subcarriers is also used for the Quadraphonic listener.
* 105 kHz SCA subcarrier, phase-locked to 19 kHz pilot, for reading services for the blind, background music, etc.

The normal stereo signal can be considered as switching between left and right channels at 38 kHz, appropriately band-limited. The quadraphonic signal can be considered as cycling through LF, LR, RF, RR, at 76 kHz.

Early efforts to transmit discrete four-channel quadraphonic music required the use of two FM stations; one transmitting the front audio channels, the other the rear channels. A breakthrough came in 1970 when KIOI (''K-101'') in San Francisco successfully transmitted true quadraphonic sound from a single FM station using the Quadraplex system under Special Temporary Authority from the FCC. Following this experiment, a long-term test period was proposed that would permit one FM station in each of the top 25 U.S. radio markets to transmit in Quadraplex. The test results hopefully would prove to the FCC that the system was compatible with existing two-channel stereo transmission and reception and that it did not interfere with adjacent stations.

There were several variations on this system submitted by GE, Zenith, RCA, and Denon for testing and consideration during the National Quadraphonic Radio Committee field trials for the FCC. The original Dorren Quadraplex System outperformed all the others and was chosen as the national standard for Quadraphonic FM broadcasting in the United States. The first commercial FM station to broadcast quadraphonic program content was WIQB (now called WWWW-FM) in Ann Arbor/Saline, Michigan under the guidance of Chief Engineer Brian Jeffrey Brown.

Noise reduction

Various attempts to add analog noise reduction to FM broadcasting were carried out in the 1970s and 1980s:

A commercially unsuccessful noise reduction system used with FM radio in some countries during the late 1970s, Dolby FM was similar to Dolby B but used a modified 25 μs pre-emphasis time constant and a frequency selective companding arrangement to reduce noise. The pre-emphasis change compensates for the excess treble response that otherwise would make listening difficult for those without Dolby decoders.

A similar system named High Com FM was tested in Germany between July 1979 and December 1981 by IRT. It was based on the Telefunken High Com broadband compander system, but was never introduced commercially in FM broadcasting.

Yet another system was the CX-based noise reduction system FMX implemented in some radio broadcasting stations in the United States in the 1980s.

Other subcarrier services

FM broadcasting has included subsidiary communications authorization (SCA) services capability since its inception, as it was seen as another service which licensees could use to create additional income. Use of SCAs was particularly popular in the US, but much less so elsewhere. Uses for such subcarriers include radio reading services for the blind, which became common and remain so, private data transmission services (for example sending stock market information to stockbrokers or stolen credit card number denial lists to stores,) subscription commercial-free background music services for shops, paging ("beeper") services, alternative-language programming, and providing a program feed for AM transmitters of AM/FM stations. SCA subcarriers are typically 67 kHz and 92 kHz. Initially the users of SCA services were private analog audio channels which could be used internally or leased, for example Muzak-type services. There were experiments with quadraphonic sound. If a station does not broadcast in stereo, everything from 23 kHz on up can be used for other services. The guard band around 19 kHz (±4 kHz) must still be maintained, so as not to trigger stereo decoders on receivers. If there is stereo, there will typically be a guard band between the upper limit of the DSBSC stereo signal (53 kHz) and the lower limit of any other subcarrier.

Digital data services are also available. A 57 kHz subcarrier ( phase locked to the third harmonic of the stereo pilot tone) is used to carry a low-bandwidth digital Radio Data System signal, providing extra features such as station name, alternative frequency (AF), traffic data for satellite navigation systems and radio text (RT). This narrowband signal runs at only 1,187.5 bits per second, thus is only suitable for text. A few proprietary

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