Connect with us

I&B Ministry

DRM best system as it utilises existing tech, uses less spectrum: Pal

Published

on

NEW DELHI: Even as the Telecom Regulatory Authority of India has scheduled an open house discussion on digital radio broadcasting based on a paper issued by it on 10 July this year, the Digital Radio Mondiale has strongly urged the government to encourage the efforts of digitising the All-India Radio medium wave and short wave transmissions using the DRM standard.

In its response to the consultation paper, the Indian wing of DRM Consortium has said the government should also facilitate full utilisation and announcement of a roadmap for the complete switchover of radio broadcasting, including the private FM and Community Radio Stations, to digital radio in India.

DRM Consortium – India head Yogendra Pal, in his detailed response, said that the existing analogue transmission equipment (both AM and FM) can be upgraded to DRM operation, reducing initial setup cost (depending on hardware manufacturer/model)

He said when upgrading an analogue transmitter to full-digital operation, the same or even more coverage than with analogue before can be achieved, while significantly reducing transmission power, enabling green and cost-optimised broadcast networks for the future

DRM allows for a flexible trade-off between transmission power, coverage requirements and content capacity, to always enable the most economic operation for any given coverage scenario

Advertisement

The Consortium “strongly feels that there is an urgent need to frame a roadmap for digital radio broadcasting in all bands. This includes the FM band and private FM broadcasters too.

There is no doubt that FM analogue radio is a very good standard. It provides stereo audio broadcasting, it is a robust and well established. There are millions of FM receivers and there is demand for the expansion of private FM broadcasting and community radio stations.

Referring to the usage of FM spectrum, he said available FM spectrum is not sufficient to meet the full demand by Indian broadcasters and the public. FM Band is from 88MHz to 108 MHz that is, 20 MHz bandwidth. One single FM channel needs 200 kHz bandwidth. So, theoretically, there can be a maximum 100 FM channels in the full FM band.  But, unfortunately, neither is a full band available for broadcasting nor can two adjacent channels be broadcast without some guard band. The same FM frequency can be repeated only after about 400 to 600 km, or with a frequency separation of several hundred kHz. Although FM broadcasting is popular, the possibilities for extending the FM coverage in its band of 88-108 MHz remain limited.

In addition to stereo audio content, analogue FM enables the broadcast of a very low bit data channel. Analogue FM, an early 20th century technology, is a successful standard but, in truth, it has reached its spectrum, coverage and improvement limits. It might be a good solution for here and now but not a strategic choice for the future, with increasing expectations of the public regarding audio quality, service diversity, and added-value services tying radio in with modern media consumption. This, in time, has to be and will be accompanied and, eventually, replaced by the digital, compressed, enhanced features of digital radio. Using only 50 per cent spectrum, digital (DRM) in VHF band is able to offer multiple services on a single frequency, 5.1 surround sound quality and a number of value added services along with significant transmission power savings.

“So keeping in tune with the vision of the new government, it is time to plan digital broadcasting in VHF (FM) band also using the already adopted DRM standard and thus benefitting from the following salient features:

Advertisement

1.    Equally supporting all terrestrial radio broadcasting bands, including MW, SW and VHF bands (with the FM band II included alongside band I and band III). The audio quality offered by DRM is equally excellent on all the transmission bands: MW, SW or VHF

2.    Robust signal unaffected by noise, fading or other forms and interference in all bands

3.    Clear and powerful sound quality with facility for stereo and 5.1 surround

4.    More audio content and choice: Up to three audio programmes and one data channel on one frequency

5.    Extra multimedia content: Digital radio listeners can get multimedia content including audio, text, images and in future even small-scale video, such as:

Advertisement

a.    Text messages in multiple languages

b.    Journaline – advanced text based information service supporting all classes of receivers, providing anytime-news for quick look-up on the receiver’s screen; interactivity and geo-awareness allowing targeted advertising

c.    Electronic Programme Guide (EPG), showing what’s up now and next; search for programmes and schedule recordings

d.    Slideshow Programme accompanying images and animation

e.    Traffic information

Advertisement

Due to the inherent advantages of digital broadcasting, broadcasters the world over are adopting high quality digital delivery systems with TV leading the way. Mandatory digitisation of cable TV networks in India is the example. Digitisation of the terrestrial radio broadcasting is also inevitable. In fact the Planning Commission in 2006 had given timelines for the switch-off of analogue radio and terrestrial TV transmissions in India as well. AIR and DD started taking action in this direction.

AIR has chosen the ITU endorsed DRM standard, with all technical specifications published and freely accessible to the Indian industry for the digitisation of its terrestrial radio networks. But the task of migrating AIR’s terrestrial broadcast services today is still incomplete. Therefore, it is essential that the full potential of DRM digital radio in MW & SW is soon utilised by configuring the best possible audio quality, finalizing the service selection for each location, and adding value-added services such as Journaline text and EWF (DRM’s Emergency Warning Functionality), and a roadmap is provided for the complete switchover of radio broadcasting, including private FM and community radio Stations, to DRM digital in India. This task, demanded to be carried out immediately by the by the ministry of information and broadcasting (MIB) will require a department-spanning stringent management that also reaches out to the public and the Indian receiver and automotive industry.

DRM is the newest and most technologically advanced global digital radio standard. It is internationally standardized by ITU and ETSI for digitising terrestrial radio broadcasts in all frequency bands (both AM and FM bands). It is capable of fully serving India’s needs, with all its diverse coverage demands, at low energy costs and with rich and freely accessible features set. DRM is the digital radio standard in direct succession to its analogue predecessor technologies AM and FM. It matches existing ITU-conforming channelization and frequency regulations, and maintains full ownership on the technology, its deployment, product development and roll-out in the hands of the government and industry.

In January 2017, then MIB minister M Venkaiah Naidu had lauded the national public broadcaster All India Radio (AIR) under Prasar Bharati for having successfully completed phase 1 of the national digital radio roll-out. AIR has completed the installation of the nationwide network of 37 powerful medium and short wave transmitters operating in simulcast  and/or pure DRM mode, resulting from a significant national investment.

Phase II inaugurated by him is aimed at finalizing the selection of programmes per region, the implementation of all DRM features and the improvement of the content quality provided by those transmitters, and will ultimately result in the official launch of DRM digital radio services by AIR to listeners.

Advertisement

Though DRM has not officially been launched yet as a service to the public, given that phase 2 of the national roll-out of DRM digital radio by AIR has just started a few months ago, the industry is already showing their commitment and support to be in the market with products once AIR’s DRM services will officially launch.

Probably the most important factor for establishing modern radio listening habits is the support for AIR’s digital radio roll-out demonstrated by the automotive industry. Mahindra & Mahindra demonstrated their line-fit DRM receiver in car models launched not long ago. Also Maruti Suzuki has launched cars with DRM line-fit receivers. In early 2017, Hyundai joined by announcing two new car models with native DRM support. By late summer 2017 this has grown to a total of five models ranging from entry-level products to high-end cars – all radio sets with DRM functionality included, at no extra cost. Many major automotive brands have scheduled the launch of DRM capable car receivers for India in the next two years, almost all of them based on chipsets developed and produced in India.

Today India is in a leading position worldwide by rolling out digital radio on a national level using the DRM standard, with great cooperation and product export opportunities into countries all over Asia-Pacific and beyond. Currently countries such as Pakistan (for both local coverage in the FM band and large-area coverage in the AM bands), Indonesia, South and Southern Africa, and many more are in the process of adopting and/or rolling out DRM for national coverage. In addition, a huge portion of the world’s population is already covered by DRM transmissions on international shortwave.

In the past, several digital radio standards have been thoroughly tested and reviewed by Indian authorities, and DRM was tested, identified and confirmed to be the best suited option for India’s radio digitization needs (incl. the detailed “Report of the Expert Committee on Prasar Bharati” under Dr Sam Pitroda). DRM is the most advanced standard to-date, incorporating the experiences and lessons learned from previous approaches. It utilizes the latest audio codec “MPEG xHE-AAC”, which ensures the highest possible audio quality even for very robust transmission signals.

From a cost and business perspective, DRM transmission equipment and receivers are easy to calculate and cheap to produce by manufacturers: Firstly, given that DRM is an open standard, no ‘licence’ (or ‘permission to use proprietary technology’) is required.

Advertisement

All aspects of the DRM technology are published and freely accessible, and no single company or entity owns the DRM technology. There is no use-fee or revenue sharing approaches for the DRM technology – neither for broadcasters nor for listeners.

DRM can carry up to four services per transmission as a flexible mixture of data and (up to three) audio services

DRM ensures clear sound with the latest MPEG audio codec technology xHE-AAC, enabling multiple stereo programmes in FM quality on a single MW transmission, stereo services over SW, and multiple stereo or even 5.1 surround services in the FM band

Thanks to the Journaline advanced text application, DRM makes the broadcast’s rich textual information treasure with news, sports updates and much more, in the past only available on the broadcaster’s web page, available to all listeners right on the radio sets as part of the radio service – free to air, without the need to pay for Internet access, and simultaneously in a multitude of languages with every DRM transmission

DRM allows the broadcaster to transmit multiple audio and data services in a single transmission, without any extra cost or the need to sign licence contracts

Advertisement

DRM allows the broadcaster to transmit special or even B2B data applications such as traffic services, without extra cost or the need to sign licence contracts

The ITU approved DRM standard provides identical functionality on all broadcast bands from large-area coverage in the AM bands to local/regional coverage in the FM band, ensuring optimized and low-cost receiver design

DRM is the only digital radio ITU standard to also cover national and international shortwave transmissions

DRM in VHF bands uses less spectrum than current stereo FM broadcasts, whilst additionally deriving the potential benefits of increased robustness, reduced transmission power, increased coverage or additional services: While analogue FM transmissions carry a single audio service within a bandwidth of at least 200 kHz, a DRM digital radio signal carries up to three audio services along with value-added services in better-than-FM quality within only 96 kHz bandwidth for the on-air signal.

It helps in automatically switch for disaster & emergency warnings in case of impending disasters. In large areas, automatically presenting the audio message, while providing detailed information on the screen in all relevant languages simultaneously. Great potential to become the surest and widest means of alerting the population to emergencies.

Advertisement

DRM supports multi- and single-frequency network operation (MFN/SFN). SFN operation allows multiple transmitters to cover a common area on a single frequency, which allows for new and more efficient network designs by extending coverage areas with additional synchronized transmitters as required, and solving typical network problems such as signal outages due to shadowing by using small-power gap-filler transmitters. In contrast, analogue FM services required additional individual FM frequencies for each additional transmitter in the network, as otherwise the signal in the overlapping coverage areas would be destroyed.

DRM supports the automatic hand-over to other frequencies and even other networks (AFS – Automatic Frequency Checking & Switching) once the receiver leaves the coverage area of the currently tuned transmission, and thus keeps the selected service tuned as long as possible while on the move without the needs for any user interaction.

DRM is fully compliant with the frequency allocations of the current FM and its analogue transmissions. And using DRM’s simulcast operation mode, it guarantees for a smooth transition from analogue FM services to future DRM-only operation by initially inserting the new digital services in the existing FM band without affecting the already existing analogue transmissions.

The extension of the licence (which should be free, or at nominal cost) would be dependent on the broadcaster getting digital services on the air (within a specified period of i.e. 1or 2 years). This is realistic as the digital signal in DRM is only 100 kHz wide and can be contained within the 800 kHz FM allocation, or it can be placed independently wherever there is a gap in the spectrum (and not necessarily next to the FM frequency).

DRM suggested a smooth and non-disruptive migration from analogue-only FM to future digital-only DRM transmissions in the FM band over a period of time, and with full protection for the FM licences issued to broadcasters as part of Phase-III and previously. During this transition period DRM’s simulcasting capabilities and flexibility in terms of using gaps in the FM spectrum while peacefully co-existing with analogue FM services (and, thereby, greatly extending the overall capacity of the FM band) are key success factors.

Advertisement

DRM has recommended the following ‘very flexible’ approach:

  1. Complete the allocation of Phase III of private FM auctions (for 15 years permission as per the existing policy) as early as possible. And as an incentive for going digital, allocate an additional frequency (absolutely free for, say, five years) to each of the successful bidders in VHF band for DRM services with the condition to implement the DRM digital services within a definite period of, say, one or two years. Failing this initial setup term or failing to continuously operate the additional digital transmission at any time during the proposed five-year period, the allocation of the additional frequency for DRM digital should be deemed to be cancelled and available for separate auctioning to third parties.
  2. Allocate an additional frequency (absolutely free for, say, five years) to each of the existing FM broadcasters in VHF band for DRM services on the condition to implement the DRM digital services within, say, one or two years period. Failing this initial setup term or failing to continuously operate the additional digital transmission at any time during the special licence grant (of, say, five years), the allocation of the additional frequency for DRM digital should be deemed to be cancelled and available for separate auctioning to third parties.
  3. Irrespective of whether or not the licencee chooses to use the free additional digital-only, licenced to obtain permission to migrate their main analogue FM frequency to DRM on the existing terms and conditions.
  4. Announce that no analogue radio transmissions (including analogue FM licence extensions) would be allowed after 15 years or at the end of the current FM licence terms, respectively, and develop a policy to renew the licences of the existing private FM players, as and when these expire, for the maximum period of 15 years from now keeping in view the time for analogue transmissions proposed to be allowed to the successful bidders of Phase III.
  5. Within the period of five years, develop and announce plans for the allocation of frequencies for DRM digital transmissions in the VHF band for AIR, private FM and Community Radio Stations. Also keep the requirements in view for the All India Highway Advisory Service in DRM digital proposed to be started by the National Highway Authority of India (NHAI).
  6. AIR should also develop and announce its plan for DRM digital implementation in VHF bands, as well as the remaining analogue MW & SW transmitters, as per the above proposed 15-years switchover period from now.
  7. Develop and announce policy for DRM digital implementation for Community Radio stations also along similar lines.

I&B Ministry

MIB sets OTT accessibility rules, mandates captions and audio description

Platforms get three years to add features for hearing and visually impaired

Published

on

NEW DELHI: The government has asked OTT platforms to make their shows easier to watch and hear. A new set of accessibility guidelines from the Ministry of Information and Broadcasting requires streaming services to add features for viewers with hearing and visual impairments.

The move follows the Rights of Persons with Disabilities Act, 2016, and is meant to bring streaming closer to the promise of equal access. In simple terms, if a film or series is coming to an OTT platform, it should not arrive empty-handed. It should come with captions for those who cannot hear well and audio descriptions for those who cannot see clearly.

The guidelines ask platforms to provide at least one accessibility feature each for hearing-impaired and visually-impaired viewers. That could be closed captions, open captions, Indian Sign Language interpretation, or audio description. The aim is to make content understandable without turning the viewing experience into a technical chore.

There is, however, a long runway. Platforms have up to thirty six months from the date of the guidelines to ensure that all newly released content carries these accessibility features. Older titles in their libraries are not under strict timelines, but companies are encouraged to add features gradually.

The rules also go beyond the show itself. User interfaces, whether on mobile apps, smart TVs or websites, must be designed to work with assistive technologies. Accessibility labels such as CC for captions, AD for audio description and ISL for sign language must be displayed clearly so viewers know what to expect before pressing play.

Advertisement

Some content types get a free pass. Live events, music, podcasts, and short form content like ads are exempt because of practical challenges in real time captioning and description.

OTT publishers will also need to file accessibility conformance reports. The first report is due three years from now, followed by quarterly updates. Complaints from viewers will follow a three tier system, starting with the platform itself, moving to self-regulatory bodies, and finally reaching a government monitoring committee if needed.

For the streaming industry, the message is clear. Accessibility is no longer a nice extra tucked away in settings. It is fast becoming part of the main feature, and in a country where streaming audiences run into the hundreds of millions, that could make a very big difference to who gets to enjoy the show.

Continue Reading

I&B Ministry

I&B’s 2025 report card: Lights, camera, action — and Rs 4,334 crore

Published

on

NEW DELHI: If 2025 was India’s year to make waves, the ministry of information and broadcasting (I&B) was its chief surfboard maker. Prime minister Narendra Modi’s call to “create in India, create for the world” wasn’t just ministerial hot air—it triggered a tsunami of creative dealmaking that swept from Melbourne to Madrid, generating Rs 4,334 crores in potential business discussions and putting Indian creators on every continent’s radar.

The centrepiece was Waves 2025, the World Audio Visual and Entertainment Summit, which drew over 90 countries, 10,000 delegates, and roughly 1 lakh punters through its doors. Modi himself dropped by to glad-hand young creators, describing the event as a “wave of culture, creativity and universal connectivity”—and for once, the hyperbole wasn’t entirely unwarranted.

The summit’s CreatoSphere platform, which sounds like something from a sci-fi novel but is actually a hub for film, VFX, animation, gaming, and digital media, launched the Create in India Challenges. Season one attracted over 1 lakh entries from more than 60 countries across 33 categories. Winners weren’t just handed certificates and sent packing—they performed at Melbourne, exhibited at Tokyo Game Show, and pitched at Toronto International Film Festival. I&B minister Ashwini Vaishnav handed out gongs to 150 creators, cementing the government’s commitment to nurturing what it calls the “creative economy.”

WaveX, the startup arm, proved equally industrious. It coaxed over 200 startups into its embrace, enabled 30 to pitch to Microsoft, Amazon, and Lumikai, and somehow got two of its charges—VYGR News and VIVA Technologies—onto Shark Tank India, where they presumably dodged the usual mauling. The initiative’s KalaaSetu and BhashaSetu challenges, focused on AI-driven video generation and real-time translation respectively, attracted over 100 startups and picked ten for collaboration with government media units.

Waves Bazaar, the “craft-to-commerce” global e-marketplace, went on a roadshow between August and December, hitting 12 international events across four continents and four domestic jamborees. The numbers are eye-watering: over 9,000 B2B meetings, 10 memoranda of understanding signed, three more proposed, and the launch of creative corridors with Japan, Korea, and Australia. The ministry claims Rs 4,334 crores in potential deals—potential being the operative word, though in India’s booming content market, optimism often precedes reality by only a few quarters.

On the bricks-and-mortar front, the Indian Institute of Creative Technology opened its temporary Mumbai campus in July with Rs 391.15 crores in budgetary support. The public-private partnership with Ficci and CII has enrolled over 100 students across 18 courses, incubated eight startups, and signed memoranda with Google, Meta, Nvidia, Microsoft, Apple, Adobe, and WPP—a who’s who of tech giants keen to tap India’s creative reserves. A permanent 10 acre campus at Film City, Goregaon, complete with an immersive AR/VR/XR studio, is in the works.

Elsewhere, the ministry set up a Live Events Development Cell to position India’s concert economy as a growth driver. A single-window clearance system is being built on the India Cine Hub platform to expedite permissions for fire, traffic, and municipal approvals—addressing the red-tape nightmares that have long plagued event organisers. Meanwhile, an inter-ministerial committee is tackling digital piracy, that perennial thorn in the creative economy’s side.

State broadcaster Doordarshan snagged the Election Commission’s media award for voter awareness during the 2024 Lok Sabha elections, presented by the president on National Voters’ Day. Community radio added 22 new stations, bringing the total to 551, with workshops and a national sammelan held during Waves to strengthen local broadcasting.

The 56th International Film Festival of India in Goa screened over 240 films from 81 countries, threw in the country’s first AI Film Festival, and staged a grand parade through Panaji that turned the event into a street-level celebration. The accompanying Waves Film Bazaar drew over 2,500 delegates from 40-plus countries and showcased 320 projects—making it one of South Asia’s largest film markets.

The Central Board of Film Certification modernised too, launching a multilingual certification module that allows multiple language versions under a single application, and mandating 50 per cent women’s participation on examining and revising committees. Digital signatures replaced wet ink, and certificates became downloadable—small victories in the fight against bureaucratic inertia.

India’s I&B  ministry ended 2025 having turned content creation into something resembling an industrial policy. Whether Rs 4,334 crores in “potential” business materialises remains to be seen, but the ministry has built the infrastructure, corralled the startups, and put Indian creators on international stages. As  Modi might say, the wave has been ridden. Now comes the hard part: keeping the momentum going when the cameras stop rolling.

Continue Reading

I&B Ministry

Centre drafts OTT rules to boost access for hearing disabled

Published

on

MUMBAI: The Centre has inched closer to making India’s streaming universe easier to watch, hear and enjoy for everyone. The Ministry of Information and Broadcasting has released draft guidelines that aim to standardise accessibility on OTT platforms, ensuring that viewers with hearing and visual impairments are no longer left out of the country’s digital entertainment boom.

Issued on 7 October and now open for public consultation, the draft rules arrive with constitutional and global backing. Minister of State for Information and Broadcasting L. Murugan told the Rajya Sabha that the framework draws from Article 14, the UN Convention on the Rights of Persons with Disabilities and the Rights of Persons with Disabilities Act, 2016. It also mirrors the Code of Ethics under the IT Rules, 2021.

At the heart of the proposal is a two-phase rollout of mandatory accessibility tools such as same-language closed captions and audio descriptions. The ministry said penalties and enforcement steps will be shaped after the consultation, but compliance will be tracked through progressive targets for OTT content libraries.

Parliament was also reminded that the broadcast sector has walked this path before. In 2019, the government notified accessibility standards for television programming, starting with Prasar Bharati and eventually extending them to private broadcasters.

With OTT viewership climbing across urban and small-town India, the draft rules attempt to bring streaming giants in step with a wider vision of inclusive media. The government hopes the move will help millions of Indians with disabilities press play without barriers.

Advertisement

 

Continue Reading
Advertisement CNN News18
Advertisement whatsapp
Advertisement ALL 3 Media
Advertisement Year Enders

Trending

Copyright © 2026 Indian Television Dot Com PVT LTD