The Story of KMFA

by Katherine Tanney

The Future of KMFA

In 1979, after twelve years at the Perry Brooks building downtown (10 of them rent-free, thanks to KMFA founder Max Brooks), the station leased offices at the Steen building at 30th and Lamar, where it now occupies the entire ground floor.

“We needed a place where people could easily access us,” said Eddins. “People were always wanting to come by and drop off a contribution or talk with an announcer and it was very difficult because of parking. There was really no room for expansion.”

Attorney Henry Gates Steen, whose practice is still located in the building, was friends with KMFA Board treasurer Frank Gibson. Thanks to their connection, Steen offered space at a reduced rate and allowed a tower to be placed on top of the building. Now there are hopes of KMFA purchasing 3001 North Lamar at some point in the future. The acquisition would offer the station long term stability in a central location with excellent elevation and line-of-sight to its transmitter tower.

A benefit of KMFA owning the building it occupies is the additional revenue it would generate from tenants, which, Allen says, would possibly include “local arts organizations with affinity to KMFA.”

In terms of its programming, the station plans to introduce “Wind Sounds” to its popular group of locally produced programs in May 2007. Devoted to classical music of all periods recorded by wind, band and brass ensembles, the show is being produced by long-term KMFA volunteer Doug Shands with assistance from Allen, though a host has yet to be named. Other locally produced shows include Dan Welcher’s “Knowing the Score,” Kathryn Mishell’s “Into the Light,” and Brian Satterwhite’s “Film Score Focus.” All three are hosted by Austin composers.

Also in KMFA’s future are major plans to put the entire music library, currently comprised of CDs, on a hard drive with a backup drive at the transmitter site in case of fire or other emergency at the station. Sara Hessel explained, “The overall sound will be so much cleaner and consistent. The quality of KMFA’s sound will improve dramatically.”

Finally, there is talk of obtaining additional CPB funding to convert KMFA into a digital (HD) radio station. For those without digital radios, the conversion won’t have a noticeable effect. But for those who have HD Radios, the sound will be CD-quality, with all the information—name of selection, composer, and performers—right there on the display. The conversion would double KMFA’s bandwidth or offerings on 89.5FM, allowing for the creation of a second station--KMFA 2, for example.

In celebration of its 40th year, KMFA plans to use some of its CPB grant to explore commissioning as many as three musical compositions from local composers affiliated with the station. It is also discussing hiring Will Shortz, the New York Times crossword puzzle editor, to create a custom puzzle commemorating the station, for its fall membership drive. (Allen worked with Shortz on a crossword puzzle for Minnesota Public Radio a few years ago.)

No doubt KMFA has come a long way since 1967, but it has stayed remarkably faithful to its original mission.

Malcolm Cooper “We are not what you call a fat organization,” remarked longstanding Board member, Malcolm Cooper, who makes his living as a financial consultant. “We’re doing extremely well right now and I think that’s because we have a very talented staff starting with Jack Allen; the whole group is amazingly enthusiastic about what they’re doing.”

Could Classical 89.5 be just hitting its stride at 40? Coming into its prime? Frank Bash has no doubt. “A story ought to be written about KMFA someday, how funny little Austin, Texas has one of the world’s best classical music radio stations. I mean, how did that happen?”

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