Radio World

Allow me to express appreciation for three interesting articles on the international radio scene in Radio World’s Sept. 1 issue. 

“U.S.-Based Shortwave Broadcasters Eye Digital” [discussed] the need for an appropriately priced, mass-production digital shortwave radio. A second article drew attention to the production of a Voice of America program beamed to Asia on shortwave and medium-wave in the Rohingya language for the benefit of refugees who have fled Myanmar into Bangladesh. 

Then there was the fascinating historic article on the AFRS (American Forces Radio Service) Mosquito Network during the devastating Pacific War.  

Back during the middle of the last century, there were usually only two medium-wave stations in Australia on the air late at night, 2UW in Sydney and 3AK in Melbourne, and consequently the band was wide open for late-night listening to the American AFRS stations throughout the Pacific. Over a period of time, we as listeners in both Australia and New Zealand heard all of these exotic little radio stations. 

A photo with the story [right] shows the entrance noticeboard of an AFRS station in the Mosquito Network without location and without call sign. However, the operating frequency 670 kHz provides a valuable clue. 

It is known that only one AFRS Mosquito Network station operated on 670 kHz, and that was for only a short period of time, before a frequency change to 690 kHz. That station was located on Bougainville in the Solomon Islands, and the photo was taken before the station adopted the unofficial and irregular callsign WSSO.  

American AFRS stations in the Pacific were generally allocated four-letter call signs beginning with WV or WX. We would suggest that the photograph of the Bougainville station was taken in very late 1943 or very early 1944, before the informal call sign WSSO was adopted. This information would also agree with the other photograph in your article that promoted WSSO programming in February
1944. 

By the way, we have drawn attention to these Radio World articles in our weekly half-hour program “Wavescan,” broadcast on shortwave in the Americas and worldwide 35 times each week.The program is researched and written in Indianapolis, voiced by Jeff White (Radio Miami International WRMI) and Ray Robinson (Voice of Hope KVOH, Los Angeles). In the United States, “Wavescan” is broadcast by shortwave WRMI and KVOH, as well as by WWCR in Nashville. In Africa, the program is on the air from the Voice of Hope in Zambia, and for Europe, Asia and the Pacific via KSDA on the island of Guam, and additional shortwave relay stations. 

The post Reader Letter: Mosquito Network appeared first on Radio World.

With the installation of Lawo mixing consoles and I/O equipment, China’s Fuzhou Radio and Television has upgraded its radio channels to AES67-compliant Ravenna AoIP, per an announcement from Lawo.

Fuzhou Radio built two identical on-air studios, each equipped with a 12-fader ruby mixing console that features Lawo’s Power Core AoIP mixing engine. Power Core comes with multiple MADI and AES67 interfaces for access to up to 384 channels of stereo audio.

The Power Core also has eight I/O plug-in slots for mic, line, AES3, HD MADI and Dante expansion cards. When paired with the ruby console, Power Core can provide up to 96 DSP channels, 80 summing busses, multiple AutoMix groups and compression/expansion/de-essing tools.

The studios were also equipped with Electro-Voice RE27 and Shure MX 418 microphones, Genelec 8030 monitor speakers, Eventide BD600+ broadcast delay systems and Infomedia AOIPBox terminals.

 

 

The post China’s Fuzhou Radio Modernizes With Lawo AoIP Gear appeared first on Radio World.

Even the Federal Communications Commission makes a mistake once in a while. And in the case of a potential financial liability, that can be good news for the stations concerned.

The commission cancelled several Notices of Apparent Liability for Forfeiture that had been issued to three radio stations in North Carolina — Radio Hatteras, CTC Media Group and Pirate Media Group.

[Read: Out-of-Date Online Files Being Investigated by FCC]

In the case of Radio Hatteras, the FCC said that station WHDZ(FM) in Buxton, N.C., had failed to file a timely license renewal application for the station, which was due Aug. 1, 2019. The FCC said the license renewal application was not filed on time — the FCC said it was filed Oct. 25, 2019 — but in reality Radio Hatteras filed the application on July 30, 2019. In reality, the filing made on Oct. 25, 2019, was an amendment to the application. Since the application was timely filed, the FCC cancelled the NAL.

The same was the case for CTC Media Group, which is licensee of FM translator station W282CQ in Bridgeton, N.C., for the same alleged offense: failing to timely file a license renewal application for the station. The background is the same as it was for Radio Hatteras — the FCC said the station failed its renewal by Aug. 1, 2019. In this case, however,  the commission had actually issued the initial license for the station on Aug. 12. 2019, therefore there was no need for CTC to file a renewal application.

The commission also cancelled a Notice of Apparent Liability for a Forfeiture issued to Pirate Media Group, licensee of FM translator station W281CH in Washington, N.C., for the same alleged violations. But in this case, too, the commission had already issued a license for the station on Sept.11, 2019, so it was impossible for Pirate to file an application to renew the station’s license.

In all three cases, the FCC has cancelled all of the forfeitures.

 

The post FCC Moves to Cancel Forfeitures After Catching its Own Errors appeared first on Radio World.

Streaming service tools provider StreamGuys has reworked its native media player, SGplayer.

Version 3.0 has a new GUI along with “greater continuity between desktop and mobile experiences; and additional GDPR- and CCPA- compliance tools for media enterprises leveraging targeted advertising,” according to a release.

“SGplayer 3.0’s new interface puts the visual focus more heavily on the branding and artwork of the broadcast station or podcast while more cleanly integrating additional elements such as song metadata and advertising. Supplemental functionality such as stream or episode selection — always visible on-screen in earlier versions — has been moved into collapsible menus to minimize distractions and streamline the user experience,” a release details among a number of user experience improvements.

Content search functionality has also been improved and expanded. 

Additionally, there has been added compliance features, “Of particular interest to media companies serving; European and Californian listeners, new tools for GDPR and CCPA compliance allow SGplayer’s targeted advertising to be disabled based on user preferences.”

Other new goodies include: support for both HLS and ICY protocols for HTTP-based delivery; automatic fallback from AAC to MP3 live audio streams for compatibility with older devices; authentication of tokenized streams to ensure user entitlement; Nielsen SDK integration for enhanced online audience measurement; Google Analytics tracking; and a customer-hosted persistent player option for enterprise clients wishing to combine SGplayer even more closely with their own custom development.

SGplayer is now available.

The post StreamGuys Revamps SGplayer appeared first on Radio World.

Frequent Workbench contributor and consultant Frank Hertel of Newman-Kees is not one to brag, but he has quite a bit of experience in dealing with mice. After 50+ years of servicing some really bad transmitter sites, he has a number of tips to share with readers.

Getty/anuwat_meereewee

1. Inspect the seals of all doors and windows and cable entries to the outside world, to ensure they fit tight.
2. Screen all fan openings and air exits with 1/4-inch galvanized hardware mesh, to keep critters out.
3. Make sure to plus the main electrical service entry conduits with stainless steel wool or copper wool and caulk. (Mice will eat through caulk alone.)
4. Resist the temptation to “dress up” your site by adding dropped ceilings; they provide an ideal location for nesting of mice.
5. Never take food or soft drinks into the building. Even a few crumbs or an empty soda can and will invite mice.
6. The same is true for any food-scented wrappers or containers. Keep them out of the transmitter building. Also use a trash can with a tight seal to dispose of everything. Better yet, always take your trash with you as you leave a transmitter building.
7. Realize that food scents in the building can entice mice. They will gnaw through some types of exterior wall surfaces if they get even the slightest scent of food.
8. Don’t use rodent bait; it actually attracts mice! And although it works, many times the mice often crawl off into some secluded space to die and make the building smell. Furthermore, most rodent bait will decompose over time and turn to dust — which you end up breathing. If you ever go to a transmitter site and find they have used mouse bait, don’t ever sweep or vacuum the floor without a respirator.
9. Instead of rodent bait, use something safe like “Peppermint Oil” to repel mice. It works! Here’s a video example showing its effectiveness.
10. On visits to infested sites, be sure to take a change of clothes and a bag to put your dirty clothes in! Otherwise you are infesting your vehicle with all the nasty stuff from the transmitter building.
11. Carry a jug of water, a bar of soap, a roll of paper towels and a bottle of alcohol, and clean yourself when leaving and before getting into your vehicle. This is especially helpful if you take a break to eat.

[Don’t Let Mice Kill Your Transmitter]

Frank adds that he has a personal reason for helping you to manage your exposure to rodents. 

For a long time, he suffered from an unusual medical condition. Whenever he at something sweet or drank a sugary drink, he would get an extreme pain where his esophagus entered his stomach. He tolerated this for 25 years, and had a number of tests during those 25 years; nothing was diagnosed.

One Thanksgiving, after eating a couple of those miniature Hershey bars, Frank was in deep distress and was taken to the hospital. Initially, the doctors thought it was a heart attack. Among the tests they performed was a “bore scope” down Frank’s throat. When Frank awoke from the anesthesia, the doctor had identified the problem: five small bacterial-based ulcers. Frank asked whether exposure to mouse bacteria, from contact with urine and droppings dust, could have caused the problem. The doctor’s reply was an emphatic “YES!”  

A 20-day treatment with Amoxicillin worked. But Frank no longer views mouse-infested transmitter sites the same way. His business does not provide routine service/maintenance; he is usually called in just for an emergency, and too many facilities have not had routine cleaning. 

He now carries a face mask and respirator in his vehicle. Mice are not to be taken lightly. More than just your equipment is at risk.

* * *

Wiring maven Steve Lampen attended a recent tips webinar sponsored by Telos. From our discussion of AoIP installations and the tons of analog wiring that is usually removed, Steve suggested that engineers Google “copper scrap reclamation” for information on turning your old wire into money. 

A recent Bloomberg headline stated, “Copper Tapped as the Next Big Metals Trade of 2020.” 

* * *  Fig. 1: A compact recorder and mixer from CEntrance.

I was commiserating with an engineer about remote broadcasts of the 1960s and ’70s and how they’ve changed.  Many stations load their jocks up with a tablet or a smartphone, and it’s show time! Even the gear required for news interviews has been simplified thanks to several codec manufacturers.

Using a smartphone for an interview is fine, but there are times where you’d like to mix two signals. That’s where CEntrance comes in.  

The MixerFace R4, pictured in Fig. 1, is a high-quality mixer, recorder and USB interface. The rugged metal enclosure is about the size of a smartphone, and can record to an SD card or the phone.

Fig. 2: This is not some kind of science fiction monster; it’s two people holding a MixerFace. Identify the hands and maybe you’ll win a prize.

In addition to gain and monitor controls, each channel has a switchable high-pass filter (to reduce on-location wind noise) as well as a Hi-Z/Low-Z selector switch for each channel. Longer recording sessions are assured with an 8 hour battery.

The MixerFace R4 is available through broadcast distributor Broadcasters General Store, which is sponsoring a fun contest. Look at Fig. 2. The first person identifying the hands holding the MixerFace R4 will win a $25 coffee card. Send your entry to my email and maybe include a tip or a picture of something to share from your gallery (not required). Only one winner, and the time/date stamp on your email will be the determining factor. 

Earn recertification credit when you share a tip published in Workbench. Thank you for sharing your tips and high-resolution photos by sending them to  johnpbisset@gmail.com.

John Bisset has spent 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award.

The post Frank Hertel’s 11 Tips for Dealing With Mice appeared first on Radio World.

The Adam Hall Group has unveiled its Palmer brand’s new active studio monitor, the Studimon 5.

The Studimon 5 comes in compact bass reflex housing with wooden sidewalls. It has a 5-inch ferrite custom subwoofer, 0.75-inch neodymium silk diaphragm tweeter, and a frequency response of 70 Hz to 20 kHz.

[Check Out More Products at Radio World’s Products Section]

The two-way monitor, with an output power of two 30 W (RMS) amplifiers is intended for home studios as well as professional audio environments.

The back of the Studimon 5 features a 1/4-inch jack and XLR inputs, and a volume controller for tuning stereo balance.

The Studiomon 5 is priced at $269 each.

Info: www.palmer-germany.com/en/

The post Palmer Releases Studiomon 5 Studio Monitor appeared first on Radio World.

Steve Newberry

Steve Newberry will step down from his role as executive vice president for industry affairs and strategic planning at the National Association of Broadcasters this spring. 

Newberry is leaving the broadcast advocacy association to serve as CEO for ad sync technology company Quu Inc. He will remain with NAB through March 31.

“While we hate to see him leave, we’re delighted Steve will be with us through the completion of our move to a new headquarters this spring. We’re also pleased that Steve will be fulfilling his entrepreneurial passion with QUU, an auto dashboard initiative that uses technology to improve the listener experience and drive higher radio station revenue,” NAB President/CEO Gordon Smith said in the announcement. 

Smith added, “I will miss Steve’s daily presence at NAB and will always be grateful for his friendship and many contributions to the success of broadcasting.”

Newberry became a station owner at 21 years old and went on to serve as a NAB Radio Board chair and NAB Joint Board chair. He also served as president of the Kentucky Broadcasters Association and chairman of the Authority for Kentucky Educational Television, as well as a national board member for America’s Public Television Station. 

Quu was founded in 2007 by Joe Harb, who also serves as chief innovation officer. According to the announcement, Quu’s “technology enables radio stations to take full control of the RDS/HD in-car stereo display with the ability to monetize through ad augmentation.”

The company is based in Mercer Island, Wash., but Newberry will remain in D.C. He will also continue to serve as chairman for Commonwealth Broadcasting of Glasgow, Ky.

The post NAB EVP Newberry Plans Exit appeared first on Radio World.

The author is CEO, Digital Radio UK.

LONDON — It looks like 2020 is going to be another milestone year for digital radio in the United Kingdom with digital listening expected to increase to over 60% of all radio listening.

Ford Ennals

The growth in digital listening is being driven by the continued expansion of national commercial digital stations, with nine new national digital stations added in the last year, the fitting of DAB in just about all new cars, and the rise in online listening in homes driven by the strong take-up of smart speakers.

EXPANSION

This is also the year when the U.K. government will play a key role working with the radio industry on a Radio and Audio Review supporting the long-term health of the radio sector, announced by the Digital Minister in May 2019, and by determining the future of the U.K.’s national and local commercial radio station analog licenses.

The consultation document on analog license renewal published by the Department for Digital, Culture, Media and Sport on Dec. 23 confirms government support for digital radio and the intent to sustain progress. The U.K. government has been a long-term supporter of digital radio dating back to the 2010 Digital Radio Action Plan and the passage of the Digital Economy Act.

Photo Courtesy of Teracom SE

This support was reiterated in the consultation document that highlights the department’s digital radio strategy and the potential options for analog station license renewals. The consultation has been prompted by the fact that the national and local commercial station analog licenses start to expire in 2022 and as government recognize that there “is little prospect of a radio switchover before the mid-2020s,” they will have to take action to support the continued stability of the commercial radio sector and the continued growth of digital radio.

The document details the progress made post the Digital Radio Action Plan and the set of government initiatives announced at the end of 2013. It highlights the development of a “competitive DAB network used by nearly 66% of adults; the expansion of both national and local DAB coverage; the launch of new services; the fitment of DAB in new cars,” and the growth of digital listening to nearly 57%.

DCMS emphasizes that while a “decisive shift to digital has started, progress is not uniform” and that analog still has an important role to play, accounting for more than 40% of radio listening, and with local stations still having the majority of listening on analog.

NEXT STEPS

Consequently government needs to consider what steps to take with regards to commercial analog station renewals and has proposed three options, which range from letting analog licenses expire to renewing licenses for 5–8 years. It is reluctant to support a “do nothing” approach, as it wants to maintain the stability of commercial radio and the incentives to support the further development of DAB in the U.K.

The consultation also looks forward to the launch of new ultra-local small-scale multiplexes, which media regulator Ofcom is planning to license in the U.K. later in 2020, and the potential prospect of some local commercial stations having the option to satisfy their DAB carriage license obligations through distribution on the new small-scale DAB multiplexes.

The outcome of the DCMS consultation on analog license renewal, which closes on Feb. 21 (responses to analoguelicence@culture.gov.uk) and the DCMS/Industry Radio and Audio Review are unknown at this point and will be shaped by industry and stakeholder response and feedback.

What is clear is that in 2020 the government is working to support the development of the radio sector and the long-term transition to a digital future for U.K. radio.

The post U.K. Government Restates Support for Digital Radio appeared first on Radio World.

Fig. 1: A 1960s phasor with commonpoint controls added.

Our previous article “Find Your Modulation Sweet Spot,” published in the Oct. 9, 2019, issue of Radio World, is still available online, just Google that headline. It sets the stage for a two-part discussion of AM directionals, beginning here.

As you surely know, fewer engineers are qualified to work on AM directional antenna systems today. Younger ones who maintain these marvels of engineering may not be as well versed as their predecessors.

If you are a member of the new breed, my advice is to be careful not to do the wrong thing when tackling a problem. Don’t make adjustments without analyzing a situation first.   

PROBLEMS

If you find antenna monitor phase and ratio readings are off more than a few degrees or a tower radio is off more than 5%, don’t start adjusting the phasor to compensate. Keep your cool. Write down all the phasor dial readings for future reference. Do a complete physical inspection, including eyeballing the inside of the phasor cabinet and antenna coupling networks. Look for broken connections everywhere and on lines running to the towers. Go out and measure the monitor points. You may find they are in spec and that your real problem is in the antenna monitor or other part of the sample system. 

Jumping to the wrong conclusion could result in chasing your tail to fix an antenna problem that you don’t have. 

TOO MANY KNOBS

An engineer maintaining a two-tower AM directional antenna station called me for advice recently. He is one of the engineers I am mentoring. 

A station’s commonpoint impedance (RF input to the phasor) was difficult to adjust because the variable commonpoint resistance coil was at one end of its travel. All had been well a few months before. Today’s solid-state transmitters want to see exactly 50 ohms with near zero reactance, as you know, so setting the commonpoint impedance correctly is very important. 

As it turns out, the phasor has phase and ratio controls for both towers. In this case, it was too many knobs.   

The ratio controls could be tweaked on either tower to keep the station in specs. This led to the commonpoint problem when he used both to get the correct antenna monitor phase and ratio numbers. The phasor’s input matching network was looking at a phasor “buss” impedance that was not according to the original plan. 

PHASOR DESIGNS

It’s important to understand how phasing systems are designed and built. A transmitter feeds RF power into a phasor cabinet, where there is a  three-coil impedance matching network. It feeds RF energy to a point called the “buss.” This is where power is rationed out to phase and ratio controls for each tower. The buss is rarely 50 ohms, and it is normal to have the impedance change a bit as an engineer tweaks phase and ratio controls to maintain FCC licensed specifications. The input matching network normally has enough operating range to compensate for these adjustments.    

Not all phasors have a front panel adjusted ratio control for the reference tower. That is for good reason. The reference tower normally gets more power than the other tower or towers. There is normally no need to adjust power to the reference tower after the station is initially tuned and licensed. It is the standard/reference that the other towers or towers are compared/referenced to. 

I told the engineer to carefully adjust the reference tower ratio control to full, or close to full on, while keeping the other tower ratio and phase correct. Then, don’t touch the reference tower radio control again. Mark it as “don’t adjust.” That solved his commonpoint problem. He then had good resistance and reactance control because the buss impedance was as expected in the design. Also, running both ratio controls down to their lower ends could cause some phasor components to run hot. 

DESIGN EVOLUTION Fig. 2: Commonpoint controls were added to this phasor.

Phasor systems did not typically have front-panel adjustable input matching networks years ago when tube transmitters were the norm. That changed when solid-state transmitters came along. Now input resistance and reactance controls are required to keep reflected power low and transmitters happy. 

Fig. 1 shows a 1967 vintage Gates three-tower phasor. It did not originally have an input matching network that is adjustable from the front panel. I added those knobs to help control the input impedance and transmitter power when switching from 5 kW non-directional day to 5.4 kW directional night. One control is for resistance, which is tweaked to keep the input at the licensed 50 ohms. The other is commonpoint reactance. Fig. 2 is the dial I normally adjusted to get the transmitter to make just the right amount of power at night. 

In this case, the day non-directional antenna coupling unit has clips on fixed coils for adjustments. Once set, it was good to go. The maintenance procedure is to get the transmitter running at the correct power level in the day mode, then switch to night and adjust the night commonpoint reactance control to get the correct directional antenna power. It is that simple.

You’ll also note there are FCC-required operating parameters listed on the front of the phasor and transmitter. They are right where needed most.     

Yes, that is a Gates BC-5H Transmitter next to the phasor. It has been in full service, running 5,000 watts day and 5,400 watts night since 1973. That’s 46 years! This transmitter is on its third high-voltage transformer, third set of AC contactors, fifth set of high-voltage rectifiers and the solid-state audio driver section has been rebuilt four times on site without sending it to a factory for repair. The transmitter lives on, but will likely be replaced by my engineering successor when the next serious failure occurs. Fortunately there is a Collins 5 kW AM to back it up. Both are excellent tube designs. 

ANTENNA EFFICIENCY

Can you assume that all is well when the monitor points are below FCC limits? Not necessarily. You might have serious impedance mismatches and power divider mismatches, as described above. RF power could be turning to heat. 

You can get a readout on antenna efficiency by going to the original proof of performance documentation and making six or more measurements in the major lobe or lobes. The readings should agree, although there are seasonal variations. RF travels better over frozen ground so winter signals are inherently a bit higher. It is not a big deal in the first couple miles from the transmitter. Ground loss changes become more apparent the further out you go, especially at  20 miles and beyond.

OOS, OOM

Just because the phasor doesn’t have active components, that doesn’t mean it should be ignored. Rodents get in sometimes and need to be dealt with. Loose hardware is common on RF contactors because they are usually operated twice a day with plenty of vibration in the process. RF contacts wear and should be replaced before they fail completely. 

HEAT

Get one of those infrared temperature meters and go through the phasor, then antenna coupling networks looking for hot spots. Use it around electrical load centers too. You might be amazed to find hot electrical contracts and wires that are about to fail. Best to take care of the problem before it causes an off-air emergency at a bad time.      

PAPERWORK Fig. 3: Keep good records.

Keep good visit-to-visit documentation on an AM directional (Fig. 3). It is a history of how the system has been behaving. You don’t just log that everything is OK. AM directionals have many parameters to keep track of. That includes phase and ratio readings on each non-reference tower, dial settings on the phasor, transmitter PA readings, commonpoint current and monitor point readings. along with date and time. You’ll likely see seasonal changes on monitor point measurements.

Fig. 4 shows a phasor adjustment crank. Note that normal counter dial reading is labeled nearby for easy reference. This is one more way to prevent an “oops” from becoming a major problem.

You should keep accurate phasor schematic documentation on hand at the transmitter site. Designs and “as built” are often a bit different. I recommend you pencil any changes on the original schematic. Also, mark down the number of active turns on each coil in the system. As you know, silver-plated straps with clips are used to short out unused turns on fixed coils. They are set once and then normally not touched again. It won’t take but an hour to do the documentation and will save a lot of headaches in the future. Lightning can blow up a coil or capacitor beyond recognition. Having parts values and settings on a schematic diagram can be a life saver.

Fig. 4: Mark your normal dial settings for easy reference.

A nearby station was visited by vandals one night. Somehow they got into the antenna coupling networks and pulled clips off the fixed coils. No other damage, just mischief. It took the engineer only an hour to put the coil clips back in the right spots, plus do a little tweaking, to get the antenna system working properly again. Imagine trying to start from scratch to get the system operational without that knowledge. Ouch! 

By the way, spare parts and equipment manuals belong where the equipment is, not back at the studio. That includes books and programming information for remote control systems. 

The best is yet to come. Stay tuned for an upcoming issue, where you’ll find a real-life story about a 197-foot tower that came down in the parking lot at a directional AM station.

Comment on this or any article. Write to radioworld@futurenet.com.

Mark Persons, WØMH, built four new AM directional systems, from the ground up, using only schematic diagrams and parts. He is an SBE Certified Professional Broadcast Engineer and was named SBE Engineer of the Year in 2018. Mark is now retired after more than 40 years in business. His website is www.mwpersons.com.

The post Best Practices for AM Directional Systems appeared first on Radio World.

Breadboarding the circuit.

Ever get a song stuck in your head that you don’t necessarily mind being there? My latest benign earworm happens to be “Frankenstein” by the Edgar Winter Group; probably due to what’s been going on at my workbench lately. 

In our first installment, we walked through the audio circuit of “THAT Thing,” a mic preamp design built around THAT Corp. ICs.

POWER SUPPLY Gathering the parts.

In this “episode,” we start with the power supply. It’s a fairly common, straightforward design. The audio chips require bipolar DC power at a maximum of ±20 Volts. A +48VDC rail is needed for phantom power.

We start with an AC transformer that takes 120VAC from the wall and steps it down to 48VAC with a center tap, 24VAC for each side of the bipolar supply. 

Following rectification through BR1, we get two pulsing DC rails. From there, the pulsing DC goes through a set of electrolytic capacitors, C101-C104, to level out the bumps. Then, the actual regulation occurs with U101 and U102, positive and negative 18VDC regulators. Next, each rail gets another dose of filtering through C105-108 to take out any remaining ripples. 

Etched PCBs

C109 and C110, a pair of polyester capacitors, remove any RFI sneaking in through the power rails. D101 and D102 are there to ensure that the positive and negative rails stay that way. Any negative voltage appearing on the positive rail shunts to ground and vice versa. D103 and D104 protect the regulator ICs by ensuring that the output voltage never exceeds the input.

Finally, LEDs 101 and 102 in combination with their respective current limiting resistors, R104 and R105, indicate the presence of actual voltage on each rail to show that the supply is functioning correctly, a good aid in troubleshooting.

Power supply board

For the phantom power section, the entire 48VAC secondary winding of the transformer is used. After filtering and rectification through C111, C112 and BR2, we’re left with about 70VDC. Additional RF and ripple filtering is accomplished by C113 and C114. Regulation is performed by U103, a TL783 adjustable regulator. R101 and R102 determine the output voltage of the IC, and C116 filters out any output noise. 

Additional stability is provided by C115 and R103. 48VDC phantom power must be ruler flat to prevent any noise being introduced at the mic inputs, where the audio circuit is the most sensitive.

BREADBOARDING Curt etches the PCBs.

At this stage, I began breadboarding the circuit to test a few component choices and layout. Here’s where I found out firsthand the importance of filter caps C7-C10. 

Without those critical components in place, the circuit made a nice white noise generator, especially in the unprotected environment of the workbench! 

I also found that I had pretty wide latitude in my choice of C6, the high-pass filter capacitor. I settled on 1 µF because it offered, to my ears, the best balance between getting rid of rumble and being able to go high enough for extreme roll-off, if necessary. Anything — even as high as 47 µF — will work, as long as the gain is high enough.

Once I was through experimenting with circuit topology, I imported my schematic into ExpressPCB and worked on the circuit boards. In order to maximize flexibility, and to be able to possibly repurpose the design, I opted to keep the power supply and each audio channel on separate boards. 

Once I had all the correct parts together and etched the boards, I was able to bench test the finished power supply and one completed channel. Surprisingly, the only issue was that I had wired the phantom power LED on the audio board backwards! An easy fix for a change! It was only mounted directly to the PCB temporarily, anyway. Its intended location is the front panel with the other controls.

Testing the preamp assembly with a microphone. Testing the power supply assembly.

Speaking of which, while thinking about how I was going to house this creation, I came across an abandoned 1RU chassis that was just right. I stripped out the guts and replaced the front panel with a 1RU blank that could be punched and drilled specifically for this project. I put the input XLR jacks on the front panel, taking a cue from a previously built kit in my studio. The output jacks are 1/4-inch TRS for easy interface with my 1/4-inch TRS patch bay.

CONSIDERING IMPROVEMENTS

Never one to leave anything alone if I think there’s room for “improvement,” I started thinking of potential modifications to this design. Looking at some of the design notes from THAT Corp., and discussing this project with other DIYers, I settled on two relatively simple things to try. 

The faceplate after drilling.

First up, an alternative to the gain pot is a rotary switch with several positions, each position providing a different fixed gain. The advantage here is better component matching between channels, which translates to more accurately repeatable settings between channels. High quality reverse log pots of this resistance value can be hard to find at reasonable prices. Besides, more precise adjustments can be made further down the signal chain, or in the mixing/editing stage.

The other modification I looked into was replacing the initial input stage with a transformer. While I suggested in the first installment that transformers are expensive compared to capacitive coupling stages, this is a case where the custom build aspect and its benefits perhaps outweigh the added cost. 

True, the concept behind chips like the THAT1512 is to obviate the need for a transformer, which is perfectly valid, if one is building numerous preamp stages or a 16-channel mixer. On the other hand, a transformer provides way better common mode rejection, kills RFI, eliminates hum loops and also mitigates against any phantom power faults possibly cooking the ICs. Placing a transformer on the input eliminates several other components: C3, C4, R3, R4, R5, R6, R7 and D1-D4 all go away.

VERSION 2 The version 2 preamp assembly with transformer installed.

In version 2 of THAT Thing, I went ahead with the input transformer and the rotary gain switch with six positions.

The transformer I used is OEP’s A262-A3E, which I borrowed from a tube mic preamp in my rack. It’s much less expensive than a Jensen or a Lundahl and, hey, it’s what I had! Good thing it was cheap because while desoldering it from the other preamp’s PCB, I somehow managed to fry the secondary winding. Oops! It had a good run. R.I.P.

Once the replacement arrived from www.Newark.com, I set about testing it within the circuit. It’s important to consider that the input transformer adds some gain of its own to the circuit, about 16 dB. It took some experimentation to settle on the gain levels for the rotary switch, but I ended up with a range between 19 dB and 50 dB.

Looking inside.

So, how did it sound? Super clean, and the transformer definitely adds some character. Either version works very well with just about every mic I tested, from a Shure SM58 to an MXL ribbo n mic, to an Audio Technica AT4040. Two to four channels of “THAT Thing” would nicely compliment a Mackie 1202 or 1402 mixer’s line inputs, should you find yourself running short of mic inputs. Or connect it straight to a PC’s sound card input.

TRY IT YOURSELF Inside closeup

For anyone willing to take a stab at this, I’m happy to provide the schematics, PCB layouts and other notes. 

“THAT” Thing in the rack.

You’ll need to download ExpressPCBPlus (free at www.expresspcb.com) to read and print them out. All parts except the input transformers are available from Mouser Electronics or most other suppliers. The transformers, as mentioned earlier, can be ordered from Newark.com.

Happy soldering!

Curt Yengst, CSRE, is a contributor to Radio World and an assistant engineer with WAWZ(FM) in Zarephath, N.J.

Email us with your own DIY ideas at radioworld@futurenet.com.

The post Let’s Finish Our Solid-State Mic Preamp Project  appeared first on Radio World.

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

Amid tensions with Iran simmering, the ongoing impeachment impasse in the national consciousness, and the election season looming, radio listeners are turning to stations as never before. They want coverage from their trusted source: noncommercial radio.

New demands may create stress at stations, but this interest offers incredible opportunities as well.

How significant is all the attention? Radio Research Consortium, the nation’s purveyor of audience data for noncommercial radio, issued a study this week into impeachment broadcast listenership. RRC’s numbers show a spike in audience for stations airing impeachment hearings and analysis.

[Read: Community Broadcaster: The Last 2019 To-Dos]

“[F]or 50 full-time noncommercial news stations across 44 PPM metros, the six days containing special coverage saw more total AQH listening than any of the 14 days absent of special coverage,” the team notes. “Not only did the six days with special coverage outperform the 14 days without special coverage on a day-by-day basis, listening was higher for this set of stations on an hour-by-hour basis, as well.”

Off to the side, many stations are skittish about interrupting their regularly scheduled programs, especially their most popular ones, for what can seem like dry Robert’s Rules of Order procedurals or blatant grandstanding by lawmakers. Nothing could be further from the truth, it seems. Audiences love their regular programming but in times of urgency and uncertainty, the numbers indicate these listeners crave more the context and clarity your station can provide.

“All well and good,” you may say, “but how can a lightly staffed or an all-volunteer station compete with the giants in doing this breaking coverage?”

My encouragement to everyone in community radio in these moments is to stop thinking about competition and focus on, realistically, what you can provide to your community. That’s a hard pill to swallow for many of us, because we have been raised around the idea of outdoing others, beating others to whatever we’re racing toward, and with winning. Noncommercial radio should always assert itself, of course, but community service is really our goal. Unlike for-profit media, community radio does not need to chase whatever winds the markets are blowing in. In fact, no matter what you do, collectively or individually, you will discover someone is always bigger, better, more resourced and quicker. So why not instead place your energies in how your station can serve its listeners and signal area best?

Perhaps your station can collect voices in your community with area reactions to the issues of the day. Candidate forums or one-on-one visits with candidates in a given race might give your audience a chance to cast an informed vote, or even to find common ground with perceived opponents. How are your Congressional representatives responding to the matters facing the nation now? These are all avenues your station can take to deliver coverage that do not demand tons of resources.

Some nonprofit media organizations are seeing tremendous returns with partnerships that pool resources and deliver coverage jointly to everyone. Especially for thinly resourced stations, collaboration is a fantastic way of delivering what audiences want without undercutting the rest of your operations.

2020 is shaping up to be a tremendous year for radio. The presidential election, races for House and Senate seats marked by several prominent retirements, and natural disasters mean community radio still has a big role to play. We can make a real impact, but such will require fresh thinking and commitment.

 

The post Community Broadcaster: Community Radio Relevant as Ever appeared first on Radio World.

Logitek has added Ravenna-compatibility to its JetStream Plus and Jet67 AoIP audio routing engines, according to a press release.

In the announcement, Logitek President Tag Borland says the company “has always looked for better ways to manage audio” and described Ravenna’s solutions as “world-class” in terms of quality and performance standards.

[Check Out More Products at Radio World’s Products Section]

JetStream Plus and Jet67 AoIP can already use Dante, AES67, LiveWire and, of course, Logitek’s own JetNet solutions to connect to other broadcast equipment, the company says. The company also touts the devices’ small footprint and high-density routing technologies.

Ravenna is an open networking standard developed by ALC NetworX for real-time distribution of audio and other media in IP-based networks.

 

The post Logitek Beefs Up AoIP Engines With Ravenna appeared first on Radio World.

Jeff Welton

A recent RW ebook asked, “Have You Bought Your Last Tube?” It included a Q&A with Nautel’s Jeff Welton, a recipient of the Association of Public Radio Engineers Engineering Achievement Award and the Society of Broadcast Engineers James C. Wulliman Educator of the Year Award.

These are excerpts; read the free ebook at https://www.radioworld.com/ebooks.

 

RW: Do you find that many users are attached to their tube systems, both because of familiarity as well as cost factors? 

Welton: Very, very few — and it’s a rapidly decreasing number. 

There are some who are quite apprehensive about the cost of acquiring a new box, as it’s a big number. However, in a lot of cases, especially if you amortize it over the period of a lease or bank loan, the overall savings can actually outweigh the acquisition cost. 

I’ve had situations where a station leased a solid-state transmitter to replace a tube rig, and the savings in operating costs actually made the lease payments. Obviously that’s not always the case, but it’s something to consider, especially if the current rig is eating you out of house and home, electrically speaking!

RW: What considerations then should an engineer or manager use to assess the ROI on a new purchase?

Welton: It’s not enough to just look at purchase price. Look at the power bill now — and get the manufacturer to use that to provide you with a ballpark of what it would be with the new rig. Remember that this will just be an estimate — demand costs and overage charges can be hard to calculate without an intimate knowledge of the specific utility.

Also factor in the amount of time your engineer spends doing repairs — or if you have a contract engineer, what it’s costing in emergency calls. Don’t expect engineering costs to go away; if you’re not doing maintenance, it’s the same as owning a car and never changing the oil … it’s not if you’ll have a failure, but when. However, you can factor in the cost of emergency repairs and tube costs; those alone can make up several thousand dollars a year. 

Also look at air handling; if you’re air conditioning, you’ll need less of it as a rule. Forced air is less a concern. Obviously you should look at extra costs that may come with a new rig, also; liquid-cooled systems, for example, tend to have much higher installation costs associated with the plumbing. That’s a one-time thing, but it does need to be considered. 

If you are using air cooling, you may decide to switch from forced air to air conditioned; that’s also an impact on ROI. 

Remember that manufacturers will typically be leaning toward the solutions they provide, so get a couple of different opinions, even if you already think you know what you are leaning toward.

RW: What’s the expected life of a tube these days?

Welton: It varies, a lot. Some of the more popular systems out there are lucky to get 11 months out of a tube anymore, even with careful filament voltage management. Others are still good for a couple of years. I think the days of seeing 50,000 or more hours on a tube are pretty much gone. Part of that is systemic — the folks who know how to manage tuning for maximum tube life are slowly leaving us — and part of it seems to be related to material factors, but that’s not an area I’m proficient in, for obvious reasons.

RW: How much more efficient are solid-state designs?

Welton: For the most part, overall efficiency of a solid-state FM transmitter is around 72% these days — that’s AC to RF. For tube transmitters, efficiency can vary from less than 50% for a grounded grid design, to 65% or higher for some of the other designs, so the efficiency of a solid-state design will be somewhere between 10 and 50% higher than that of the tube system, as a rule.

The post Factors to Weigh in Your Tube Talk appeared first on Radio World.

Digigram has released a firmware update to its IqoyaX/Link and Iqoya Serv/Link IP audio codecs that will enable them to manage up to 32 mono or stereo full duplex IP streams during remote broadcasts.

The company says it added new graphical interfaces specific to the configuration and operating phases. In two clicks, users can place calls to the field or the studio. With the update, the codecs support SIP, direct SIP and symmetric RTP connections using the address book.

[Check Out More Products at Radio World’s Products Section]

In remote broadcast mode, FluidIP integrates stream redundancy functions such as forward error correction or dual streaming with spatial or time diversity to establish reliable and resilient connections on unmanaged networks.

Additionally, Digigram says the updated firmware features low-latency audio connections and EBU/ACIP compliance for third-party codecs and SIP infrastructure interoperability.

Iqoya Serv/Link has the highest codec density in 1U, according to Digigram. In remote mode, it can manage up to 32 mono or stereo full duplex IP streams regardless of the audio encoding format and the audio connectivity; and when in the “program distribution” configuration, it supports up to 128 mono input and output channels and able to simultaneously encode, decode and transcode IP audio streams.

The post Digigram Adds Remote Capabilities for Iqoyas appeared first on Radio World.

One of the biggest stories so far in the year 2020 is the continued changes to radio integration in the car dashboard.

At the 2020 Consumer Electronics Show in Las Vegas in Las Vegas, iHeartRadio announced a series of major auto integrations for the company’s digital music, podcasting, and on-demand/live streaming radio service.

“[In] 2020 we will continue to expand our audio offerings and connect with more and more marquee technology companies to provide a seamless, unmatched audio experience to consumers,” said Michele Laven, president of the Strategic Partnerships Group for iHeartMedia.

[Read: Radio Seeks Its Future in the Vehicle]

Among the key integrations is a new standalone app for vehicles powered by Android Automotive OS. The app will be available for integration in the Volvo XC40 Recharge SUV and the electric performance car Polestar 2. The company is also linking up with BMW and General Motors to release a new app for the BMW ConnectDrive system and a new integration for future Chevrolet, Buick, GMC and Cadillac vehicle models.

While iHeartRadio currently offers an in-vehicle experience for GM cars, the new app will be expanded to include access to podcasts and playlists in addition to live radio and a custom artist radio channel.

At the CES show, iHeartRadio also announced its status as an ecosystem partner with several new third-party auto integration companies. iHeartRadio plans to join forces on the Harman Ignite Marketplace, which links together in-vehicle apps and offers services like navigation, messaging, and media, as well as with LG on its webOS Auto platform, a rear-seat entertainment system.

The company also plans to work with SoundHound to bring iHeartRadio’s content to SoundHound’s Houndify voice AI platform and app and with Panasonic, by which iHeartRadio will be integrated into several next-generation in-vehicle experiences via the Panasonic infotainment platform experience SkipGen.

The 2020 CES show runs from January 7–10 in Las Vegas.

 

The post iHeartRadio Announces New Auto Integrations at CES 2020 appeared first on Radio World.

Radio companies want to be cool and hip, but they’re competing in a dramatically changed audio competitive environment.
Getty Images/Avesun

“The blood of the local radio industry will be on everybody’s hands if we do not get relief from these archaic and rusty shackles.”

That comment about regulation was made by Jeff Warshaw, the CEO of Connoisseur Media; and while the sentiment may be familiar to many in commercial radio, it was delivered in an unusual setting: the chamber of the Federal Communications Commission in Washington.

The FCC hosted a symposium in late 2019 to ask industry representatives about trends and challenges facing the radio industry. Anyone who wanted to compile a list of business challenges heard plenty to be worried about. 

The discussion, led by Fred Jacobs, president of Jacobs Media, covered topics like music licensing fees, the future of AM radio, new revenue sources and minority ownership. And you knew regulatory relief was going to come up too.

UNLIMITED CONTENT

The speakers certainly were in agreement that the ways in which Americans watch, listen and read to content are evolving fast. 

“People are consuming media in different ways and in different places. There is an unlimited amount of content available now, but is it quality enough to attract listeners and in the places they need it?” said Hartley Adkins, president of Integrated Revenue Strategy for iHeartMedia. 

“If you have good content but someone can’t access it, or if you have poor content to begin with, it doesn’t work. … Even when you look at smart speakers, radio needs to be in position to deliver quality content in 2020 and beyond.”

At the FCC event (shown in a captioned webcast), Caroline Beasley emphasized the need for radio broadcasters to diversify their revenue streams. At left is Karen Slade, vice president/general manager of KJLH(FM) in Los Angeles.

Caroline Beasley, CEO of Beasley Media Group and former joint board chair of the NAB, told the symposium that radio must commit further to its local communities while exploring new platforms, as her company is doing with gaming and other initiatives.

“We’re providing great local content via our local signals, but we need to be everywhere our listeners are. That is a business model significantly different than the over-the-air model. So we are making decisions on where to spend our resources. We are facing and making some very challenging decisions, especially now during budget season, thinking about next year.”

Beasley said radio revenue in its radio markets has declined 30% over the past 10 years. “Our piece of the advertising pie is shrinking. It is going to digital, so if we want to stay in business we have to diversify our revenue streams. At the same time our costs are going up because we are being forced to distribute our programming over multiple platforms.”

[Learn about Media “Efficiency” Vs. Media “Effectiveness”] 

The panel visited the question of whether such companies are in “radio” or simply “media.”

Jeff Warshaw, CEO of Connoisseur Media, said he considers himself in the radio business but that its definition has broadened. 

“The [traditional] radio business, the business of broadcasting over the air and monetizing that service to advertisers, is shrinking, and will continue to shrink until it becomes an unviable business,” he said. “Just because we can now take our content and try to monetize it against a myriad of competitors on multiple platforms, doesn’t mean that the radio business isn’t shrinking and getting more difficult each it year. It is,” he said.

“We are now competing with companies that are hundreds of times larger than the biggest radio broadcaster. They are selling subscriptions, they sell data and they sell devices. They are unregulated, and we are stuck with regulations that could have never foreseen the types of competitive pressures we are facing.”

NEW VENTURES, NEW COSTS

 Karen Slade, VP and GM of KJLH Radio in Los Angeles, said her view was not from “30,000 feet up like the other members of the panel, but more like 10 flights up,” which gives her a different perspective. 

“We have about 500,000 listeners; but I’m also trying to reach more through local programs across platforms. It becomes almost cost-prohibitive for me, because every new venture and every new platform comes with a cost,” Slade said. “When can I get a return? There is additional licensing involved. Sometimes the better you do, the more expensive it gets.”

Mark Fratrik, senior VP for BIA Advisory Services, said radio must press ahead to roll out additional digital services. “It’s really the only potential for growth they have.”

Fratrik, in charge of BIA’s advertising forecast, predicts radio will never return to the OTA ad revenue levels it saw before the recession ending in 2009. “It just won’t ever get back to that; and when you consider inflation, radio revenue is really down 30 to 40% from just over a decade ago,” Fratrik said.

Delivering quantifiable results is crucial, according to the panelists. “Digital makes that a lot easier. ‘Last-click attribution,’ if you will,” Adkins said. “Radio was a little slower to that new reality, but now that we are doing it, advertisers are more comfortable giving us their money because we can prove our performance.”

iHeart’s new AdBuilder platform aims to help advertisers, especially smaller businesses, use online tools to order audio commercials and then target deployment, without talking to a sales rep.

Adkins said iHeartMedia continues with efforts to make the buying of advertising “friction-free” for advertisers.

[FCC Takes Your Questions on AM All-Digital]

“We have something in beta right now called AdBuilder that includes a user experience similar to Facebook and Google and allows advertisers to share information about the business and spits out a commercial for them. Then they can purchase time on the formats targeting the audience they want without spending any time with a sales rep. That’s the sort of modernization we are doing,” Adkins said.  

Alfred Liggins, CEO of Urban One, said FCC regulations often leave radio broadcasters at a disadvantage in the current marketplace. 

“Basically, technology [companies] right now are eating traditional media. And they are eating traditional media from a standpoint of making media become a loss leader,” he said. “You [have] Amazon and Apple entering the business, and their core business is not to provide audio to provide local news and information, they want to sell more product and devices.”

Liggins said he is not under the illusion that radio can compete with Google and Facebook and Yelp. “They are technology platforms, and we cannot offer all of the services, even with our digital products, that they can. However, scale will be necessary in order to survive the onslaught of new competition,” he said.

The problem with digital for radio, Liggins said, is it “turns analog dollars into digital dimes, since there are so many entities taking a slice of the pie it makes it unprofitable. Yet consumer consumption patterns demand that we are serving that space. We have to modernize.”

Liggins realizes terrestrial radio listenership continues to drop. “Persons using measured media is dropping significantly each year. There are so many more options. The time spent listening has significantly dropped,” he said. 

“A NEW MARKETPLACE OUT THERE”

The panel discussed AM radio and its future amid the possibility of future deregulation. 

“If ownership restrictions are loosened on FM, then what we expect to see is some of that content that you can only get on AM moving to FM,” Adkins of iHeartMedia said. “That could be the death knell for AM radio. AM is too important to us though. We feel there are plenty of opportunities on AM, the diversity is incredible whether it is sports play-by-play, Rush and Hannity and other content.”

Liggins of Urban One, though, was emphatic in answer to a question about AM’s survivability in the current marketplace: “I think it’s done. It’s just a matter of time. The fact of the matter is that AM content is already moving to the FM band, either on full-power FM stations or FM translators. Kids don’t know what the AM band is. It’s just an inferior listening experience.”      

When Fred Jacobs asked Caroline Beasley if her broadcast company is shopping for AM properties, she replied with a simple “no” and chuckled.

There was ample sentiment on the panel for further deregulation.

[Community Radio Seeks More Engagement]

“The blood of the local radio industry will be on everybody’s hands if we do not get relief from these archaic and rusty shackles,” said Warshaw. “It’s not fun and games. Radio is the one who provides local services. Spotify is unregulated. They are not going to promote anything locally. Pandora is not doing local news. Sirius FM is not raising money for local shelters. We couldn’t even get Apple to turn on the FM chip in the iPhone.”

The ability to “consolidate and have economies of scale has absolutely helped us increase news programming and increase public affairs programming,” he added. 

Fratrik of BIA Advisory Services summed up the tenor of the discussion: “For radio to grow and remain viable, it does need some level of relief from regulation that was fostered during an earlier period. We are in a different audio and entertainment environment, and certainly in a different advertising [one], and there has to be some recognition of that by the FCC and the DOJ that there is a new marketplace out there.”      

You can watch the video archive of the symposium at https://tinyurl.com/rw-fcc-symposium.

The post Audio Explosion Reverberates in Radio appeared first on Radio World.

 

Radio seems likely to keep up with the digital revolution in 2020. But can it attract younger listeners?

James Careless asks this question and others in the article “2020 Looks Good for Digital Radio, Smart Speakers.”

Also in this issue we look at what’s on tap for the European Radio & Digital Audio Show taking place this month, highlight recent NABA initiatives, unveil our 2020 European Radio Product Source List, and more.

Read the January issue of Radio World International here!

PRODUCT SOURCE LIST

2020 European Radio Product Source List

Your 2020 source for everything radio is ready! Find information on companies worldwide that offer products and services to media facilities

DIGITAL RADIO

Can an App Solve the DRM Receiver Problem?

Software solutions developed in South Korea may facilitate access to Digital Radio Mondiale

ALSO IN THIS ISSUE

2020 European Radio & Digital Audio Show Unveils Program

WorldDAB GA: Collaboration Well Done, But More Is Necessary

Buyer’s Guide: Antennas, Transmission Line & Support; Power Protection 

The post Inside the January issue of Radio World International appeared first on Radio World.

The Digital Radio Mondiale standard for digital broadcasting in long, medium, and shortwave bands offers the possibility to transmit audio, text and pictures.

At work on the DRM app in AlgorKorea’s offices. Images courtesy of Dr. Soon S. Jarng, CTO, AlgorKorea.

A few broadcasters use DRM for both domestic and international transmissions. DRM’s largest problem is lack of receivers, especially affordable standalone ones.

Some listeners use an SDR, computer and free Dream software to receive the DRM signals, but this audience doesn’t make up the mass audience that broadcasters are looking for.

A FEW ISSUES

In addition, the Dream has two serious limitations: It can’t receive the latest DRM codec (xHE-AAC) and its current version is unable to receive MOT Slideshow.

Many international broadcasters will not commit to DRM transmissions because of the lack of receivers. There is an effort by some broadcasters to coordinate the purchase of thousands of standalone DRM receivers in the hope that this will jump-start the market for receivers. This effort is rather capital-intensive, however.

There are millions of Android and Apple smartphones and tablets already in use. What if they included an app that could receive DRM? What if that app could be coupled to the SDRs already in the hands of listeners?

A South Korean company, AlgorKorea, has developed a series of apps to do just that. AlgorKorea is best known for developing hearing aid firmware, according to Dr. Soon S. Jarng, CTO and founder.

HOW IT WORKS

AlgorKorea didn’t develop the apps with the intention of solving the DRM receiver issue. They developed them to resolve a problem with FM hearing aids used in classrooms.

So how do they work? The DRM+SDR version couples the popular and inexpensive RTL-SDR to an Android device with a USB OTG adapter.

The diagram shows how the DRM+ app connects to a phone or tablet.

The DRM+ app is compatible with both Android and Apple devices and couples to the SDR using audio cords. A common and inexpensive resistor/capacitor needs to be soldered into one of the cords.

The app can receive MOT Slideshow, DRM texts and Journaline, a text news/information feed. AlgorKorea says it’ll continue to develop DRM apps. “We’re working on another new app (an inexpensive SDR dongle) for the Msi SDR Panadapter, added Dr. Jarng.

Apps will play an important role in solving the DRM receiver problem and Algor’s offerings appear to be just the beginning.

Hans Johnson has worked in the shortwave broadcasting industry for over 20 years in consulting, frequency management, and sales.

The post Can an App Solve the DRM Receiver Problem? appeared first on Radio World.

Using the CES 2020 show as a launching pad, SiriusXM is showing a dockable satellite radio, the SiriusXM Tour.

The set consists of a removable touchscreen module and a number of docks, providing the ability to use the same radio in the home, outdoors or in a car. It will also offer voice command control and the ability to use the internet via Wi-Fi.

The SiriusXM Tour is expected to be available to the public in May.

The post SiriusXM Releases New Hardware Receiver appeared first on Radio World.

Opponents of illegal broadcasting scored a major and long-anticipated victory today: The Senate (finally) passed the PIRATE Act Wednesday.

Short for “Preventing Illegal Radio Abuse Through Enforcement,” only one hurdle remains for S.R. 1228: President Trump’s desk. 

The legislation also represents a coup for FCC Commissioner Michael O’Rielly, who has championed the anti-piracy enforcement actions recently.

In response to the act’s Senate passage, National Association of Broadcasters President/CEO Gordon Smith said, “This legislation provides stronger resources to help the FCC combat illegal pirate radio operations, which not only interfere with licensed radio stations but also public safety communications and air traffic control systems. We look forward to the President signing the PIRATE Act into law.”

[Six Things Broadcasters Should Know About the PIRATE Act]

In February 2019, the PIRATE Act was unanimously passed in the House of Representatives for the second time. The anti-piracy bill was first introduced during the 115th Congress and passed in July 2018, but it wasn’t taken up by the Senate until 2019.

The post Senate Passes PIRATE Act appeared first on Radio World.