Radio World

LONDON — The United Kingdom’s Radio TechCon Conference covered a diverse range of topics this year. Taking place on Monday Nov. 25 at the IET [Institution of Engineering and Technology] in Central London, individual sessions covered subjects, ranging from the strategic to the practical.

The audience at TechCon 2019. All photos: Radio TechCon/Vincent Lo

Supported by the IET and by various specialist broadcasting companies, including: Broadcast Bionics; Arqiva; Broadcast Radio; RCS; and Calrec, more than 100 people from the U.K. broadcast radio industry attended the event.

PERTINANT TOPICS

Over the years, Radio TechCon has developed a strong reputation for the range of content it offers and this year was no exception. From moving major broadcasting studio complexes, such as Virgin Radio, TalkSport and the famous BBC Maida Vale music studios, through to improving the user experience for broadcasters and coping with change in professional situations, there was something on offer for just about everyone.

Dr. Lawrie Hallett explains how to build an SS-DAB MUX to the audience.

Perhaps one of the most strategically important topic covered this year was that of platform development and the challenges and practical implications of delivering broadcast audio via IP and mobile platforms (5G), as these become increasingly important for listeners.

Broadcast delivery via IP delivery is, as one of the session presenters, Simon Mason, head of broadcast radio technology at Arqiva, points out, far more expensive than FM delivery, which in turn is similarly more expensive than equivalent DAB delivery. The core on-going difficultly for broadcasters is the need to deliver via multiple platforms, each with its own incremental costs.

Since the demise of the Sound Broadcasting Equipment Show (SBES), some years back, Radio TechCon has increased the number of trade stands open across the day and situated in the main refreshment area. These companies, including HHB; Vortex; and Luci were busy showing equipment and discussing services over lunch and between sessions.

ON SHOW

Dino Sofos, editor of Brexitcast (left) and Robin Pembrooke, director, content production systems, BBC speak about the ‘The Technology Behind Brexitcast.”

At least one company, Systembase, used Radio TechCon for the public launch of its latest product.  It has developed “SIPit  pro” to allow SIP compliant codecs from a variety of manufacturers to easily communicate with each other.

The product not only removes many of the networking issues associated with AoIP connectivity, but also it provides one-time configuration, such that a SIP configured device can be moved from location to location whilst still retaining the same fixed ID, rather like a roaming mobile phone.

As part of its remit to support the U.K. radio and audio industry, the company behind Radio TechCon (TBC Media Ltd.) also runs a master class for those potentially interested in a technically-based broadcasting career and organizes a bursary scheme for attendance of the main Radio TechCon event.

This year a wide range of industry organizations supported the various elements of the bursary scheme. These included Cleanfeed; Bauer Media; The UKRD Group and the European Broadcasting Union, along with further support from the main event sponsors.

With such wide-ranging support from across the U.K. radio broadcasting industry, and a sell-out full house, quite clearly Radio TechCon remains an essential event in the U.K. radio calendar.

The post Radio TechCon Talks Tech appeared first on Radio World.

Fraunhofer IIS has signed a memorandum of understanding with China’s Administrative Bureau of Radio Stations of the Chinese National Radio and Television Administration (NRTA) to strengthen the cooperation for the advancement of Digital Radio Mondiale in mainland China

From left to right are Yanzhou Wang, NRTA radio division; Guido Leisker, Fraunhofer IIS; Guoqiang Li, NRTA radio division; Bernd Linz, Fraunhofer IIS; Lida Zhang, NRTA radio division; Frederik Nagel, Fraunhofer IIS; Binbin Luo, Deputy Director, NRTA radio division; Bernhard Grill, Director of Fraunhofer IIS; Marc Gayer, Fraunhofer IIS; Toni Fiedler, Fraunhofer IIS; Shanshan Fu, Fraunhofer IIS, Thimmaiah Kuppanda Ganapathy, Fraunhofer IIS. © Udo Rink – Fraunhofer IIS.

According to Fraunhofer IIS, the MoU, which was signed at its headquarters in Germany, is based on “long-term mutual trust established in previous collaborations, and aims to further develop the cooperation with regard to the open terrestrial DRM standard, including technologies substantially developed by Fraunhofer IIS, such as the xHE-AAC audio codec and the Journaline text service.”

In addition, it says, the two parties will intensify their exchange of information on DRM technology, work on jointly promoting DRM technology, hold workshops on DRM technology, and conduct field trials to successfully drive the deployment of DRM in China.

“This MoU will further strengthen the relationship of Fraunhofer IIS with China’s broadcasting organizations and help both parties to collaborate even more closely on setting up the digital transmission ecosystems in TV, radio and the internet, introducing standards that deploy technologies driven by Fraunhofer IIS,” said Toni Fiedler, general manager of Fraunhofer IIS China.

“A new generation of information technology for the development of the radio and TV industries has brought unprecedented, profound changes and serious challenges,” said Binbin Luo, deputy director of the NRTA’s radio division.

“To drive the industry forward, we focus on cutting-edge technology and promote the development of best-in-class core technologies in key standards. The cooperation with the world’s leading standard research institutions such as Fraunhofer IIS will ensure the deployment of reliable, future-proof technology in China’s digital radio ecosystems.”

The post Chinese Broadcasters Collaborate with Fraunhofer IIS appeared first on Radio World.

The author is communications manager for WorldDAB.

BRUSSELS — Addressing the audience at the WorldDAB General Assembly, VRT’s Paul Lembrechts acknowledged the changing nature of the radio industry in Europe, stating that the “digitization of the radio market is now a fact — it will replace the analog era in the foreseeable future.” He also highlighted VRT’s shifting focus toward DAB+ as the successor of FM.

Paul Lembrechts is CEO for VRT.

RTBF CEO Jean-Paul Philippot echoed this view, explaining RTBF’s vision of an alliance-like approach in which all industry players take an active part in digital distribution.

COOPERATION

Referring to cooperation on distribution and competition on content, Philippot stressed the market’s need for collaboration between public and commercial radio, the retail and automotive sectors, as well as international bodies and organisations such as WorldDAB and RadioPlayer Worldwide.

According to Philippot, this new “competitive cooperation” is what led to the creation of maRadio.be, a cooperative consortium bringing together RTBF and most of the private players, large and small, from the French-speaking Belgian radio sector. It also opened the doors to regular DAB+ services in French-speaking Belgium — a launch that was officialised and celebrated at the start of November.

Wallonia joins its Flemish counterpart in launching DAB+ digital radio, with VRT having done so at the end of 2018. Commenting on the current state of the radio industry in Flanders, Lembrechts highlighted the growing popularity of DAB+ among Flemish people, explaining that 55% of the population has already heard of DAB+ and 9% of all listening in Flanders happens on DAB+. This, he said, is three times more than when the technology was launched 12 months earlier.

According to Lembrechts, the increasing popularity of DAB+ in Flanders is primarily the result of good cooperation between the major Flemish radio stations and the Flemish government. But, he added, it’s also related to the general popularity of radio as a medium, pointing out that people in Flanders “listen to the radio for about 3 hours and 31 minutes a day.”

VRT’s CEO also stressed the importance of DAB+ in relation to the EECC directive, which requires new cars across the European Union to include digital radio capabilities from 2021 onward. According to Lembrechts,

Jean-Paul Philippot is CEO for RTBF.

NATIONWIDE SUPPORT

DAB+ in the car forms an important part of VRT’s digital radio strategy, given that 39% of the 600,000 new cars are already equipped with a DAB+ radio.

As for RTBF, the public broadcaster for Belgium’s French-speaking community has been a strong supporter of DAB+ for the past decade. RTBF currently operates two DAB+ layers, broadcasting a total of 25 DAB+ radio stations (11 public radios and 14 private networks, which is an exception in Europe) — 10 of which are only available on DAB+. The broadcaster’s mobile coverage stands at around 98% of the population.

On stage at the General Assembly, both CEOs stood side by side to reiterate the various benefits of DAB+ digital radio, placing particular emphasis on the wide range of content available on DAB+, the improved sound quality offered by the technology, and its subscription-free model.

As DAB+ in Belgium continues to develop and reach maturity, it’s clear that Belgium’s French and Dutch-speaking public broadcasters are making sure that listeners across the country are able to reap the benefits of DAB+ digital radio.

The post Belgium Unites in Driving DAB+ Forward appeared first on Radio World.

FCC chairman Ajit Pai’s decision on how to clear C-band spectrum for 5G is a partial victory for cable operators and broadcasters, who use that satellite spectrum to deliver their program networks, and a big smackdown for the satellite companies that provide those content delivery services.

Pai signaled on Nov. 18 that the agency would clear 280 megahertz of the midband spectrum (3.7–4.2 MHz) via an FCC auction. Cable operators are OK with that arrangement as long as they are compensated for moving to smaller spectrum quarters, namely the 200 megahertz left after the FCC creates a guard band of 20 megahertz to protect against interference.

[Read: NAB, Content Companies See Protection of C-Band Services as “Critical”]

Some cable operators would have preferred the FCC clear more spectrum. ACA Connects and Charter Communications had proposed clearing 370 megahertz, and ultimately perhaps all of it, with network delivery moving to fiber.

Broadcasters were OK with an FCC auction, too, as long as there was enough satellite spectrum left over for their networks. They diverge from cable interests on the issue of fiber delivery, saying that would be too risky given that an errant backhoe could do in their network programming feeds.

Comcast, with both cable and TV station interests, told the FCC that 300 megahertz was enough to clear and the rest must be preserved for future innovative video uses. In fact, it said the final order needed to have an “unqualified assurance” that the FCC would not try to clear more than that 300 megahertz.

FCC officials speaking on background confirmed their plan was to reserve the remaining 200 MHz for continued satellite delivery of incumbent programming services.

The FCC said the auction will be held by the end of 2020, but it will not vote on a final order until early next year, so there will be a race to come up with a framework for the auction before that time. FCC officials suggested the regulator’s experienced auction staff was up to the task.

The big loser in the announcement is the C-Band Alliance, a point FCC officials were not quiet about. CBA comprises the major satellite companies that will be giving up spectrum in the auction. They had pitched a private sale, saying that was the best and fastest way to free up the spectrum. Many in Congress had disagreed, arguing that the money from the spectrum should go to the U.S. Treasury to fund activities like rural broadband rollouts and emergency communications. The FCC appeared to agree with that logic.

In a background call with reporters, top FCC officials said that the CBA’s private sale approach would not bring spectrum to market in a fair and transparent way, and would instead facilitate backroom deals. Comcast concurred, telling the FCC “the clock has run out on seriously considering CBA’s approach.”

The FCC plan is to move directly to an order on the auction, which Pai said he expected to be voted by early next year, rather than a notice of proposed rulemaking (NPRM) with additional time for public comment. But there will have to be an NPRM for the auction framework and specific rules.

 

The post C-Band Plan: Something For All, Except Satellite Ops 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.

It is the Thanksgiving holiday week, including Giving Tuesday, the biggest day for nonprofits in the United States. It is also the season we take time with our families, in however we define them, and give thanks for all we have received during the year.

Surely, 2019 has been a year of much commotion. National scandals, local elections and the personal triumphs and tribulations in our daily lives are part of our memories. Yet the end of November is that time when each of us looks beyond the troubling times to embrace the things that make our lives rich and fulfilling.

For me, loved ones, friends and family are endlessly appreciated each day. I’m thankful many of those individuals have come through various physical and emotional difficulties this year, and come out even better, all told.

[Read: Community Broadcaster: “Google, Play Me Community Radio”]

I am also thankful for community radio and my local nonprofit organizations.

Why should we be grateful for nonprofit organizations in our communities? I’m partial to Vu Le’s reflections on the importance of local nonprofits. “I often say that [a] nonprofit is like air, whereas other sectors are like food,” he writes. “People can see food, can taste it, so they value it and take pictures of it and put it on Instagram. The work that you do is often invisible, so most people do not see it, even as they benefit from it.”

Indeed, we sometimes overlook the many local nonprofits that beautify and fortify our cities and towns. Yet they’re still there, doing good works we appreciate. They educate our children, help hungry people, find homes for dogs and cats needing new families, clean up our parks, and countless other good works we sometimes never notice. They make us proud to live where we do, and ask little in return.

Like all nonprofits, noncommercial radio stations serve a vital educational and civic purpose. While our endeavors are more outward facing and thus more observable, radio too is almost invisible. Nevertheless, we serve our communities proudly and with empathy.

Radio is so much a part of our lives that we almost take it for granted. It is the soundtrack for our roadtrips. It is part of our happy childhood memories of being driven to our first day of school. Radio is there for those mornings and evenings we will never forget, even when we wish we could. Look no farther than the American Archive of Public Broadcasting’s public collection of recordings for a glance at the country’s time capsule. But the funny part? Radio is something we may just not notice, and yet it is there.

Community radio stations are something to be thankful for because they focus on radio as a medium with meaning. With missions devoted to championing music discovery, offering a gathering place for locals to share a space together, or serving as a broadcast platform for arts, culture and news, stations are devoted to public service first. In the advent of news deserts, community radio fills a vacuum in many communities. And, while you think about the many wonderful nonprofit organizations in your city, consider that community radio is the only nonprofit dedicated to broadcasting their efforts, in essence amplifying valued missions far beyond the walls of those beloved institutions.

Where else but on community radio and college radio is the experimental, iconoclastic spirit still alive and well in broadcast media? Who other than community radio station DJs are keeping alight the flame of freeform, courageous radio? This call-back to our imaginations and most rebellious selves may be one of the best reasons to be thankful for community radio.

While we take the time to appreciate our blessings, let us all give praise to the many community radio and college radio DJs, volunteers, staff members, donors and founders. Our nation owes them all a tip of the hat. A donation would be nice as well.

 

The post Community Broadcaster: Be Thankful for Community Radio appeared first on Radio World.

Closeup of custom audio console (designed by the author).

The author was director of engineering at Drake-Chenault Enterprises Inc. from 1974–1989.

A recent Tom Vernon article (“The Time Has Come to Talk of Many Things, of Reels and Carts and Carousels, and Automation Things,” Oct. 23, 2019) touched on the history of automation. At the invitation of Radio World, I’d like to share thoughts about my own experiences that readers may find interesting. 

Drake-Chenault Enterprises was a successful producer of music formats for automation, with about 300 clients stations across the country. The production of music programming tapes for automated radio stations at Drake-Chenault evolved into a highly regimented process that produced a polished, consistent product week after week, month after month. A typical automated broadcast station could be airing tapes that were anywhere from one week to one year old. There needed to be absolute consistency in programming, studio engineering and tape duplication in order for the final product to sound seamless on the air. 

Terry Tretta in Studio E.

In 1974, Drake-Chenault produced music tapes for several formats: XT-40 (Top-40), Hit Parade (AC), Solid Gold and Classic Gold (Oldies) and Great American Country. There were two “house announcers” who did the voicing for these formats. Billy Moore voiced XT-40, Hit Parade, Solid Gold and Classic Gold formats; Bob Kingsley voiced Great American Country. Once a week, Billy and Bob would come to the studios and record the voice tracks (VTs) for all the music reels to be produced that week. The music librarian would pull the LPs and 45s that were needed for each reel. The studio engineers would then mix the music from records with the VT tape to produce a finished master reel. The masters were recorded using 1-mil tape, so we got up to 90 minutes, usually 20–25 songs, on a 10-inch reel. 

ONE SECOND EARLY

Broadcast automation equipment of the ’60s and ’70s was usually limited to “easy listening” music formats, because the hardware of the era wasn’t capable of executing a tight, fast-paced pop music format. With easy listening, it was OK if there was some silence between songs; not so with Top-40! Top-40 needed tight segues, jingles, spots, time announce, weather and other elements in rapid succession. The problem was how to make an automation system run tight and quick?

The answer was developed by D-C: We put the 25 Hz “cue” tones at the end of each song one second early, so the automation equipment had a “one-second head start.” This would compensate for the start-up delay of the reel-to-reel playback decks, and yield tight segues without any “wow-in.” 

Closeup of a three-track mastering recorder.

The next challenge was to figure out how to put those inaudible 25 Hz tones at the end of each song, but precisely one second early. The answer will explain why we used multitrack mastering decks in the D-C studios.

Master tapes were recorded at 7.5 inches per second on custom three-track recorders. At the end of each song on the tape, a cue tone was recorded on a separate track. However, it wasn’t the usual 25 Hz cue tone and it wasn’t recorded one second early. It was a 1 kHz tone that was recorded in “real time,” i.e., at the logical segue point for the song, not one second early.

[Read more great articles from the Nov. 20 issue of Radio World]

Because this tone was audible (through a “cue” speaker) and was on a separate track, it was easy for the studio engineer to place it at the proper segue point, tight against the end of the song. The cue tone could be re-recorded as necessary until it’s placement was appropriate to the song ending. The one-second advance would happen when the master tape was duplicated. 

Custom three-track heads used on mastering recorders.

Drake-Chenault’s standards for technical quality were absolute, and our studio engineers were perfectionists. We carefully watched levels, double-checked cue tone placement, fixed fades and manually edited out tics and pops! The studio staff would spend hours with a razor blade removing tics, pops and other noises that were common on vinyl records. LP tracks were often used (after editing, to match the 45 “hit” version) because the quality of LP vinyl was usually superior to the poly-plastic used to press 45 rpm singles. 

To ensure technical consistency, a full set of Level, EQ and head alignment tones were recorded at the head and tail of each master tape. We went to great lengths to be sure that there was no phase error in the audio, which would cause a degraded signal when a stereo station was heard on a mono receiver. All audio was checked using a vectorscope to ascertain mono-compatibility. We would often discover phase error in 45s and LPs; it was corrected before transferring the audio to a master tape. The turntables were equipped with Shure V15 cartridges and Marantz “audiophile” preamps. The audio path was clean and direct, without any “house EQ” or level compression. Voice tracks were recorded using Shure SM7 microphones.

DUPLICATION

Once a master tape was produced, we made second-generation copies that were shipped to our client stations. 

Dan Musselman loads the Tape Duplicating System.

Tape duplication was done in-house, using 25 Technics RS1500 two-track recorders. The system ran “tails-out” so the audio was actually being recorded in reverse. A three-track master deck was used to play the master tape, which had left, right and cue channels. When the system sensed a 1 kHz cue tone on the master tape, it triggered the 25 Hz tone, which was injected into the left channel audio. When the 1 kHz master cue ended, the 25 Hz tone generator would stay on for one additional second, hence “stretching” the 25 Hz cue tone so it started exactly one second before the 1 kHz cue on the master. This one-second pre-roll was controlled electronically, so it was exact and consistent.

The duplicating system produced copies that were flat to 15 kHz, and typically had less than 30 degrees of phase error at 10 kHz. To achieve this level of quality, each “slave” recorder was hand-aligned to each new “pancake” of tape before the duplication process was started. The duplicating engineer would align the record head of each recorder for zero phase error. Then the master tape would be started and the duplication process would begin. After duplication, each tape copy’s alignment tones were checked on a special “QC” deck. We again verified level, stereo balance, EQ and phase (head alignment) before the tape was shipped. 

Drake-Chenault produced about 1,000 music format reels each week. In the 15 years I was there, we never missed a deadline! 

For more details, visit www.drakechenault.org and click on “Behind the Scenes in the Production Dept.”

 

The post How D-C Cranked Out All Those Tapes appeared first on Radio World.

Russian broadcasters took a deep dive into the realm of digital radio with a conference, “Digital Broadcasting Standard DRM: Results of the Experimental Zone and Development Prospects in the Russian Federation,” held in St. Petersburg on Nov. 18.

The conference featured a number of speakers who provided insights into where digital radio stands in Russia.

Victor Demyanovich Goreglyad is deputy director general of RTRS.

Viktor Demyanovich Goreglyda, deputy director general of RTRS, gave a presentation about the prospects of Digital Radio Mondiale in Russia, which he believes would work as the technology to switch the FM band to digital broadcasting. He specifically highlighted that using DRM will not created new digital channels while also allowing for the transmission of additional information.

RFmondial’s Albert Vaal had two reports that he gave to the conference, the first focused on reviewing the DRM standard and the second talked about the experiences other countries had in implementing the standard, like India and China.

Other speakers at the conference included Sergey Sokolov of Digital Systems LLC talking about the plan for transmitting part of the DRM Simulcast complex; Sergey Myshyanov from St. Petersburg State University of Telecommunications shared the results from Russia’s experimental zone; Vasily Gerasimov of GPM Radio explained additional services are available with digital radio; and sound engineer Densi Davydov talked about the different approaches to multiband dynamic sound processing for analog and digital broadcasting.

In addition, Professor Alekseevich Kovalgin of SPbSUT shared info on sound data compression algorithms for digital broadcasting systems; Oleg Guminsky, a student at the school raised issue of market availability of DRM receivers; Igor Hvorvo, associate professor at ITMO University touched on regulatory support for digital broadcasting.

The conference also offered two demonstrations of digital radio broadcasting that compared the sound of FM and DRM formats.

The conference was organized by FSUE Russian Television and Radio Broadcasting Network, Digital Systems LLC and St. Petersburg State University of Telecommunications.

The post DRM Front and Center at Russian Conference appeared first on Radio World.

John Schneider’s epic Radio Historian’s calendars are always a treat for radio aficionados.

His latest, the Radio Historian’s 2020 Calendar, is no exception. Perhaps the best ever, it is packed with colorized black and white photos of radio facilities, mostly studios and mostly pictures taken in the 1920s, 30s and 40s. Highlights include the Lindbergh baby kidnapping, Orson Welles and Burns & Allen.

Also outstanding are facility pictures of Powel Crosley’s WLW and Edwin Armstrong’s New Jersey FM test site.

Not to be missed and it makes a great Christmas gift (assuming the intended hasn’t already beaten you to it!).

 

The post Radio History Calendar Available appeared first on Radio World.

Photo by Paul Kaminski

WRSU(FM) 88.7 FM is the student voice of Rutgers University, with studios on the main campus in New Brunswick, N.J. The station broadcasts from the Student Center as it has done since 1969. 

Over those 50 years, WRSU navigated the challenges inherent in using analog equipment that often was near the end of its life cycle. But originating a broadcast schedule that includes three daily newscasts, music shows, live performance programs and more than 150 local and remote sports broadcasts a year was difficult under any circumstances; and the station felt that its product needed more focus on its audio luster.

Mike Pavlichko is the broadcast administrator and advisor for WRSU. “Our main studio was done [rebuilt] 10 years ago, but nothing else had really been touched in 30 years,” he said. 

Program Director Kelly Brecker, Music Director Bennett Rosner, DJ Blake Lew-Merwin, GM Justin Sontupe, Jake Ostrove (sports) from left, on the night of the first broadcast from the new FM studio. Station Advisor Mike Pavlichko said, “We played a legal ID followed by ‘Suite: Judy Blue Eyes,’ which also was the first song that we played when WRSU switched from carrier current AM to FM in 1974, followed by ‘Turn Your Radio On’ by The Suburbs.”
Courtesy WRSU

There were three 2-inch conduits interconnecting the studios; the conduits were full of wires, many of which weren’t connected to anything after years of patches upon patches being applied to equipment to keep the station on the air.

Nick Straka’s company NS Engineering had done projects for WRSU including a news production studio and a transmitter upgrade; he was called in to help plan what would come next. Straka is an SAS field applications and sales engineer, with much of his work done in the greater New York City area (there are large SAS installations at iHeart NYC, New York Public Radio, CBS News Radio, Fox News Radio and ESPN). Straka also heads broadcast integration company DNAV, along with Daniel Hyatt. 

“The more we went through the planning phase, said Straka,  “the more it became obvious to put the station on auto-pilot and gut everything out.”   

MASHED AND SMASHED The Core64 connects WRSU’s Air, Production and News studios through a single length of Cat-6 cabling. The Core64 allows operators and engineers to fine tune program source selection and intercom/talkback choices on the fly.
Photo by Nick Straka

For two and a half months over the summer break in 2019, the station played recorded programs on the air while every bit of legacy analog wiring between the three studios was removed. WRSU transitioned from an analog plant with some digital sources, to an AoIP plant with some analog sources. 

At the beginning, they found that legacy wiring was unlabeled, and used nonstandard connections. 

“We found daisy chained distribution amps; each (audio) bus had a different AGC looped on it. By the time the audio got to the Orban Optimod 8600 at the transmitter, it had been mashed and smashed,” Straka said.

After the removal of analog equipment and installation of the AoIP architecture, all audio between the studios (newsroom, production and air) is now carried on one Cat-6 cable in one conduit.

Music Director Bennett Rosner sits at the SAS iSL 28.3 console in the WRSU air studio, with General Manager Justin Sontupe, left, and news anchor Ryan Margolis during the “R U Awake” morning show.
Courtesy WRSU

The heart of WRSU’s facility is an SAS Core64 Audio Engine. Straka says the Core64 provides dependable flexibility and expandability for future expansion (up to 512 by 512 channels). “If more AES67/Dante capacity is needed, it’s easy to slide in another card in the frame,” he said.

[Read: John Storyk on Podcast Studio Design]

When WRSU wanted to add a second preparation-and-playback personal computer in the air studio for the morning show, the installation was no more complex than downloading a driver for the PC and connecting that PC to the SAS crosspoint map. That process took two minutes. 

The WRSU Air Studio was reconfigured when the legacy analog equipment, wiring and technical racks were removed. Custom furniture by Studio Technology and increased space allow guests and operator to face each other in the studio.
Photo by Paul Kaminski

In the Main and Production studios, SAS 28.3 iSL consoles (bearing the Rutgers scarlet color) are installed in custom furniture from Studio Technology. Each of those consoles are connected to SAS Rio Bravo IP engines. All of the 24 main sources have their own faders, which makes training and operation easier for WRSU’s students and community volunteers.

[Read other great articles from the Nov. 20 issue of Radio World]

Now any audio source in the plant can be called up for broadcast, and the consoles can be reconfigured quickly to meet programming requirements. 

For more flexibility, Henry Engineering Multiports are installed in each studio, so programmers can connect their audio sources from personal music collections, and play those sources through the console. Denon DN-C635 CD players were recycled from the previous installation.

The 50-year-old space in the Student Center is concrete block, so moving walls to facilitate the installation wasn’t possible. Technical equipment was installed in the main studio. Once that equipment was relocated, Straka says Studio Technology took custom measurements to design and build an air studio that, for the first time, allowed guests to sit across from the hosts.

General Manager Justin Sontupe said, “We are kind of the college radio sound. If you go on Spotify, you can find different playlists, top 40, etc. Here, we have some of the not-as-popular music, not as mainstream. What you hear on 88.7, you’re not going to hear elsewhere.” To help Sontupe and the music department support that content, WRSU installed an RCS Zetta automation system with RCS Gselector music scheduling software.

RCS Zetta automation and RCS GSelector training in the production room at WRSU. The automation and software gives the music programmers flexibility in scheduling, and helps maintain the station sound in certain dayparts.
Photo by Paul Kaminski

Automation is used to run overnights and assist with live programming. The RCS system is being loaded with a library of tens of thousands of songs to reduce the reliance on CD playback, or worse, streaming a song from YouTube. Once the library is in place, students will learn voice tracking to fill the overnight hours.

Connections to the outside world are made with Comrex Access and Access NX codecs, which get a workout during football and basketball seasons. Telephone connections are made through a Comrex STAC phone system.

[QMusic and Joe Inaugurate New Studios]

The audio from the Student Center Studios feeds an STL consisting of a Harris Intraplex T1 as the main feed with Comrex BricLink as the backup. The STL feeds Orban Optimod 8600 processing. From there, WRSU uses two GatesAir FAX3 transmitters (main and standby) with ERP of 1,400 watts from a 190-foot tower on Rutgers property off Route 1. The station broadcasts from its original tower, three-bay antenna and concrete block building dating from its FM sign-on in 1971. 

The cost for the upgrades for WRSU were estimated to be around $250,000.

With one of these Henry Engineering Multiport Audio Interfaces in both the Main and Production studios, programmers of specialty shows can bring their own music on a jump drive or laptop. The bi-directional interface makes it easy to aircheck as well.
Photo by Paul Kaminski

The flexibility, digital wizardry and remodeling that went into this rebuild do more than future-proof the facility; they give the students an idea of what they may face in the broadcast environment off campus.

“That’s what we want to give them, the real-world experience. They’re going to go out and they’re going to have a leg up for that internship. They’re going to know how to use an automation system and audio over IP.”

Equipment Sampler

SAS Core64 Audio Engine

SAS iSL 28.3 Consoles (Main and Production)

SAS iSL 12.2 Console (Newsbooth)

SAS Rio Bravo IP engines (Main, Production and Newsbooth)

Pioneer PLX 500 Turntables

Henry Engineering Multiport

Yellowtec Mika! Mic and monitor arms

Comrex Access and Access NX IP codecs

Comrex STAC studio phone system

RCS Zetta Automation

RCS GSelector music scheduling software

iMedia Logger by Win-OMT

Studio furniture by Studio Technology

Acoustic Treatment by Sound Seal

 

Paul Kaminski, CBT, has been a Radio World contributor since 1997. Twitter: @msrpk_com  Facebook: PKaminski2468.

The post Scarlet Knights’ Station Gets a Fresh Start appeared first on Radio World.

MADISON, Wis. — It’s undeniable that streaming radio, something that has been around for quite a while, is steadily becoming more and more important in our daily lives. Especially when you consider the huge influx of smartphones and smart speakers in the market over the past five years. 

Until recently, it has required quite an investment to stream your radio station online, both in terms of equipment and in the time it takes to configure the server properly. Let’s face it, streaming can be a bit of a pain to get going for engineers of any skill level, even with the most basic setup possible.

When we started discussing how to improve our streaming configuration at Wisconsin Public Radio, I was tasked with finding an easy-to-use, robust and reliable solution that would integrate with our new audio over IP installation. I had considered using a custom-built system with custom software to run the stream, but the problem with custom solutions is that 90% of the time they are not easy to use and not as reliable as they need to be. Ruling out custom solutions led me on the search for a mysterious box that did it all, one that had the reliability, ease of use and tight integration with our AoIP system we were looking for. 

This search ended with the Z/IPStream R/2 from The Telos Alliance, the streaming encoder that satisfied all of the requirements and more. The R/2 allows us to reliably integrate directly with our AoIP network with a simple web interface while leaving the option open for analog or AES inputs. 

[Read: How to Process Audio for Streaming, Properly]

There were several things that set the Z/IPStream out from the competition. Most notably is the option to have Omnia.9 processing built into the box, letting you really get full control of your station’s streaming sound. If you don’t need the full power of the Omnia.9, there is an Omnia-based three-band processor available in the box as well. 

Another factor that sets it apart is the ability to run multiple different stream-encoding settings with the same audio source with multiple different output types like Icecast, SHOUTcast or RTMP servers without even having to think about if you are running the correct software. I can honestly say the R/2 lets me sleep better at night. I know that if we need to change streaming providers, all I have to do is set up the stream in the easy-to-use web interface, and we will be up and running in minutes rather than hours or days if we had to configure or build a new streaming box just to change providers. 

I believe it is critical to invest in a proper streaming infrastructure; it may be just as important as a transmitter in the coming years. While streaming radio is changing the way radio stations work, there is one thing that will never change, whether the equipment is analog or digital, living at a transmitter site or in a datacenter: Engineers will always need a solution they can rely on for critical applications. For Wisconsin Public Radio, the R/2 is just that. It has been running in our datacenter for close to six months and it has been exactly what we needed for a reliable and powerful streaming solution. 

For information, contact Cam Eicher at The Telos Alliance in Ohio at 1-216-241-7225 or visit www.telosalliance.com.

The post User Report: Sweet Dreams, Sweet Streams appeared first on Radio World.

BUDAPEST, Hungary — Digital Radio Mondiale transmissions began from Budapest, Hungary, last June. Although two Hungarian broadcasters previously tested DRM on medium wave, the transmissions are the country’s first DRM trials on shortwave.

The antenna used in the trial is located at the Budapest University of Technology.

The Department of Broadcast Info-Communications and Electronic Theory at the Budapest University of Technology is conducting these latest trials. Csaba Szombathy, head of the broadcasting laboratory, is also head of the project, which will last for at least 12 months.

While the 11-meter 26,060 kHz frequency is well known for use in local broadcasting, it’s rarely implemented for international broadcasting. Both World Radio Network (now owned by Encompass Digital Media) and Vatican Radio conducted DRM trials on shortwave in the 26 MHz range in London and Rome in 2005 and 2008 respectively. Researchers have also performed tests in this frequency to measure coverage and determine optimal mode and bandwidth on various occasions in Mexico and Brazil. The new Hungarian trials will add to this research.

The Department of Broadcast Info-Communications and Electronic Theory at the Budapest University of Technology began testing DRM trials in June.

Szombathy initially operated the transmitter with just 10 W of power into a 5/8-inch vertical monopole. Radio Maria, a Catholic station, is providing a 25-hour program loop, while a Dream DRM software-based encoder broadcasts the signal using AAC encoding. In spite of the low power, the program was reportedly received in the Netherlands.

In early September, Szombathy moved the antenna and transmitter to a slightly different location to improve coverage. He increased the power to 100 W.

The second stage of the project is demonstrating DRM’s multimedia capabilities. Germany’s Fraunhofer IIS loaned the laboratory a content server, which provided a substantial upgrade to their setup. Szombathy’s station is transmitting with a xHE-AAC codec. The project also features Journaline data service, which Fraunhofer describes as “hierachically structured textual information.”

A diagram showing the compact DRM shortwave setup.

Although a number of Indian medium-wave stations broadcast in xHE-AAC, the Hungarian station is the only shortwave station with regular xHE-AAC transmissions. Fraunhofer previously supported a German university station broadcasting in xHE-AAC. That station, Funklust, is no longer on shortwave.

Szombathy says he welcomes any DRM receiver manufacturer or developer to Budapest to conduct field tests using any receiver they are working on.

The station may go on beyond its one-year project. “It depends on what we archive or where we get during this year,” explained Szombathy. “If I can generate sufficient interest, there’s a chance it’ll transition into a permanent, live broadcast.”

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

The post Hungary Studies DRM Shortwave appeared first on Radio World.

NEW YORK and GHANA — Headquartered in New York with key personnel based in Africa, Atunwa Digital is a digital network that advises media enterprises on monetization strategies. We develop full-scale digital marketing and advertising strategies, helping clients from planning to execution and analytics.

Two years ago, we launched our initiative to help African audio content publishers better leverage digital distribution and advertising opportunities to get the most monetization value from their content. We find that while a lot of African media enterprises have loyal, global audiences listening to their content regularly, they do not possess the in-house technical expertise nor advertising capacity to fully realize its built-in value. 

We were seeing a trend where many of these organizations were leaving revenue on the table by receiving only a small percentage back from their streaming or podcasting service provider. 

COLLABORATION

We set out to address this issue by helping creators of African content reach both their local and diaspora audiences through online streaming, with the ability to serve geo-targeted advertising to their listeners, all while taking control of their digital future. 

To do this, we needed to find an audio streaming technology provider who could supply not only the tools and infrastructure needed for online delivery, but also the support and expertise that our customers would need as they develop their own digital media autonomy. We wanted to work with a company that we could depend on for support, while collaborating with us to design the optimal streaming workflows for our clients. 

A recommendation from one of our partners led us to StreamGuys, and we determined that they would be an ideal fit. In addition to having great tools, technology and support, they were willing to deal with us on a collaborative level. We now use the complete suite of StreamGuys services and solutions, from their robust content delivery network to their analytics tools. 

At Atunwa, our advertising offerings span both programmatic and direct sales approaches, as we have established relationships with both multinational and local brands looking to reach the African demographic globally. StreamGuys’ integration with industry-leading ad platforms allows the insertion of dynamic, server-side, targeted advertising into our clients’ live streams and podcasts. 

The targeted addressability of the ads is particularly valuable in capitalizing on revenue opportunities from the African diaspora living in the United States, Europe and other markets, as that audience receives spots that are relevant to them.  

Another significant challenge faced by African content providers has been unauthorized redistribution of their content. It is crucial that content owners regain control of their streams and have visibility into their daily earnings. Unauthorized usage leads to revenue being taken away from the original content owners. 

StreamGuys’ tools including the SGPassKey system enable our clients’ streams to be restricted to authorized distribution partners and are also integrated into StreamGuys’ embeddable SGplayer media player, giving us end-to-end security for both affiliate and consumer delivery. 

The SGrecast live stream repurposing system enables our clients to turn live productions into on-demand podcasts, with automatic template-based publishing ensuring they are submitted correctly to aggregators. The fact that StreamGuys’ dynamic advertising capabilities are unified across both live streams and podcasts is advantageous; rather than managing two separate systems, podcasts just become a seamless extension of live operations.

The results of working with StreamGuys have been impressive. As an example, they have enabled us to deliver over tenfold growth in the monetization of radio content online for respected Ghanaian media organization Multimedia Group Limited, as well as significantly growing their digital traffic by taking back control of their content. Across five key MGL stations, monthly total listener hours increased by 152% and monthly cume by 96% in their first month of full operation with StreamGuys, and both metrics more than tripled over the past 18 months.

There has always been significant value in African content providers’ programming. Our goal with Atunwa is to build a digital network whereby we become the most trusted monetization source for African content publishers and the resource for brands/advertisers looking to connect with African audiences globally. StreamGuys’ streaming technology and expertise have allowed our clients’ digital media operations to become more independent, unlocking that value through the power of digital advertising. 

For information, contact StreamGuys at 1-707-667-9479 or visit www.streamguys.com.

The post User Report: StreamGuys Helps Atunwa Digital Help Broadcasters appeared first on Radio World.

The studio of WXOX, a low-power FM in Louisville, Ky., features a mural by Wilfred Sieg of the Art Cartel. WXOX is among the stations that filed comments to the FCC.

The low-power FM service in the United States has grown to more than 2,100 stations. Advocates say it has matured to the point that those stations should have an opportunity to improve their signals through technical upgrades.

The FCC is considering a Notice of Proposed Rulemaking that would, among other things, allow for more widespread use of directional antennas by LPFM stations. Currently the rules allow LPFMs to use directional antennas under special circumstances, including as part of a second adjacent waiver request or for LPFMs licensed for public safety purposes. The commission is also proposing to allow LPFMs to use boosters.

The approximate service range of a 100 watt LPFM station is about 3.5 miles, according to the FCC.

DIVERSITY & LOCALISM

Advocates say the commission was understandably conservative at the outset of the service almost two decades ago, authorizing small coverage areas with very low powers and height, and imposing strict transmitter requirements. Now, they say, LPFM deserves additional engineering options to improve reception. 

Commission Chairman Ajit Pai wrote in a blog post this year: “When the commission launched the service in 2000, it designed LPFM requirements to be simple. The purpose was to make it easier for non-profit organizations with limited engineering expertise and small budgets to readily apply for, construct and operate stations service highly localized areas.”

Pai said the NPRM includes changes to increase flexibility while maintaining interference protection and the core LPFM values of diversity and localism.

The proposed rules would not be “a carte blanche for all LPFMs” to use directional antennas, said Michi Bradley, founder of REC Networks and an LPFM advocate who has pushed for rule changes.

Bradley said the main beneficiaries of the change would be a handful of LPFM stations near the Mexican border. Currently, stations within the Mexican border strip zone, within 125 kilometers, are limited to 50 watts ERP non-directional, Bradley said. 

[Read more stories from the Nov. 20 issue of Radio World]

“The proposal would add a third category to allow LPFM stations to use DAs to limit power to 50 watts or less along radials that are within 125 km of the border and to allow the full 100 watts in directions away from Mexico,” Bradley said.

Another aspect of the proposed directional antenna changes is to permit, in certain cases, the use of composite directional antennas, as opposed to off-the-shelf models. 

“This would give LPFM stations more flexibility to use antennas, such as the Nicom BKG-77, which are not listed in the FCC’s standard pattern list, as well as use multiple skewed antennas in order to maximize coverage while still protecting second adjacents or meeting international agreements.”

The FCC in its NPRM stated that it doesn’t think the use of DAs will be widespread: “We believe that directional antennas, whether off-the-shelf or custom models, will not be used widely in the LPFM service due to their higher cost and limited necessity. Nevertheless, the use of such antennas could, if properly engineered, provide significant flexibility to LPFM licensees subject to international agreements and to those that must relocate in areas with few available transmitter sites.” 

The FCC is also contemplating a new definition for LPFM minor changes to include those that involve overlapping 60 dBu contours of the station’s existing and proposed facilities or a move of 5.6 km or less.

In addition, the proposal would allow LPFM stations to retransmit their signals over FM booster stations without a waiver in order to fill in terrain-associated gaps in service. REC believes very few LPFM stations would benefit from having FM boosters but that in some cases it may help fill in certain gaps in challenged coverage areas.

EXPERT ASSISTANCE

A Radio World review of comments filed through early November showed many commenters urging the FCC to adopt the technical upgrades. 

Steven White, director of Triangle Access Broadcasting, Inc., said the FCC’s original goal of installing simple technical rules made sense under the circumstances.      

“What became apparent was that, while the LPFM rules are comparatively simple, expert assistance was still required for many organizations that just don’t happen to have the right balance of people within themselves,” he wrote.

“If technical services are required anyway, then it is only proper to make the fullest use of those services and maximize the use of spectrum achieved with directional antennas.”

Veteran broadcast engineer Dana Puopolo wrote, “I support this proposal because it is well past time the commission stop treating low-power FM stations as second-class citizens. No other class of full-power FM station, translator or booster has the amount of technical restrictions as low-power FM stations do.

“For example, no other FM facility is restricted to such a small operating power, use of directional antennas, certification requirements for transmitters, use of an arbitrary 12 kilometer buffer and other restrictions as low-power FM stations are. The low-power FM service has become a mature service. It should be allowed the same rights (and responsibilities) as any other FM service.”

[NJBA: FCC Must Protect Full-Power Stations]

The Inge Davidson Foundation, licensee of WZML(LP) Bryn Mawr, Pa., wrote in support. 

“For far too long, low-power FM stations have been at the bottom of the pecking order. No other class of full-power FM station, translator or booster has as many restrictions as low-power FM stations do,” said Linda Davidson, chairwoman of the foundation.

Mike Starling, president and GM of Cambridge Community Radio and WHCP(LP) in Cambridge, Md., expressed support for the “common-sense LPFM technical improvements outlined in MB docket No. 19-193.” Starling is a former director of technical operations at NPR.

VOICING CONCERNS

Other commenters, including full-power broadcasters, expressed concern about increased crowding in the FM band.

Representatives of Entercom Communications met with Chairman Pai recently and said that “certain modifications to the LPFM technical rules proposed in the Notice of Proposed Rulemaking … could bring increased congestion to the FM dial leading to interference to full-power stations,” according to a public filing.

The New Jersey Broadcasters Association reminded the commission of the need to “adhere to the obligations of secondary broadcast services” as it proceeds.

“Specifically, the obligation that secondary services not interfere with full-power radio broadcast stations,” the NJBA wrote. “In addition, the need for further expansion and competition from LPFM services is dubious at best — given that the radio broadcasting industry has already been subjected to increased competition from the recently-enacted FM translator rule changes, digital media, satellite radio, podcasts, internet and other media sources.”

The National Association of Broadcasters told the FCC, “NAB is concerned that the proposal to allow LPFM licensees expanded use of directional antennas could cause interference to full-service FM stations. We further object to the commission’s proposal to grant a blanket authorization to LPFM operators to use boosters,” the association wrote.

[Buffer Compromise Would Boost FM Class C4]

In addition, NAB supported the commission’s rejection of proposals to allow LPFM stations to increase power above 100 watts, which was suggested in REC Networks’ petition. 

REC Networks has asked the FCC to reconsider 250-watt stations (LP-250). Under its proposal, Bradley said, LP-250 would only be available as an upgrade to already licensed LP-100 stations and be considered a minor change. In addition, any LPFM station proposing LP-250, FM translator relief or LPFM-to-LPFM short-spacing would be subject to an interference remediation rule similar to the one recently adopted by the FCC for FM translators.

“REC’s LP-250 proposal has been refined for many years, taking into consideration the input of NAB, EMF [Educational Media Foundation] and other opponents, and is statutorily sound,” Bradley contended.  

Numerous LPFM broadcasters, filing comments on the current petition, also brought up a desire for LP-250 to better serve local communities. 

[Is There an Afterlife for “Franken” FMs?]

Sharon Scott, president of WXOX(LP), a volunteer community radio station on 97.1 MHz in Louisville, Ken., commented on her support for the boost to 250 watts. 

“While reviewing LPFM rules, we hope you will consider increasing our maximum allotted power from 100 watts to 250 watts of effective radiated power at 100 feet height above average terrain. This modest increase would greatly improve our ability to deliver the diverse voices of our community to those whom it matters the most,” Scott wrote. 

Park Public Radio, which holds the license for KPPS(LP) in St. Louis Park, Minn., wrote, “Proposed rules do not substantially help the needs of incumbent LPFM broadcasters, and further reforms are necessary to address the unfavorable rules that LPFM operators face versus FM translator operators.” KPPS’ Jeff Sibert said he believes the commission should reconsider its tentative rejection of an LP-250 service. 

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post LPFM Stations Seek Technical Upgrades appeared first on Radio World.

Mayah Communications has set a new marketing and development cooperation with Ferncast GmbH, the company announced on Tuesday, Nov. 12.

Detlef Wiese is CEO of Mayah.

Mayah, which has crafted ISDN and IP audio codecs, is now moving into cloud and virtual machine applications, something that Ferncast has experience with from their products based on aixtream technology.

“Mayah is bringing its experience and knowledge of the market, while Ferncast develops innovative broadcast solutions with their highly skilled developers team of PhD and Msc with a close relation to the RWTH Aachen University and the Institute of Communication Systems (IKS),” said Dr. Hauke Krüger, CEO of Ferncast.

“The Ferncast team is creative, dynamic  and experienced at the same time,” said Detlef Wiese, CEO of Mayah.

Dr. Hauke Krüger is CEO of Ferncast

“It is a pleasure to work with them and an exciting big step for the broadcasting industry. I am sure the customers will benefit from this cooperation and the resulting innovative professional audio solutions.”

The post Mayah Communications, Ferncast Announce Strategic Alliance 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.

For years, radio and digital have been considered rivals. Could there now be the start of a new alliance, particularly for community media?

The growth of smart speaker audiences has been covered exhaustively by many outlets. NPR and Edison Research issued a joint report in the summer. And, throughout noncommercial media, there is a quiet anxiety about the Echo Dots, Google Home Minis and other appliances … well, dotting many an American home. Why?

Attitudes about smart audio among radio professionals vary. Some people see smart speakers as an existential threat to radio. Other people see smart speakers as privacy encroachments they’d never use. But increasing numbers of Americans — well over 70 million units are in U.S. residences now — say smart speakers are essential devices they can’t live without. Such ubiquity indicates smart speakers are here to stay. Community radio only eschews adaptation at the steep cost of relevance.

[Read: Community Broadcaster: All-Podcast Radio]

Through apps like Stitcher, iHeart and TuneIn, most community radio stations are already present on smart speakers, thanks to integrations Apple, Amazon and Google have with such tools. But smart speaker innovation is fast, and the devices do far more than stream radio stations these days.

That’s why Google’s latest announcement could invigorate community media organizations nationwide. Many of these local institutions have fascinating local coverage, but do not have the technical muscle.

Enter Google with an intriguing proposal.

In a Nov. 19 press release, Google unveiled a new initiative using its Google Assistant framework, available through its Google Home family of smart speakers as well as its operating system built into millions of Android smartphones. When you tell your smart speaker or enabled smartphone to play the news, you will get a blend of news stories tailored to your location, user history and preferences. News stories are all just a few minutes long.

The game-changing endeavor has been led by public media veteran Brenda Salinas Baker. Many people know Salinas as a dynamic leader in the noncommercial media system. Her passion for an informed public and educational broadcasting has shone brightly for years. With a variety of commercial and noncommercial content providers baked in at launch, the commitment to providing users with a diversity of media choices shines just as brightly.

Ostensibly, you’ll get more local media served up to you, and far more options as this initiative grows. A Google blog post reads, “Over the past year, we worked with publishers from around the world … to think through the future of audio news. Together, we built a prototype that brings the artificial intelligence of Google News to the voice context of the Assistant.”

Here is where community radio may come in.

Google has opened up the platform for community and other media news producers to join in this endeavor. You can visit the Audio News experience form to submit a feed or feeds for consideration. Note the guidelines for publishers. Your news submissions must adhere to length and other guidelines. For community media organizations already producing local news, these rules should be easy to abide by.

There may be radio loyalists who would blanch at the suggestion that Google curating short-form, location-based audio for users is good news for stations. Yet the tide has been shifting on from-the-box radio listenership for awhile. Ultimately, community radio stations are the content and engagement business. The platform is less relevant to the audiences, and donors, we hope to create relationships with.

A virtually no-cost entry into the devices people already love with a company many trust is an offer that does not come around often. Are community radio stations willing to reshape their fortunes? Those decisions are now in the hands of our most courageous local media leaders.

The post Community Broadcaster: “Google, Play Me Community Radio” appeared first on Radio World.

Waves Audio has shipped Waves SuperRack plug-in processing software for live sound and broadcast engineers.

The software plug-in rack allows users run up to 128 audio channels through multiple instances of Waves plug-ins with low latency and customization options for adapting it to the user’s mixing workflow.

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

SuperRack operates in a SoundGrid Audio-over-Ethernet network, processing audio on a dedicated SoundGrid DSP server, which moves plug-in processing from the host computer to an external DSP server in order to increase plug-in count, minimize latency, and enable the host and I/O devices to be situated far apart from each other.

According to Waves, users can run plug-ins in real time, customize a workspace with floating windows, set extended-scope snapshots and more.

Based around a multitouch-friendly graphic interface, SuperRack allows users to view and control multiple plug-in instances simultaneously and expand their workspace to up to four monitors. Up to a dozen of the user’s top priority plug-ins per snapshot can be called up in the Hot Plug-Ins panel, and all plugs’ parameters can be adjusted with a “Touch & Slide” fader — among other features

Info: www.waves.com

The post Waves Audio Ships SuperRack Plug-in appeared first on Radio World.

The Federal Communications Commission likes the idea of giving U.S. stations on the AM band an option to turn off their analog transmissions and instead use only HD Radio. It recently said it would consider a Notice of Proposed Rulemaking recommending that change. Now the commission has officially done so.

The vote was unanimous, though at least one commissioner expressed concerns over the details of technical standards.

While the decision to issue the NPRM is not surprising, given the announcement of a couple of weeks ago, the vote seems to mark a significant advance toward an outcome where AM owners would have the digital choice. Only one U.S. radio station, owned by Hubbard Radio, operates full-time in all-digital, and does so under special temporary authority.

Advocates think having an all-digital option would be a boon to AM stations, many of which are troubled by economic challenges, band noise and lack of listener interest. Some see it as a logical addition to the AM revitalization effort, bringing benefits like metadata displays that most AM stations currently don’t have, in addition to better sound quality. And some observers, if fewer in number, wonder whether widespread migration to all-digital could substantially revitalize the AM band someday, making it prime spectrum real estate again.

Anecdotally, some critics have worried that a change that would make most existing receivers unable to hear a given radio station is premature, and/or they have voiced worries over the interference implications. That’s a touchy subject, given HD Radio’s less than stellar reputation among AM engineers, dating to the early days of putting hybrid digital on AM. The NPRM process should give more insight into what opposition may exist, if any, and from whom. It should tell us more about how AM owners themselves, big and small, come down on the idea.

“Many AM stations experience interference from electronic devices and other sources that affects audio quality,” the FCC stated in its announcement. “All-digital broadcasting offers AM broadcasters the potential to improve their signal quality and area of listenable coverage, as well as offer additional services that FM broadcasters currently offer, such as song and artist identification. It also holds the potential to allow AM stations to increase their programming options to include music formats.”

In the NPRM the FCC also proposes establishing operating parameters for all-digital stations, to minimize risk of interference; and it proposed adopting what it called the “industry-approved standard” for hybrid and all-digital broadcasting, meaning HD Radio.

[Read: Downs Hails FCC Announcement on All-Digital]

The National Association of Broadcasters applauded the move and said in its statement that “many” AM broadcasters are exploring the potential benefits.

Commissioner Michael O’Rielly has been particularly involved in issues involving the radio industry. Reacting to the vote, O’Rielly noted that he’d participated in a Texas Association of Broadcasters event with Bryan Broadcasting Corp.’s Ben Downs, an ardent supporter of AM revitalization and the person who petitioned the FCC to get going on this topic earlier this year.

“Assuming this item goes to final order, it remains to be seen whether digital AM signals will ever catch on with manufacturers, and more importantly, listeners, or serve as a significant factor in the band’s revitalization,” O’Rielly wrote after the vote.

“But our record clearly demonstrates that many in the industry would very much like to at least have a chance to test this approach, without having to obtain an experimental license. We need to give them that opportunity.”

O’Rielly did sound a note of caution. “When it comes to adopting specific technical standards, I do continue to have serious reservations regarding this approach, as the commission also adopted specific standards in the early 2000s. That said, on this and other questions, I will follow the comments received closely and look forward to seeing whether the option to transition to all-digital modes does, in fact, allow stations to have a greater and more effective reach among the listening public.”

Radio World explored the possible implications of this last March; read the ebook here.

 

The post FCC Officially Proposes to Allow All-Digital on U.S. AM Band appeared first on Radio World.

The console has long been at the center of the radio broadcast studio. Today that paradigm is being challenged by new ways of thinking about audio, digital management and the user interface.

Radio World’s latest ebook asks:

What will the console of the future look like — if we use one at all? What do virtualization and cloud technology mean for console users and studio designers? What does the next generation of user interface look like?

And because a physical surface remains a key component at most stations, we also ask: What functions and features are being offered on new models that engineers should know about? How have AoIP technology developments been reflected in the look and function of physical surfaces? How vibrant is the marketplace for analog consoles? How long will manufacturers of analog consoles support them? What options are available in the market to support brands that are no longer manufactured?

Answering our questions are Mark Simpson, Jason Ornellas, Michael LeClair, Jay Tyler, Matt Lightner, Roberto Tejero, Marty Sacks, Clark Novak, Henry Goodman, Eric Hoppe, Tag Borland, Ben Palmer and Daniel Hyatt. Read it here.

The post Trends in Consoles appeared first on Radio World.

Here we go again!

Every Congress, a few well meaning, but misinformed legislators, appear to forget that they represent the people of their districts and not the foreign-owned record companies, and introduce in one form or another, the toxic performance royalty fee legislation commonly known as the “Performance Tax.”

It does no one any good at all, least of all the vast and diverse audiences our free-over-the-air broadcasters serve, and helps stifle the creative growth and opportunities for success of emerging artists, while destroying the best thing that ever happened to our multi-faceted, shared culture: the free-over-the-air delivery of all forms of entertainment, local news, EAS warnings, AMBER Alerts and most of all — music, to everyone, for free —no matter your social status or place of origin—radio!

Broadcast radio is enjoyed by almost everyone in America. For almost one hundred years, Americans have had a love affair with broadcast radio. And for good reason. Its bold, diverse, endearing, expandable, compact, ubiquitous, portable, lovable, affordable, and incontrovertible value as the most ubiquitous source of news, information and diverse entertainment available to everyone, and all for free.

No download charges, no subscription fees, and no license fees for the end user. It informs and binds us, it makes us laugh, it heals our wounds, it provides comfort and lifesaving information in times of crises, and oh yeah—it’s always on!

But the wrongheaded measures pushed by some who insist on squeezing every dime out of a broadcaster’s craft that they can would tamper with this timeless recipe for universal happiness.

[As Legislation Sits in Senate, Pirate Activity Continues in Force]

But much more horrifying; these Performance Royalty Taxes would destroy radio as we know it, and indeed harm everyone; artists, composers, communities, broadcasters and most sadly, everyone who enjoys radio today—about 300 million of our friends, family, neighbors and co-workers in America alone — the very constituents that these legislators are supposed to serve.

The good news is that support for the Local Radio Freedom Act supporting local radio continues to be strong in the House and the Senate. Currently, more than 200 Members of the House are on record in opposition to a performance tax.

New Jersey Broadcasters would like to express our deep appreciation to our Congressmen for their courageous leadership in previously opposing this unfair and wrongheaded tax. These Legislators are to be applauded for their early recognition and constant vigil over free-over-the-air radio’s service to the local communities they represent across the Garden State.

However, the NJBA was always convinced that a stealth attack on free over-the-air-radio was very possible, as we saw with this week’s introduction of two P-Tax bills in Congress.

In New Jersey, local radio is very, very important, and the prospect of a Performance Tax is akin to a Death Tax for broadcasters.

[Are Higher Music Licensing Costs Cued Up?]

The P-Tax would demand exorbitant royalty fees from broadcasters to pay for the a few record labels failed business models. And these new royalty fees would be on top of the billions the radio industry already pays in royalties to artists and songwriters through ASCAP, BMI and SEASAC! In these challenging economic times (or in any economic model), can any industry afford such confiscatory increases in net operating costs?) And the public would gain no return for the fees taken. No community service, no public announcements, no lifesaving Amber Alerts or EAS warnings. Nothing at all but making a few more millionaires and billionaires richer, and all at the public’s expense.

Nevertheless, the unavoidable result of the Performance Tax’s passage is much more than merely wreaking economic havoc on local radio stations. The passage of the bill would force the closing of a majority of local radio stations in New Jersey and across the country. To be sure, the prospect of enhanced opportunities for localism, diversity and outreach would be immediately hushed. Station groups and networks would be hurt, as well. Localism would be out the window and thousands in New Jersey would lose their jobs.

Moreover, local merchants, businesses, government officials, politicians, and community groups would be without a voice and an affordable, effective outlet to market their goods and services to their obvious customers and constituencies.

But this is all not about dollars; It is about common sense.

[Music, Royalties and Communities — Walking the Walk]

Much more horrific, the closure of these vital broadcast outlets across America would also decimate our Emergency Alert Warning System capabilities and pose a genuine threat to homeland security. And for what? So a few greedy foreign owned record companies can try to line their coffers with more American dollars, taking billions out of our economy? And worse, the move would directly or indirectly, wipe out hundreds of thousands of jobs in the United States.

Moreover, a new oppressive Performance-Tax would hurt emerging artists who might not ever get their music on the air if stations have to pay a fee every time a new song is played.

Performing artists almost universally recognize the honest and incomparable value only broadcast radio air-play adds to their industry and business model. The record label’s recognition of the unparalleled promotional value of radio airplay contradicts statements made by recording industry representatives in Washington.

Our two industries have worked perfectly together for decades. Certainly, no artist would ever have an opportunity to become famous and successful absent their natural symbiotic partnership with free-over-the- air-radio! This symbiosis evinces the inescapable conclusion that both sides are benefiting. Why do you think local stations across the country are bombarded every day with sample CD’s MP3s, and “demos” by emerging artists (and seasoned veteran artists) begging station managers to play their new tune? It’s because broadcasters and artists genuinely “get it.” It’s how they sell records, (yes, vinyl records are making a comeback) CDs, downloads, video and merchandise.

Worse, the P-Tax’s foreseeable fractionalization of collaborative artists could hurt everyone associated with the creative process and diminish the very projects or songs they want to promote to be successful. It’s a recipe for collusion, litigation, division, unfairness, and disaster.

[NAB Adds Broadcast Essentials to Education Resources]

So you see, a new Performance Tax imposed on radio stations by record companies would only be biting the very hand that feeds them.

Equally disturbing is the disingenuous comparison of broadcast radio to internet providers and pay/subscription audio entertainment programming and fees paid by satellite radio. The proponents of this legislation want us all to be alike – just because Cable, Satellite and Internet services pay these royalties. But we are not alike!

Remember how radio stations helped warn and serve New Jersians crushed by SANDY? Well, New Jersians do. Free over-the-air radio & television are the only exclusively local media in existence! Did you ever see a pure-play or satellite station sponsor a little league team or do a food drive for a local charity?

Our cherished stewardship of the public airways is a public trust, and no industry is more publically spirited than broadcast. We have a very different mission, mainly to operate in the public interest; from the sustaining value we provide for the EAS for local emergency notification such as NJ Amber Alerts, and in response to community-wide emergencies like Superstorm Sandy, ice and snow storms, and other extreme weather hazards, to local news of community events and happenings in entertainment in an amazing variety of formats.

The internet and satellite applications referred to in mislabeled “equitable royalty fee” arguments (and the specious claim of pure-play “radio” designations) do not provide such essential public services, nor are they designed or equipped to do so.

[Does 5G Make Sense for Radio]

Compared to free radio’s 300 million listeners in the United States alone, satellite and subscription services reach less than 10% of radio’s ever expanding and diverse listening base. And radio’s service is free! Think about how many people in today’s tough economy can afford to pay to hear radio in the first place. (By the way, if anyone wants to see the effects of wrongheaded Performance fees, just look at the 30%+ increase in satellite’s monthly subscription fees for royalties and the “going dark” of some radio stations’ streaming audio on the net, due largely in part to the ever-increasing royalties charged to stream content.)

And to lay to rest the specious argument that the performing artists will get any money from the new Performance Tax, all you need to do is review the typical recording contract any new artist is “forced” to sign if they want to get their coveted “record deal.” It often provides for very little compensation to flow to the artist after record production and promotion costs are re-cooped.

More disturbingly, many artists complain about the notorious greed of the industry itself. In a surreal report released a few weeks after Michael Jackson’s death, it was revealed that the King of Pop told interviewers that it was “Time for artists to take a stand against record labels.” In a video interview filmed by director Brett Ratner, Michael Jackson “lashed out at record labels. Asked about his greatest lesson learned, Jackson replied: “Not to trust everybody in the industry. There are a lot of sharks, and record companies steal. They cheat. I have to audit them. And it’s time for artists to take a stand against them.” Bravo, Michael.

[50 Broadcast Groups to FCC: Remove Obsolete EEO Rules]

Finally, our great New Jersey Broadcaster Association represents much more than the radio and television industry in the Garden State. We also represent the vast and diverse audiences that our members so ably serve. We represent the people, and we stand with them. We respectfully ask all of Congress to the same. It’s the right thing to do.

So keep listening New Jersey! Let’s defeat this Performance Tax and let’s keep New Jersey radio free for all to enjoy!

The post Rotella: Radio Performance Tax Does More Harm than Good appeared first on Radio World.

Bill O’Reilly got an Air Force One sit-down with Pres. Donald Trump earlier this month. The result? A special Thanksgiving holiday one hour special that will be available for affiliates of O’Reilly’s “The O’Reilly Update,” a 15-minute daily program that airs on almost 200 stations; syndicated by Key Networks. Of course, the program will be “yuge” and “The best ever.”

The post O’Reilly Serves Trump for Thanksgiving appeared first on Radio World.