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Media Bureau announces pleading cycle for proposed sponsorship identification requirements for foreign government-provided programming

FCC upholds dismissal of application filed by Korean Gospel Broadcasting Network for a new cross-service FM translator station at Los Angeles, CA, to rebroadcast Station KGBN(AM), Anaheim, CA

Media Bureau Exends Comment Period on the Request for Permanent Waiver of Newspaper-Broadcast Cross-ownership Rule Filed by Fox Corp.

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In this document, the Commission seeks comment on rules proposing to require specific disclosure requirements for broadcast programming that is paid for, or provided by a foreign government or its representative.

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Issued a Notice of Apparent Liability for Forfeiture in the amount of $20,000 to Deerfield Media (Baltimore) Licensee, LLC for failure to comply with the limits on commercial matter in children's programming.

Cranborne Audio has introduced its new Camden EC1, a desktop preamp with analog saturation and a headphone amplifier with a discrete line mixer built-in, all fit in a half-rack chassis, making it aimed at musicians, engineers, podcasters and voice-over artists.

The Camden EC1’s preamp design provides up to 68.5 dB of gain, allowing the preamp to pair with low-gain dynamic microphones and ribbon mics. Also onboard is a headphone amp with a dedicated line mixer to provide zero-latency monitoring of the preamp mixed with playback from a DAW.

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

At the turn of a dial, the Camden preamp takes on the persona of vintage transformer or tube-based preamps using its “Mojo” analog saturation control and “thump” and “Cream” styles. Users can split the Hi-Z signal using the link output to record both the DI and a processed amped signal, allowing for re-amping workflows. The unit’s connectivity includes balanced XLR and 1/4-inch impedance-balanced preamp outputs and a 10 dB pad to prevent clipping converters.

VO artists and podcasters can monitor their vocal channel directly using headphones connected to the preamp itself, and apply Mojo analog saturation control to apply different characters to one’s voice — Thump can be used to create a sense of intimacy or Cream to underline excitement. Podcasters will be able to apply 68.5 dB of gain to low-sensitivity microphones, such as a Shure SM7b or EV RE20, reportedly without adding noise or coloration.

The Camden EC1 features the same reference-grade design developed for the 500R8 audio interface, and its headphone amps deliver up to 1.2 watts of clean power per ear and a flat frequency response from 5 Hz to 70 kHz.

Info: www.cranborne-audio.com

The post Cranborne Audio Debuts EC1 Preamp appeared first on Radio World.

Streaming technology platform Radioplayer is launching in France, Sweden and the Netherlands, bringing its country total to 14.

Organizers are taking particular note of the importance of France as an automotive market, accounting for 14% of European car sales and more than a quarter of European car production.

[Read: Radioplayer Italia App Is Now Available]

Radioplayer started as a nonprofit collaboration of the BBC and the commercial radio industry of the United Kingdom. “Unlike other radio aggregation models, Radioplayer is nonprofit, and each system is specific to the country in which it is launched,” according to its latest press release.

“There are shared technical standards for the Radioplayer web-player, the radio discovery apps, and the back-end systems which power them, but broadcasters retain control over their own branding, streaming, and commercial deals.”

The organizers of Radioplayer say the effort is important so that “the international radio sector can speak to all car manufacturers with one voice, to keep radio strong in the dashboards of the future.”

The three countries will add metadata (station information, logos, streams, podcasts etc.) to the Radioplayer data feed that supports “hybrid” radio interfaces in a growing number of new cars. “These smart devices can switch automatically between DAB+, FM and streaming, to keep listeners locked-in to their favorite radio stations. Almost a million cars are already driving around Europe with radios powered by metadata from Radioplayer stations.”

Radioplayer France is supported by broadcasters Radio France, Les Indés Radios, M6/RTL, Lagardère, NRJ, and NextRadioTV. “The new partnership will provide 67 million French people with improved ways to listen to their favorite radio stations in the car, and via apps, smart speaker, and smart TV integrations,” according to the announcement.

Radioplayer Netherlands will operate as a partnership between public service broadcaster NPO and Dutch national commercial broadcasters. Radioplayer Sweden is backed by a consortium of major broadcast groups Sveriges Radio, Bauer and Nent.

 

The post Radioplayer Expands in Europe appeared first on Radio World.

The 2021 NATE UNITE convention has been cancelled.

NATE: The Communications Infrastructure Contractors Association said its trade show, planned for Memphis in February, is off. It made the decision after reviewing COVID trends and safety guidelines from local and state officials in Tennessee.

“As an organization founded on the core tenet of safety, the health and well-being of the Association’s members and staff is a top priority,” it stated in an announcement. The most recent show had about 2,400 attendees.

The organization said it is now focused on planning NATE UNITE 2022 in Las Vegas in February of 2022.

It did not announce a virtual version of the 2021 show, but meetings of the NATE board and related committees will be held virtually.

The schedule of 2021 conventions in the U.S. telecom and broadcast industry had already been disrupted when the National Association of Broadcasters made the call to postpone its 2021 NAB Show from April to October of next year.

Another staple of the annual industry calendar is the convention of the National Religious Broadcasters. An NRB spokesperson told Radio World today that it is still planning a full-in person gathering in March.

 

The post NATE Cancels 2021 Annual Tradeshow appeared first on Radio World.

The author is Tieline’s U.S. codec expert. This is one in a series of articles about how to get the most out of various popular broadcast products.

The past few months we have been busy helping clients prepare for their fall sports broadcasts here in North America. Customers are always looking for ways to help them broadcast live play-by-play and to assist with interviewing players remotely during the pandemic.

When it comes to producing audio for sports broadcasts Tieline is like State Farm Insurance: “We know a thing or two, because we’ve seen a thing or two.” From the local high school Friday night lights to the NFL and everything in between, when it comes sports broadcasting we have seen it, and prepared solutions to assist.

To assist you with broadcasting live sports from home, I’d like to explore a few of these areas with you.

Multiple streams from remote sites

The most common need we have seen has been the ability to have a single codec stream to multiple remote studios. This is due to the increased number of sportscasters calling their games from their home studios, with maybe a single person at the game for crowd noises, game sounds and sideline interviews, while still maintaining the final mix at the flagship studio.

With Tieline’s remote field equipment, you can transmit multiple streams as they feature multiple encoders and decoders. Each encoder and decoder has the ability to stream unique or similar audio sources going to multiple locations, all running in different formats to conserve bandwidth.

With a little bit of network configuration or the use of Tieline’s Traversal Server, TieLink, you can have your on-air host at home be a “remote” studio with the ViA codec. Then your reporter at the game, with another ViA, can dial into your “remote” studio like a normal connection.

Once the on-site ViA and the “remote” studio ViA connect, both ViA units can then establish a secondary link back to the master control center at the flagship. Allowing the studio to have the ability to adjust the final mix before it goes on-air, as well as maintaining the level of content your audience wants.

 

Feeding multiple IP audio streams

Another common solution request that we get, particularly with high school broadcasts, is the ability to feed audio to both an online video stream as well as a traditional radio remote back to the studio.

Other than video equipment and a PC to upload a live stream to broadcast to the local community, you also need to worry about the audio for play-by-play. For those who have our remote codec field equipment, like the ViA or i-Mix they are in luck as they offer a mixer with multiple outputs.

For example, the ViA could be programmed to have bidirectional audio with the studio and also have a unique secondary output through a USB port to plug directly into your video streaming rig. This allows the user to have fewer devices to control and manage in the field, as well as maintain audio quality to the broadcast studio.

As restrictions have been put in place by some teams and/or companies, it has become more important to be able to assist without having physical access. In comes Tieline’s HTML5 web management interface that comes built-in to all modern Tieline hardware.

With the right type of network and codec configuration, an engineer can obtain remote control of a Tieline codec to assist talent. But this comes at a price and that price is exposure to the public internet, posing a security risk.

The way to tackle this is to use a VPN or Tieline Cloud Codec Controller. A VPN would give the studio and engineer the ability to access the equipment remotely as if they were on the same local area network. Cloud Codec Controller doesn’t create a VPN. Instead it creates an SSL Socket between the Tieline hardware and Tieline’s Cloud Codec Controller Hub Network.

The network establishes a secure path between the codec and the PC to provide remote control of the equipment. With the Cloud Codec Controller, you can reduce equipment costs for remote access and also give your talent the peace of mind to broadcast without having to worry about technical issues.

When it comes to broadcasting events remotely, regardless of the situation or the requirements in the field, Tieline has a solution prepared for you. Whether you are looking to feed multiple studios, or you just want to split and share the codec’s audio to another broadcast team, Tieline is there to help you.

Tieline has also created a range of support videos to support different setups and you can view them on our YouTube channel at https://www.youtube.com/user/TielineSupport.

The post Using Tieline ViA for Play-by-Play appeared first on Radio World.

Avid has introduced Pro Tools | Carbon, a new hybrid audio production system intended to create an improved tracking experience as it integrates Pro Tools with HDX DSP acceleration and the native CPU of the user’s computer.

Using Carbon’s onboard HDX DSP, the new Pro Tools Hybrid Engine simultaneously allows users to access on-demand, low-latency channels to record through AAX DSP plug-ins in real time — with sub-1 ms latency monitoring performance. Going between Native Mode and DSP Mode requires only a single button press per track in Pro Tools, allowing users to simplify their workflow for recording and mixing.

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

AAX DSP, at the core of the Hybrid Engine, delivers the same sound quality in both native and HDX DSP Acceleration domains, enabling users to toggle in and out of DSP Mode while maintaining sound quality. This also enables music creators to disconnect Carbon and physically take their mix elsewhere or collaborate with others who don’t have the interface.

Carbon features double resolution clocking, and what Avid says is its most transparent mic preamp design to date. With four headphone outputs to send individual monitor mixes, eight preamps combined with 16 channels of ADAT inputs and an onboard talkback mic, the unit can handle tracking a full band. Carbon requires an Ethernet connection to the host computer, aiming to preserve the highest possible sound quality from input to output, as well as “futureproof” the unit.

In addition, Pro Tools 2020 introduces a much-requested “Dark Mode”-style UI, as well as a new ability to analyze audio and render it as MIDI notes. For audio post professionals, Pro Tools 2020 includes native integration to export ADM files for Dolby Atmos, a new space clips function that lets users arrange a multitude of clips in a fraction of the time, and a reintroduction of the ability to bounce sessions to QuickTime formats in macOS Catalina.

Pro Tools | Carbon is available now, starting at $3,999 — that includes a one-year Pro Tools subscription and partner plugins from Arturia, McDSP, Plugin Alliance, UVI, Native Instruments and Embody.

 

The post Avid Launches Pro Tools | Carbon appeared first on Radio World.