Radio World

Classic105 morning host Mike Mondo at the helm of the crystalClear console.

Kenya’s Radio Africa Group has taken a liking to Lawo equipment, recently choosing it for Kiss100 FM broadcast station and its Classic105 streaming station.

The Nairobi-based radio and TV broadcaster installed a Rɘlay PC-based virtual mixer at Kiss100 FM. After that proved successful, the company says, it turned back to Lawo to upgrade Classic105.

[See Our Who’s Buying What Page]

That led to the selection of a Lawo’s crystalClear “glass” touchscreen mixer. Included in that package are the VisTool virtual radio studio builder software and a Compact Engine, a 1RU mixing engine with AoIP audio interfaces and DSP audio processing. According to a release it was the first installation in East Africa of such equipment.

Lawo distributor and systems integrator BYCE Broadcast provided the equipment and services.

Radio Africa Group Technical Manager Philip Keter said, “We are happy with Lawo virtual consoles … We have had Kiss100 FM using Lawo Rɘlay mixing for more than one year now, and we have not experienced any downtime.”

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He added, “We are even more excited about crystalClear; the presenters love its robustness, flexibility, and agility. It is not only easy to operate but actually helps enhance creativity!”

 

The post CrystalClear in Kenya appeared first on Radio World.

A broadcaster in Texas is facing a fine for not filing license renewal applications for two FM translators on time.

Carlos Lopez is licensee of the translators in Conroe and South Padre Island. License renewal forms were due by April 1 but were not received at the FCC until late May.

[Read: Expired Licenses Lead to $7,000 Forfeiture for FM Translator]

The commission says Lopez didn’t provide an explanation, so it has issued a notice of apparent liability for $3,000, which he has 30 days to pay or challenge.

Because he did file before the licenses actually expired, and because the FCC isn’t aware of any other problems, it said it plans to grant the renewal applications once the forfeiture proceeding is completed.

 

The post Two Texas Translators Face an FCC Penalty appeared first on Radio World.

Ryan Seacrest, one of the brightest stars in iHeartMedia’s talent constellation, has signed on for a new contract.

Describing him as an “unmatched creative talent,” the company said: “The three-year contract extends through Dec.31, 2025, during which time Seacrest will celebrate 30 years as one of the most recognized and respected names not just within iHeartMedia, but throughout the entire media and entertainment industry.”

In the announcement, Seacrest called the decision a “no-brainer.”

The agreement was negotiated by Jeff Refold, COO/CFO of Ryan Seacrest Enterprises, and Jonathan West of Latham & Watkins. Its value was not announced.

iHeart noted that Seacrest started in radio as a teenager at WSTR(FM) in Atlanta before he went to Los Angeles. “Since then, Seacrest has built a reputation as one of media’s most trusted voices, cultivating a genuine connection — and powerful relationships — with consumers, advertisers, and America’s biggest stars, and is a true brand ambassador for iHeartMedia.”

He will continue to host and produce his morning drive show for iHeartMedia’s 102.7 KIIS-FM, the syndicated “On Air with Ryan Seacrest” and “American Top 40 with Ryan Seacrest.”

iHeart says Seacrest is an important voice to its top management in planning major initiatives and tentpole events, and he will continue that advisory capacity.

In radio circles Seacrest also is known as a benefactor for children’s hospitals. His foundation builds broadcast media centers named Seacrest Studios in pediatric hospitals for patients to explore radio, TV and new media.

The post Seacrest Re-ups With iHeart, Calls It a “No Brainer” appeared first on Radio World.

Fig. 1: The Neewer NW-700 provides excellent performance and costs less than $15.

This article originally appeared in the Feb. 8, 2017, edition of Radio World Engineering Extra and was posted on this website Feb. 9, 2017.  If you like this content you should subscribe to Radio World Engineering Extra.

In two articles thus far (RW Engineering Extra, Aug. 10 and Oct. 19, 2016), we’ve traced the origins of electret condenser microphones to their externally-polarized ancestor, patented in 1916.

One hundred years later, modern materials and manufacturing have made electret condenser mikes cheap and plentiful — and with careful design electret audio performance can rival the best of their powered cousins. In this chapter, we’ll examine the anatomy of the circuitry following electrets and how they affect the sound output.

For our study, I picked a Neewer model NW-700 “Professional Studio Broadcasting & Recording Condenser Microphone,” which at the time of writing is listed at only $14.70 by the manufacturer, including a web shock mount and cable, shown in Fig. 1. Neewer was kind to let us share some of the NW-700 schematic, which we examine below.

Fig. 2: Inside the Neewer NW-700.

As discussed previously, all condenser microphones generate a small voltage as their diaphragm changes capacitance in an electric field, when moved by sound pressure waves.

Externally-polarized mikes charge the diaphragm/backplate condenser through a resistor from a source of 40 to 200 volts, as shown on the left in Fig. 3.

Because the capacitance is very low (around 50 picofarad, ±30 pF), the resistor forms an R/C network that rolls off the low frequencies. The resistor must have a value of hundreds of megaohms to avoid a cutoff in the bass range.

One advantage an electret has is its intrinsic charge, which eliminates the charging resistor, as shown on in Fig. 3. Either way, a fixed charge is maintained across the capacitor.

For a charge Q, the expression is: = 0 x 0

0 is the capsule capacitance, and 0 is the capsule capacitance.

The output voltage change of a condenser microphone is expressed as the fixed voltage times the relative change in capacity:

where Ct is the variation in capacity due to sound pressure.

It is not unusual for electret microphones to have a rated output of –40 dB relative to 1 volt measured at sound pressure of 1 Pascal (Pa), which is 94 dB SPL. The signal level produced by an electret element under these conditions is calculated to be:

An orchestra may produce an SPL of more than 105 dB, but loud musical instruments such as horns and drums could easily produce a local SPL of 115 dB when closely miked. That is 21 dB above the reference 1 Pascal, which multiplies the output to:

This voltage is an average of the signal envelope — but the peaks of the waveform are greater. Assuming the ratio between the signal peaks and the average is 10 dB, the peak signal level could reach:

That is arguably a big signal for the transimpedance amplifier!

Fig. 3: The basic parts of a condenser microphone. Left, using an external power supply, and right, a self-charged electret with the impedance converter. (Click here to enlarge.)

Let’s look at what may happen, beginning at the electret microphone as shown in the right diagram of Fig. 3. Nearly all electret microphone capsules have a junction-type field effect transistor (JFET) inside the case, to convert the extremely high impedance of the electret element to a useful value for the following circuitry.

Electric charges in JFETs flow through a semiconducting channel between source and drain terminals that is exclusively voltage-controlled. Unlike bipolar transistors, JFETs do not require a biasing current (although, as we will see they benefit from optimum terminal voltages). The JFET also has a potentially higher gain (transconductance) than the MOSFET, as well as lower flicker noise, making them well-suited to the microphone element’s weak signal.

CIRCUIT SIMULATION
To evaluate the microphone’s transimpedance amplifier and the following stages, I used circuit simulator software. It may be a little unconventional to do this study in software rather than with test instrumentation, but this came about because I was hand-drawing the internal circuits of several microphones and the simulator allowed me to check configuration of some unlabeled parts. (In one case, it helped me determine that a transistor’s emitter and collector had to be reversed and changed from NPN to PNP.)

The simulator I chose is Qucs, the “Quite Universal Circuit Simulator,” an open-source electronics circuit simulator software available on the Internet at http://qucs.sourceforge.net under GPL. Qucs supports a large list of analog and digital components with parameter values that can be applied to circuits to study DC voltages, AC performance, including noise and transient analysis, and more.

Fig. 4: Qucs circuit simulation of the impedance converter. (Click here to enlarge.)

Starting with the transimpedance converter, Qucs demonstrates some powerful analysis. Fig. 4 shows the circuit with an AC voltage source in substitution for the electret condenser. Note that a 100 picofarad capacitor is placed in series to represent the element’s real capacitance. The AC has been set to a 1 kHz sine wave at 0.25 volts peak. The meter icon shows a series current of 1.6 milliamps through the 2.2 kohm resistor tied to the 2N3685 JFET drain when supplied with 5 volts.

Two test points: “in” and “D_out” are shown in the Qucs chart to the right. (This is a transient measurement with DC voltages, so the AC simulation is deactivated.) The input signal is shown in red, producing a 0.25 volt sinusoid. The output at the JFET drain is shown in blue, with some gain but also with a large distortion to the waveform. The waveform is inverted, and the negative half is distorted because the signal input voltage drove the JFET’s gate positive, and an N-channel JFET is linear only for a range signal voltages that are negative, relative to the source terminal.

Fig. 5: Added components to operate the JFET gate at a more suitable voltage; the calculated waveform shows reduced distortion. (Click here to enlarge.)

One of the simplest ways to correct the signal voltage issue is by self-biasing, that is, raising the source voltage through as series resistor to ground, as shown in Fig. 5. R5 raises the voltage at the source terminal to 0.86V in this example, while a very large 1 gigohm resistor holds the gate voltage to 8.4mV. A bypass capacitor, C3, holds the voltage on R5 steady across the audio range. (These component values are for illustration and are not optimized.)

Self-biasing lowers the JFET’s distortion, and approximately doubles the gain in this example — but at the cost of a larger component count. Considering that electret microphone capsules often must be as small as possible, as well as low in cost, designers often forego these components. This illustrates a compromise for designers, but fortunately, high acoustic levels are probably not an issue in consumer applications, such as telephones, and they may be avoided to some extent in studio recordings by microphone placement.

Fig. 6: The audio path section of the NW-700 with a simulated electret microphone signal applied to the impedance converter and a phantom power supply. (Click here to enlarge.)

Fig. 6 shows part of the Neewer NW-700 microphone (as I traced it, less the voltage regulator section). Similar circuit designs are used in the many low-priced “studio” microphones on the market. In this case, the electret capsule’s JFET, J1, is pulled up to a regulated DC line (approximately 8.5 volts) and connected through an R/C high-pass network to a transistor stage T1, with a biphase output. This furnishes a balanced differential output for external studio preamps.

On the right, the NW-700 provides the balanced output through an XLR connector at the base of the mike. To “power” our example, a 48 volt DC battery is assumed, which is connected through resistors to Pins 2 and 3 of the XLR connector. A resistor value of 6.8k ohms is a standard value for 48 volt “phantom” systems, although many preamps supply lower voltages and may use lower resistor values.

The phantom power is connected through an R/C bypass network to a pair of emitter-follower transistors, T3 and T4, which provide approximately unity gain and have a low source impedance to the lines. The common point of the two transistors is tied to the voltage regulator, which provides the regulated and filtered DC for the input stages.

Fig. 7: Output at XLR Pins 2 and 3 as determined by Qucs with a 100mV input at 1 kHz. (Click here to enlarge.)

Qucs can provide a variety of AC systems analysis. In Fig. 7, a 0.1V (100mV) signal is applied through a 50 pF capacitor (simulating the assumed capacitance of a small-diaphragm electret element) to the JFET impedance converter. The output from Pins 2 and 3 of the XLR are charted as red and blue waveforms. The vertical scale is in volts, and the voltage offset, because of phantom power, runs at approximately 24.6V. In this simulation, there is slightly less output from Pin 2 than from Pin 3. However, this is unlikely to affect the noise rejection as that depends primarily on the common-mode rejection of the external preamplifier and not the normal-mode difference in signal between the lines.

IMPRESSIVE PERFORMANCE

Fig. 8: End-to-end frequency response from Pins 2 and 3; x-axis from 10 Hz to 20 kHz and y-axis in volts AC. (Click here to enlarge.)

Qucs supports predicted frequency response of the system, as shown in Fig. 8. As shown by the “ac simulation” data on Fig. 6, the simulator was configured for a logarithmic sweep from 1 Hz to 20 kHz in 2001 steps. Fig. 8 shows the sweep displayed from 10 Hz to 20 kHz. The frequency response is shown on linear vertical scale in volts, so a difference between 0.25V to 0.5V is ±3 dB.

It is apparent that the response is effectively flat from 100 Hz to the top of the range, and is down approximately 3 dB at 30 Hz. Of course, this excludes the frequency response of the electret microphone, and we know from the previous part of this series [Oct. 18, 2017, issue] that directional small diaphragm capsules have an intrinsic frequency tilt that is generally uncorrectable below 100 Hz due to limitations in acoustic filter techniques. However, this rolloff is offset by proximity effect at closer distances, so pickup of voices and instruments at a foot or so is reasonably well-balanced, tonally.

Recordings made with the NW-700 are generally quite good. On symphonic recordings made on high stands, there is noticeable low-frequency rolloff, but this was easily compensated with equalization during post-recording edit. The noise level of the NW-700 is not as good as expensive microphones (those costing 10 to 100X more) but it is acceptable, even for orchestral recording.

If you are interested in a sample recording with this microphone, visit this link on SoundCloud: https://soundcloud.com/john-kean-314785812/20160213-rachmaninov-3m26s

This 3.5-minute recording was made with the Washington Metropolitan Philharmonic Orchestra at the George Washington Masonic Temple auditorium in February 2016. It was recorded with a crossed-cardioid configuration in 24-bit/48 kHz sampling and transcoded to 16-bit/44.1 kHz in Audacity, with only LF equalization. The acoustics are not ideal, as the mics had to be placed on a low stand at the front of the seating area, but the recording gives you an idea of what the NW-700 can deliver.

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John Kean joined National Public Radio in 1980 after being chief engineer for a San Diego commercial FM station. In 1986 he joined Jules Cohen and Associates, and then Moffet, Larson and Johnson. He returned to NPR in 2004 to help establish NPR Labs and retired in 2015. Today he works with Cavell Mertz and Associates and performs audio consulting in private practice as Kean Consultants LLC.

The post Digging Deeper Into Electret Microphone Circuitry appeared first on Radio World.

WZRH’s downed tower in Louisiana in the wake of Hurricane Ida.

This year’s hurricanes and wildfires are prompting the FCC to closely examine the protocols it uses to gather communications infrastructure information from broadcasters and others following a natural disaster or unpredictable disaster.

The FCC this week will consider an item that could make it mandatory for broadcasters to report outages following natural disasters, according to a draft of the Notice of Proposed Rulemaking. That would be a change from the current Disaster Information Reporting System (DIRS), which makes such submissions voluntary.

The draft notice seeks comment on ways to improve DIRS and the overall reliability and resiliency of communications networks during emergencies.

[Read: Rosenworcel Gives CSRIC Its New Charge]

The FCC established the web-based DIRS in 2007 following Hurricane Katrina. During times of emergency, DIRS enables broadcasters to report service degradations and request assistance if necessary. Typically the FCC compiles the data and provides network status information to federal emergency management officials as well as publishes reports of restoration information without company-identifying information.

The commission uses the information gathered through DIRS and the Network Outage Reporting System (NORS) to develop situational awareness during communications outages and analyze outage trends, such as an increasing trend in network disruptions caused by power outages.

Some of the questions the draft rulemaking proceeding asks are whether DIRS reporting should be made mandatory, what kind of burden that mandatory reporting would place on broadcast stations and whether the burden of mandatory reporting would impede a station’s coverage of the emergency.

Other questions posed in the draft proposal ask if the FCC has the legal authority to mandate such reporting and consideration of what penalties could be imposed for failing to report.

The draft notice, which specifically mentions Hurricane Ida and the damage it did to the Gulf Coast region in late August, also seeks comment on ways to mitigate the effects of power outages on communications network operations in the aftermath of disasters.

The loss of power following Hurricane Ida in is specifically addressed in the draft proposal. The FCC says especially hard hit were cell tower sites that lacked backup power infrastructure.

“NORS and DIRS data collected by the commission in the aftermath of Hurricane Ida and other recent disaster events reveal that a lack of commercial power at key equipment and facilities is the single biggest reason why communications networks transmitting 911 service and related emergency information fail in the aftermath of disaster events,” the draft proposal say. “For example, the commission’s DIRS data show that the majority of cell site outages in the immediate aftermath of Hurricane Ida’s central disaster region were due to a lack of commercial power availability.”

[Read: Big Louisiana Radio Tower Comes Down in Ida]

In fact, the FCC is considering backup power requirements for DIRS and NORS participants, according to the proposal. “To the extent that the commission were to adopt backup power requirements, providers subject to them, potentially including cable providers, direct broadcast satellite providers, satellite digital audio radio service, TV and radio broadcasters, Commercial Mobile Radio Service and other wireless service providers,” according to the FCC release.

The commission says it is mindful that providers subject to any new rules will incur costs should the proposals be adopted,” according to the draft notice.

The FCC believes the increasing frequency of natural disasters is reason enough to examine the resiliency of the communications grid across the country, according to the draft proposal.

“If the current trend continues without corrective action, the frequency of outages will worsen in coming years as the nation experiences disaster events of increasing severity, duration, and impact, including hurricanes, flooding, and wildfires,” the draft NPRM says.

FCC Acting Chairman Jessica Rosenworcel is visiting Baton Rouge, La., on Wednesday to survey firsthand Hurricane Ida recovery efforts.

Supporting resilient infrastructure has never been more important. The FCC is committed to supporting recovery efforts and doing all we can to help restore communications networks as quickly as possible,” Rosenworcel said in a press release. “I look forward to traveling to Louisiana to learn firsthand what worked, what didn’t, and where the FCC can do better.”

The FCC will consider the draft NPRM at its Sept. 30 open meeting. A comment period will commence following publication of the NPRM in the Federal Register.

The post FCC Suggests Revisions to Disaster Information Reporting System appeared first on Radio World.

Fred Weinberg and friend in a photo from LinkedIn.

Broadcaster Fred Weinberg has died at age 69.

The CEO of USA Radio Networks passed away on Thursday, according to his obituary, which described him as one of the industry’s “more colorful” owners.

He or his company owned or operated stations in Oklahoma, Nevada, Texas, Arizona and Minnesota. He purchased USA Radio Networks in 2018; the company produces and syndicates radio programming.

Born in New Mexico, Weinberg grew up in Illinois, where he flew with the Civil Air Patrol and worked as a stringer for the Peoria Journal Star. According to the obituary he got involved with WCBU, the campus radio station at Bradley University, and became station manager.

His friend Janet Bro, COO of USA, wrote in an email that Weinberg’s father was dean of engineering at Bradley University and fired his son from the position of station manager, saying he should go buy his own station. “So he did and never looked back.”

According to his obituary, “He took a detour from broadcasting in 1975 for careers at the Penny Press Peoria Newspaper, EF Hutton and ownership of Three Worlds Disco. He tried his hand in the oil business and did a stint with ABC TV before deciding to get back into the business he loved: radio. Fred also published the Penny Press Nevada, a conservative weekly online newspaper, and worked with the Nevada Republican Party in his spare time.”

The obituary recalls that Weinberg “stood up for the rights of small station owners. One of his proudest moments was successfully defending a lawsuit from Arbitron.”

The post Fred Weinberg Dies, Was CEO of USA Radio appeared first on Radio World.

Sanford Williams

At the FCC, Sanford Williams will take a senior leadership position in the Office of Managing Director as its deputy managing director.

He most recently was director of the commission’s Office of Communications Business Opportunities.

Succeeding him in the latter role is Joy Ragsdale, who currently is field counsel in the Enforcement Bureau.

The announcement was made by FCC Acting Chairwoman Jessica Rosenworcel. She said both have put in years of service at the commission.

Joy Ragsdale

As head of OCBO, Williams “spearheaded work to promote digital empowerment, inclusion, equity and diversity in the tech sector.”

At the Enforcement Bureau, Joy Ragsdale worked with field agents on various investigations including broadcast station operations, EAS regulation and pirate radio.

Williams will also continue as a special advisor to Rosenworcel.

The post Williams, Ragsdale Promoted at FCC appeared first on Radio World.

The above screen grab shows the status of Marketron services as of Monday morning Sept. 25. See current status by clicking the image.

Marketron says service has been restored to all of its traffic customers, following the ransomware attack that took its platforms down the weekend before last.

Those customers now have access to all of the data that was in the platform as of Saturday morning Sept. 18.

“Some business services, such as electronic invoicing and payments remain impacted; however, customers should be able to build to conduct their traffic operations. Our teams remain focused on fully restoring all services,” Vice President of Growth Marketing Bo Bandy wrote in an email on Sept. 25.

The image above shows the Marketron service status board as of Monday morning Sept. 25.

The company has posted a series of recommendations for clients whose service has been restored.

Bandy also said Marketron has hired forensic investigators and cybersecurity firms “to stand up an entirely new network environment, a gold standard in recovery from a security perspective. With the assistance of our third-party specialists, a state-of-the-art end point detection and response tool has been deployed to the environment, which is continuously monitored around the clock by security professionals.”

The post Marketron Traffic Services Are Back Up appeared first on Radio World.

Radio World presents a special webcast in which five technology vendors provide a fast-paced look at their newest offerings.

Representatives of RCS, Wheatstone, WorldCast Systems, Telos Alliance and Comrex talk with RW Editor in Chief Paul McLane about their new product introductions.

Paul will also update you on several stories that Radio World has been following including drones in radio, trends in shortwave, computational FM antenna pattern modeling and more.

Especially in light of the cancellation of several major trade shows, it’s important to stay on top of new products and technology.

The free webcast streams on Sept. 30 and is available on demand after that date.

Register for the webcast.

The post Radio Face-2-Face: A New RW Webcast appeared first on Radio World.

Royal V. Howard, left, was NAB’s director of engineering in 1947 when the BEC was born. He’s shown with Wesley Dumm, owner of Associated Broadcasters, in a 1942 photo. Courtesy John Schneider.

Among the many things disrupted by COVID-19 is the opportunity for the National Association of Broadcasters to celebrate the 75th anniversary of its Broadcast Engineering & IT Conference.

Radio and TV techies will have to wait another half-year to gather in person again now that the 2021 NAB Show has been cancelled. But knowing the interest that our readers have in this topic, here’s our  interview about the history of the engineering conference with NAB Senior Vice President, Technology Lynn Claudy.

Radio World: How did the BEITC get started?

Lynn Claudy: NAB consultant and former staffer Skip Pizzi wrote a NAB PILOT blog about this very subject in early August at nabpilot.org. Here’s an excerpt:

“The year: 1947. The place: Atlantic City, N.J. The event: The first NAB Broadcast Engineering Conference (BEC) — subsequently renamed the Broadcast Engineering and Information Technology (BEIT) Conference — held continuously on an annual basis thereafter, making the 2021 BEIT Conference the 75th such event.

“Prior to this conference, NAB’s Engineering department had collaborated with the Institute of Radio Engineers (IRE), the University of Illinois and Ohio State University to produce a standalone broadcast engineering conference hosted by the universities, dating back to 1938. That event was curtailed after the 1942 program due to World War II, and NAB was involved again when it restarted in 1946.

FM pioneer Major Edwin Armstrong was among the speakers at the inaugural engineering conference. Courtesy John Schneider.

“But the following year NAB decided to launch its own engineering conference, to be held in conjunction with the 25th NAB Convention in Atlantic City, and the NAB BEC was born. Among the presentations there was a demonstration of ‘Unusually High Frequencies in FM Relays’ by Major Edwin Armstrong.

“The first BEC was a one-day event, held on Sept. 15, 1947, at the Atlantic City Convention Center, renowned for its many years as the site of the Miss America Pageant. The conference grew to two days at the 1948 NAB Convention in Los Angeles, expanded to three days the following year and settled on a four-day length at the 1950 show in Chicago. It later expanded to a fifth day when partner content was added, a length it currently maintains.

“That growth over the years indicates the conference’s popularity, and historically it has had the highest attendance — and the greatest longevity — of any NAB Show educational offerings.”

RW: Lynn, who conceived it and who were the early drivers of its success?

Claudy: Much of the thinking and strategy behind launching the Broadcast Engineering Conference may be lost to antiquity, but a lot of credit should go to then-NAB President Judge Justin Miller and NAB Director of Engineering Royal V. Howard.

Miller, a former associate judge of the Court of Appeals for the District of Columbia, served as NAB president from 1945–1951. Howard, former VP of engineering at KSFO in San Francisco, was director of the engineering department at NAB from 1947 to 1950.

In those early days, questionnaires were sent out to the broadcast engineering community each year seeking guidance as to topics for technical papers for presentation at the NAB Convention. The NAB Conference Committee, which still exists today with a slight name change, supervised the final conference agenda to conform as much as possible to the survey results.

RW: An anecdote from the early days?

Claudy: According to the conference transcripts, the first conference was opened by Royal Howard with the following auspicious statement: “My name is Howard. Most people think that I am the director of engineering for NAB; actually I am the coordinator of confusion.”

Right before lunch, the group was addressed by NAB President Judge Justin Miller, who said:  “Mr. Chairman, I am very happy to be with you this morning. I have not been going to most of these clinics, but I felt a particular obligation to the engineers, especially because NAB may seem to have been neglecting you during the last couple of years preceding this one. As a matter of fact, I have always been inclined to regard you folks more or less as the gods of the machines. I confess that if there is anything I do not know about in broadcasting, it is engineering.”

RW: Can you give us sampling of radio technology topics that appeared on the agenda over the years?

Claudy: The BEC and the current BEITC have always, by design, centered on the important topics of the day for broadcast engineers. Because of how papers and presentations are sought out and selected, it has been high on the relevance scale for technologists and engineers attending the show, and a great educational adjunct activity to visiting the exhibits on the show floor.

It’s pretty hard to pick out the important topics at any given point in time. But a sampling of four presentations might be illustrative of the value and, in retrospect, the perspective that the conference has provided over the years:

1. Going back to the first NAB Engineering Conference again, one of the talks was on “FM Broadcast Station Construction” presented  by Paul A. DeMars, a consulting engineer with the Raymond Wilmotte organization. He ended his talk with the following, which tells you something about the times:

“We hear a lot about the coming atomic age.  There have been a lot of serious and semiserious statements made that because of the vital importance of broadcasting in our national life, broadcasting stations, at least a certain number of the large key ones, may have to be put underground in order to prevent a national panic in the event that our present facilities should be totally wiped out,” he said.

“Possibly the large number of FM stations that are technically feasible and that will in all probability be built scattered all over the U.S. within the next decade may furnish the national service, even in the event of atomic war, that will take the place of the almost impossible problem of putting the old standard facilities underground.”

2. A talk from the 1957 conference titled “The Radio Station of the Future” presented by John M. Haerle with the Collins Radio Company showed a perspective on how radio might be changing in the future. Here are a few of the ideas from that talk, both prescient and otherwise:

“Would it be beyond the realm of possibility to envision a transmitter built in open fashion on the walls of its own building? The entire transmitting plant could be shipped to the site, the walls bolted together in typical prefab fashion and the various circuits joined by terminal boards. Ridiculous? Today, possibly … not in the radio station of the future.” …

“Monitors could be heading for obsolescence. Transmitter crystals have been improved to the point where it is actually true that some modern transmitters are more stable than the companion frequency monitors.” …

“The radio station of the future will eventually use some form or some adaptation of automatic programming. Many point to the operator who is required to be on duty and to the possibility that a so-called ‘robot’ operation would result in programming devoid of personality. Perhaps a compromise will be the semi-automatic operation, in which the operator on duty can select or cue any desired record by pushing a button.”

3. The NAB Broadcast Engineering Conference has long sought reports from standards organization and other groups to report their progress at the annual convention. For radio, the National Radio Systems Committee has been a consistent presence at the conference since the early 1980s, whenever announcements were timely.

Formed in 1958, though, there was another NSRC, which stood for National Stereophonic Radio Committee. At the 1960 conference, C.G. Lloyd, former NSRC chairman, presented the progress of that committee’s quest to deliver stereophonic broadcasting and had just delivered a report to the FCC on the subject. The NSRC had received 14 proposals for FM systems, at least seven for AM and four for TV sound. Each of these broadcast platforms eventually followed different circuitous paths to stereo — 1961 for FM stereo, 1984 for television sound and 1993 for AM stereo — but the NAB Broadcast Engineering Conference helped engineers understand the process from the beginning.

4. Radio has endured many technical controversies, with digital radio being a particularly salient example. At the 1991 NAB Broadcast Engineering Conference, NAB sponsored a demonstration of the Eureka-147 DAB system with transmissions from the top of the H on the Las Vegas Hilton Hotel next to the convention center (now the Westgate) and a repeater installed on the roof of the Golden Nugget Hotel downtown. A 40-seat bus fitted with a receiver and headphones drove attendees around Las Vegas showing the consistently crystal-clear audio quality of the system.

At the Broadcast Engineering Conference, an entire afternoon was devoted to the different technical approaches to digital broadcasting, Eureka-147 included, but also a presentation from Paul Donahue from Gannett Broadcasting and Tony Masiello from CBS titled “Project Acorn: Compatible DAB.”

Those who have been around awhile or studied radio history will recognize that this was the original concept for the system that eventually became HD Radio. At the time, NAB had officially endorsed the Eureka-147 DAB system and was favoring an allocation for DAB in the L-band. This issue was hotly debated at the 1991 convention at various levels, and of course, in-band, on-channel technology eventually won the argument for NAB and for U.S. broadcasters.

It’s notable, though, that the Broadcast Engineering Conference program did attempt to present all sides of the proponent technologies and kept the politics to a minimum, as the advocates had a forum where they could plead their respective cases on a technical basis.

RW: How is the BEITC different today?

Claudy: The conference has moved with the times, such as adding “Information Technology” to the title of the Broadcast Engineering Conference, recognizing the importance of IT skills in the modern broadcast plant.

Other than that, NAB Technology still has a committee of broadcast engineers that meets several times a year, albeit virtually these days, to organize topics, review papers, assign session chairpersons and so forth, all the things that go into planning a top notch technical conference.

This year the chair of the BEITC Committee was Jim DeChant, vice president, technology at News-Press & Gazette Broadcasting.

We also work with partner organizations including the Society of Broadcast Engineers, the IEEE Broadcast Technology Society and the North American Broadcasters Association (NABA) to provide program content that will be relevant to the BEITC audience.

RW: Describe how BEITC content is found and chosen today, and by whom.

Claudy: In a normal year, a call for papers is released in the fall, and the BEITC committee and NAB Technology staff review the submissions and accept papers that will be presented late in the year.

Papers that will be published in the proceedings must be submitted by mid or late January. We will typically get submissions that would occupy at least twice the space that we can accommodate, so it’s a pretty competitive process. If there ends up being gaps in the program, or important topics identified where there weren’t any submissions, NAB Technology staff may solicit additional speakers.

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Regarding Larry Langford’s commentary “Sweeten the Pot to Entice AM Digital”:

My initial concern is what a 100% digital signal will do to co-channel and first-adjacent stations who are operating in analog with listeners in the fringe. Should these analog AM stations be given compensation for the loss of coverage? Should they be given companion channels of operation to replace lost coverage?

I still recall a rather contentious debate in a broadcast list some decade or more ago. The CE of a Class 1B station was bragging about his IBOC, while some people were complaining about how it chewed up analog stations some 100 to 400 miles away at night. The fellow justified the use of power and propagation as being “necessary to cover the station’s market area, roughly 45 miles in radius.”

So to cover a 45-mile radius of market, we have to ruin a 400-mile radius of spectrum? Isn’t this like playing your 250-watt stereo at full volume in an apartment complex because you’re deaf and unconcerned that it’s bothering the neighbors?

I still think that in the scope of protecting what we have and need for public service, the FCC should revise the frequency tables, using the recent incentive auction as a model.

Move TV broadcasters out of Channels 5 and 6. Allot that spectrum to digital radio broadcasters with a caveat that after five years on the air, they surrender their analog service. Mandate that all new radios (especially mobile) be outfitted with the new DM band. And since most 1A/1B broadcasters see no financial value in long-distance transmission, cap all transmissions to provide a 45-mile radius.

Working the math, you could get all the wannabe digital stations into the new band, and over time analog would pass. However it won’t be killed off by those wanting digital more than the need of listeners wanting analog.

Radio World welcomes letters to the editor to radioworld@futurenet.com.

The post Letter: Rethink the Radio Bands appeared first on Radio World.

Utility mixers in Wheatstone’s I/O Blades are routable on the AoIP network, a step toward the app model discussed in the article.

We seem to be headed down two tracks on our way to the broadcast facility of the future.

Phil Owens

One is the appliance track, where we are migrating away from the model of apps running on a Windows PC and moving functions instead onto one dedicated appliance that isn’t subject to the finicky PC. 

These are generally specialized AoIP or automation appliances that are Linux-based and therefore do not require Windows drivers, updates or PCs. Good examples are streaming appliances like Streamblade or Wheatstream that replace multiple PCs by putting everything streaming related into one AoIP Linux appliance. 

The other is the app track, which takes us to the cloud and away from hardware in the rack room. 

Here, we are offloading functions to the cloud where they can be remotely reconfigured, maintained and provisioned on a case-by-case basis. At its most ideal, centralized cloud-based applications will give us the ability to dial up encoding, IFB, routing, mixing, playback and even the kind of console needed for a given show or operator skill level. 

Wheatstone, Xperi and other broadcast product makers are working on cloud-based apps using cloud technologies such as container platforms like Docker that will make it possible to transition from the entirely fixed-location studio to a more virtual operation.

Already, many of these apps exist. We know of broadcasters who are containing audio drivers in a virtual machine onsite in preparation of eventually offloading that part of their operation to the cloud and others who are putting multiple studio workflows from multiple locations in a one-stop virtual interface.

Moving it all to the cloud can downsize space requirements in the rack room and shift engineering management to an offsite provider. Eliminating any piece of gear in the air chain along with its connectors and potential points of failure is a good thing, and that goes for specialized appliances too, because these can replace more generic PC-based functions and also reduce space requirements and engineering management.

Coexistence

There are advantages and disadvantages of both the cloud-based app model and the appliance model. 

Offloading functions to Microsoft, Amazon or other cloud provider takes away the cost and upkeep of hardware in the rack room but leaves you subject to third-party vulnerabilities. On the other track, having an appliance onsite gives you some of the consolidation benefits of an all-in-one rack unit similar to the cloud model, although at the additional expense of on-premise infrastructure and upkeep.

It doesn’t have to be one way or another, fortunately. There are many different ways to divide and subdivide that signal chain between functions in the cloud and functions onsite in an appliance.

For example, it’s possible to have automation and mixing functions in the cloud but maintain control from a local virtual or hardware interface. If your playback is being done mostly off a cloud server, you might have a virtual control surface in the studio that is talking to a mix engine in the cloud. Similarly, you could also be receiving your mic audio from a codec that’s in the cloud.

More likely, the broadcast facility of the future will use a combination of both: appliances for consolidating functions into a single 1RU box that eliminates a bank of Windows PCs yet the use of cloud for shared mixing, routing or removes streaming and automation without the real estate, upkeep and of the Windows PC. 

We’ll likely arrive at the future broadcast facility from both tracks, and not entirely from one or the other.

 

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Jessica Rosenworcel wants members of a key advisory group to help the FCC “sort through some of the toughest security problems facing our country’s communications networks.”

The acting chairwoman recently reconstituted the Communications Security, Reliability and Interoperability Council, seeking to “revitalize” it. And on Wednesday she spoke to the group to lay out her vision for its work.

She opened her remarks by citing a litany of recent notable cybersecurity events: a wireless carrier in the Netherlands whose traffic was susceptible to monitoring; a security breach of Exchange software that left bank, health and government servers vulnerable; the SolarWinds Breach that allowed hackers affiliated with the Russian government to access government and private networks undetected; the theft of data on millions of T-Mobile customers; and the ransomware attack on an Iowa farming co-op this month.

“This needs our attention because enough is enough,” Rosenworcel told the CSRIC members.

[Related: Rosenworcel Names Members to Revamped Advisory Group]

She said the FCC is pursuing a multipronged strategy to assure security as the use of 5G expands.

“In this environment, rechartering CSRIC was a no-brainer. This council is one of the nation’s most impactful cybersecurity partnerships. But we didn’t want to do it same-old, same-old. We wanted to make it better.”

She explained that for the first time the group will be co-chaired by the Cybersecurity and Infrastructure Security Agency, which leads a national effort to enhance the safety of the cybersecurity and communications infrastructure. “Earlier this year, CISA co-authored a leading report on potential threat vectors to 5G infrastructure. Their partnership here will help ensure a unity of effort between those responsible for protecting the country and those who own and operate the infrastructure that is so critical to that mission.”

She said the group also will reflect more participation from the public interest community. “The public and consumers also will have a voice on issues that ultimately affect their safety and security along with private sector stakeholders.”

The group is to prioritize 5G.

“That means we have a working group to explore the security and resiliency of Open RAN. We have a working group looking at more broadly leveraging virtualization technology to enhance network security. We have a working group looking at the technical issues involving the security of 5G signaling protocols. And building on CSRIC’s earlier work to remove untrusted hardware from our communications and infrastructure and building on lessons learned from the SolarWinds hack, we have a working group looking at the software side of supply chain security.”

Rosenworcel noted that Hurricane Ida knocked cell sites offline in Louisiana, so she wants the group also to make progress on the resiliency of communications networks. “We’ve got a working group to look at improving 911 — specifically 911 service over Wi-Fi. And we have yet another working group that will be looking at ways to improve Wireless Emergency Alerts.”

[Related: Marketron and Its Users Slammed by Cyber Event]

She called this “a to-do list of security challenges that we already know about,” and she asked the members of the group to be “on the lookout for threats that are just around the bend.”

Sectors represented on the group include local emergency officials, transportation, wireless and broadband companies, consumer electronics manufacturers, chip makers, public broadcasting and government agencies.

 

The post Rosenworcel Gives CSRIC Its New Charge appeared first on Radio World.

A group of over two dozen U.S. Senators are urging President Biden to designate acting FCC Chairman Jessica Rosenworcel to a permanent position, making her the first woman to hold the office.

The chairmanship of the commission has been in limbo since Biden was sworn into office on Jan. 20, 2021, with Rosenworcel operating in acting capacity. Some of the group of Democratic Senators (and one Independent, Angus King of Maine) noted that they had voiced their support in a similar letter to Biden after he was declared winner of the 2020 election and said having a permanent chair is important, in light of Congressional efforts to provide funding for expanded broadband access nationwide as well as address the impacts of the 18+ month pandemic, part of the  “Infrastructure Investment and Jobs Act of 2021,” now being considered by the House.

“Given this once-in-a-lifetime opportunity to ensure all people have access to broadband, it is absolutely essential that there are trusted, qualified appointees leading these agencies to coordinate the deployment effort across your administration” the senators — representing 17 states — wrote in a letter to the president.

They asked President Biden to appoint her to the chairmanship “as quickly as possible,” adding that “further delay simply puts at risk the major broadband goals that we share and that Congress has worked hard to advance as part of your administration’s agenda.”

They added that Rosenworcel is the best person for the job.

“There is no better qualified or more competent person to lead the FCC at this important time than Acting Chair Rosenworcel,” the senators said. “We have long experience working with her and her team, and she has already shown an ability to steer the FCC through these extraordinary and difficult times. Importantly, we believe that Acting Chair Rosenworcel will face few obstacles to her confirmation.”

The delay in appointing a permanent FCC chair is “the longest in 44 years,” according to Telecom TV. Capitol Hill pundits speculate that the delay could surround the administration’s indecision on whether to have the commission’s first female chair or whether or not to nominate an African-American to the position.

The post Senators Urge President Biden to Make Rosenworcel Official FCC Chair appeared first on Radio World.

The Federal Communications Commission has extended the due date for FY 2021 regulatory fees to Monday night Sept. 27.

It’s a three-day extension and it applies to all annual regulatory fee payors. The announcement did not provide a reason.

Fees have been in the news in our industry because the commission had planned to raise them for most radio and TV stations, but it backed away from that after getting strong pushback from the industry.

[Related: “Broadcasters Get a Win on Regulatory Fees”]

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Katie Hoyt was been named market president for Salisbury, Md., by iHeartMedia.

She reports to Brit Goldstein, area president for iHeartMedia Pennsylvania, whom she succeeds in the role. Goldstein was promoted in early 2020 but until now has retained the Salisbury reins as well.

[Visit Radio World’s People News Page]

Hoyt was senior vice president of sales in that market. In the announcement, Goldstein says Hoyt “has done an incomparable job inspiring and leading the Salisbury sales team.”

She is former regional digital sales manager for MediaOnePA, part of Gannett/USA Today, as well as former sales manager for Hanover/York, Pa., for the same organization, where she began her media career.

The iHeart Salisbury market on the Eastern Shore of the state comprises four FM and two AM stations as well as live events, data and digital businesses and platforms.

Send news of engineering and executive personnel changes to radioworld@futurenet.com.

 

The post Hoyt Is New IHM Market Leader in Salisbury appeared first on Radio World.

ENCO WebDAD Presenter Arrays

ENCO’s business started with computer-based process control for critical industrial applications in the early 1980s, but it soon focused that technical expertise on broadcasting. In 1991 its first digital audio delivery system, DAD, replaced manual cart systems commonly used to sequence and play audio content.

Bill Bennett is media solutions account manager. This is excerpted from a recent ebook.

Bill Bennett

Radio World: How has the pandemic experience changed workflows for your clients?

Bill Bennett: Historically, most radio production has been done in the studio, with someone directly iterating with their DAD system at the station. And over the course of a day, that could be perhaps 10 different people needing access to a production or on-air system at different times.

Then suddenly, all these people are working from their homes, but the station can’t have eight or 10 separate DAD physical installations located at each of their homes. That’s one of the examples where WebDAD shines, as it’s a browser-based remote control client, allowing those remote users to connect via VPN back to the main DAD systems at the studio, and keep focused on churning out their content, whether they have a PC or Mac.

RW: Are there new capabilities that have come to the fore?

This article is excerpted from the ebook “Automation: The Next Phase.” Click the cover to read it.

Bennett: ENCO users are finding new ways to work while remote or mobile, with our HTML-5 based mobile automation solution called WebDAD, which allows for native remote control of our DAD automation system over the public Internet via VPN connection. It’s also a great resource when using part-time talent who need only limited access to some systems or only at certain times.

WebDAD allows users to access to the most popular DAD features remotely via Web browser, whether down the hall or across the country, making it a key component for today’s decentralized radio workforce.

It gives them native connectivity and remote control of their DAD system, where they can do things like library and playlist maintenance, change up their content live with array panels, perform voicetracking, upload audio files, edit heads and tails, and more.

RW: What have manufacturers learned that might affect future designs?

Bennett: The customer more than ever is ready to trust the cloud for storage, playout, automation, and for the sharing of audio and video assets, as well as collaborate on shared documents, notes and rundowns.

Pre-COVID, a lot of radio stations still used a more simplified methodology, not wanting or needing to adopt a Cloud or Internet-based solutions. But the pandemic changed everything and they instantly required it.

Many manufacturers, including ENCO, have been saying, “We have been building out this elegant, flexible way to gain native remote access to your playout over a IP network from a simple web browser” And people were already becoming familiar with Web-based editing of documents collaboratively via products by Google, Microsoft Office and so on, so that’s been helpful to grease the skids in radio production workflows.

The customer is learning there’re many different ways to produce a show, both live and tracked from different locations, literally without skipping a beat now.

RW: What is the role of virtualization?

Bennett: Virtualization is a term used a lot these days. With ENCO’s products, it means a powerful path forward, allowing customers to do things such as build fault-tolerant radio automation solutions that are dynamically scalable, more immune to security threats, and are easier to maintain with lower cost of ownership. Same with our WebDAD product – that virtualizes a DAD playout & automation environment allowing radio talent to build and track their productions from locations far away from the physical DAD installation, securely. It really opens up a whole new set of flexible options for the production folks.

If a broadcaster has to change playout sources from physical studios to a cloud-based instance, perhaps for disaster recovery, if they have a cloud-based playout system in-sync with that — for example, ENCO has our DAD DR solution — that cloud-based system is controlling what’s on the air and feeding the transmitter and streaming end points or streaming CDNs.

And now with Zoom, Skype and the rest, it’s possible to have a fairly high-fidelity audio interview with people all over the world at the same time, where they can see each other’s reactions – then you’ve built a kind of virtual studio at that point, which is super flexible.

RW: Will automation and related software systems move fully to the cloud?

Bennett: Enthusiastically, yes. I am certain we are going to see a mix of hybrid solutions as well as fully cloud-based solutions.

The best for most broadcasters probably is a hybrid solution. But one of the coolest things about the cloud is that you can access your playout securely from anywhere on the web; and your systems are also automatically being backed up for you at the data center, so you’ve got some redundancy built into your cloud system that you may not be able to have at the station (or may lose, if a terrible disaster happens at the station).

RW: Are there special configurations that people are asking for?

Bennett: Yes for sure – for one, they want their remote workers to have access to their on-air systems, and WebDAD brings that to the table. Their staff keeps connected with a familiar interface, from the comfort of their Web browser at home. Also, for those who are at the station but need to keep physically distanced, WebDAD can be installed on computers throughout the station, allowing production staff to access DAD to manage playlists and so forth, without having to go in and out of studios where others have been.

Another is ENCO’s automated speech-to-text captioning product called enCaption. It makes live voice interviews accessible to the hard of hearing and deaf communities by creating real-time captions of what’s spoken on the air, which can then be delivered to the radio broadcaster’s Website in real time.

RW: Are there customers doing particularly interesting or notable things right now?

Bennett: We have a customer in California that has a full DAD solution in the cloud, running six concurrent radio stations, all hosted on Amazon Web Services and using WebDAD to control it.

There are zero physical facilities, it’s all cloud playout. That’s six live concurrent stations that access the playout system from anywhere on the internet. They just need a WebDAD client on the browser and the login back to the main system in the cloud and they can control what’s on the air.

And we’ve got a customer, again on the West Coast, using our video playback platform ClipFire to generate dynamic graphics for news, weather bugs and icons and to squeeze the video in and out of the frame or enlarge and shrink the video to make the graphic sit better. It’s an automated way to help a broadcaster put more contemporaneous texts, news data and crawls into their linear broadcast channel. It’s neat for radio because of the evolving space around visual radio.

The post Radio Automation Goes Mobile appeared first on Radio World.

Taking advantage of the burgeoning remote/work-from-home market, Studio Technologies has designed the Model 209 talent console.

The 209 is a creature of the Ethernet/IP audio world, operating PoE. It has 48 V phantom power, a headphones output along with a level control plus a talkback/cough button.

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

The Model 209 is compatible with AES67 and Dante audio-over-Ethernet technology as well as compatible with Audinate’s Dante Domain Manager. Additional compatibility is with Yellowtec m!ka microphone mounts and booms and Studio Technologies STcontroller app for Windows and Mac. STcontroller controls functions such as mic level, phantom power and tally controls.

Studio Technologies  President Gordon Kapes said, “While originally designed for podcasters, the Model 209 is truly an ‘all-Dante’ solution that can deliver excellent audio in many modern broadcast applications.”

Send your new equipment news to radioworld@futurenet.com.

Info: https://studio-tech.com/

 

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If you had registered to attend the 2021 NAB Show that was supposed to take place this October, you can expect to receive a notice that your registration has rolled over to the spring show automatically.

The rollover is for the same attendance package or value.

A spokesperson for the association said that if attendees prefer a refund, they can obtain one by request through March 22.

The 2021 NAB Show had been set for October but was cancelled on Sept. 15 because of the ongoing pandemic. The 2022 convention is scheduled for April 23 to 27.

Meanwhile the AES Show, which had planned to colocate with NAB, now will be done online; program details have been posted.

The post NAB Show Registrations Roll Over appeared first on Radio World.

Joan Warner, the CEO of Commercial Radio Australia, will step down early next year.

“The search for a replacement CEO will commence immediately with the aim of a new CEO taking up the position during the first quarter of 2022,” the organization stated in an announcement.

It said she originally intended to leave at the end of December but will stay another three months to allow a more comprehensive search.

“There are also major projects with which the board has asked I continue to assist in the early implementation stages and to ensure a smooth and seamless handover to the incoming CEO.”

This past July was her 20th anniversary in the CEO position. CRA represents the interests of commercial radio broadcasters in the country. Known as the Federation of Australian Radio Broadcasters when Warner started, it changed its name to Commercial Radio Australia Limited in 2002.

The announcement was made by CRA Chair Grant Blackley, who said Warner has had “a substantial and meaningful impact on CRA and the industry over the past two decades and has worked tirelessly to advance the strategic imperatives for a healthy and vibrant radio industry.

“The radio industry has recovered well from the COVID impact and is gaining further momentum with a renewed commercial approach at industry level to drive increased share of advertising to radio,” Blackley said.

He noted that CRA recently announced an important change in radio measurement. “The Australian metropolitan radio ratings will undergo a major revolution in response to the rapid digitization of audio consumption in Australia, with live streaming data to be integrated into a new multimillion dollar hybrid measurement system.

“There is an extensive amount of work already underway across industry integration with smart speakers and connected cars, an improved and comprehensive all-of-industry automated trading platform to be implemented in 2022, and the continued maturity and acceleration of both podcasting and audio streaming platforms.”

The website The Industry Obsesrver wrote, “During her tenure, Warner was responsible for the planning, rollout and implementation of DAB+ digital radio in the five metro capitals, covering up to 60% of the natation population, and the subsequent push into regional Australia … Her relationship with creatives, rightsholders and the state-funded triple j network was, at times, frosty.”

[Related: Read Radio World’s interview with Warner about DAB+ in Australia in our recent free ebook.]

 

 

 

 

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