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Radio World

Letter: Good Ground Was All Around

Radio World
3 years 11 months ago

Dear RW:

Your article about grounding in the Rocky Mountains brings to mind a moment dating back to the early 1960s, when I was ham radio operator K7VPK and attending ASU/Tempe’s radio and TV program.

One of my experiences at that early age was meeting members of the “Mummy Mountain Radio Club.” Among them was Arizona Sen. Barry Goldwater, ham radio call sign K7UGA.

I was invited to visit the club up in Scottsdale north of Tempe; when I did I was amazed at what I saw. All high-frequency operating bands had their own operating rooms/positions in a custom-built “clubhouse,” the members of which included Goldwater, the CEO of the Donnelley Press in Chicago and other heavy hitters.

The estimated cost invested in building the clubhouse and obtaining equipment was north of $100,000, equivalent to nearly a million dollars today. Each ham band (80 meters, 40 meters, 20 meters, etc.) had its own operating room and complete Collins Kilowatt console. Simply the best of the best!

Now to the relevant part.

Since grounding was such a problem in mountainous Scottsdale, the question was how to be grounded effectively. Each operating position and custom antenna for each band to be worked needed to be grounded well for operating efficiency and safety.

The engineers installing the antennas suggested that the club members simply tap into a copper vein there on Mummy Mountain.

I was told that this took a bit of digging but it was done. The resulting electrical ground turned out, I was told, to be the best possible solution to the problem … in fact, an exceptional one.

Ham radio? Sen. Goldwater and his friends made sure they had nothing but the best; and they produced signals from the MMRC that were heard around the world. As a matter of fact, the MMRC facility was used to run phone patches for GIs in Vietnam as well as Goldwater’s home station on Camelback Mountain in Scottsdale for several years.

Don Watson, W5TNA is with NewsTalkRadio.com in Pensacola, Fla.

Send Letters to the Editor at mailto:radioworld@futurenet.com

The post Letter: Good Ground Was All Around appeared first on Radio World.

Don Watson

The FCC Contemplates “Persistent EAS Alerts”

Radio World
3 years 11 months ago

The FCC wants to know what you think about possibly modifying the Emergency Alert System to provide “persistent alerts” in extreme emergencies, and how such alerts might work on radio stations and other audio platforms.

Providing persistent alerts is one of several recommendations that were made to the commission by FEMA for improvements to EAS.

FEMA’s recommendations are in addition to alerting changes recently adopted by the commission in June. At that time the FCC issued a further notice of proposed rulemaking to explore FEMA’s ideas.

In addition to persistent alerts, FEMA thinks the FCC should should rename certain EAS terms like EAN and PEP to help public awareness.

The deadlines to comment on the proposed changes have now been set. Comments in PS Docket 15-94 are due Oct. 19, with replies due Nov. 18.

Persistent alerts

A big part of FEMA’s recommendations involves “persistent alerts.” FEMA thinks EAS should be modified to support “persistent display of alert information and/or persistent notification for emergencies that require immediate public protective actions to mitigate loss of life.”

Such alerts would persist on EAS until the alert time has expired or the alert is cancelled by the originator. Merely repeating an EAS message, FEMA says, does not address problems like those that came up in the false missile alert situation in Hawaii. It believes alert information should persist so people can “receive, review and collaborate, whenever they ‘tune in,’ with emergency information received previously from another emergency alert information source.”

The FCC is asking for comments on questions like the technical feasibility of assigning “persistence” to state and local alerts; what kinds of events would qualify; what changes would be required to EAS devices; and whether stations and others who carry state and local alerts on a voluntary basis would agree to carry persistent alerts.

One can envision a persistent alert remaining visible on a video platform, but the FCC also wonders what “persistent” would mean for radio stations and satellite radio, as wall as what role “smart” devices might play for alerts carried by ATSC 3.0 and HD Radio technologies.

Other recommendations

FEMA also thinks the FCC should modify the definition for the EAN event code from “Emergency Action Notification (National Only)” to “Emergency Alert, National,” or replace the EAN event code entirely with a new one called “NEM” for “National Emergency Message.” FEMA thinks “Emergency Action Notification” has no meaning to most people and may create confusion.

FEMA further thinks the FCC should change the EAS originator code for the Primary Entry Point System from “PEP” to “NAT,” which would stand for “National Authority.”

It notes that PEPs — radio stations that are the primary source of initial broadcast for a presidential alert — are not originators. It said using PEP as an originator code currently requires EAS video participants to scroll a message that begins with “The Primary Entry Point System has issued …” which FEMA says means nothing to the public and again could create confusion.

And probably least controversial is a recommendation from FEMA to delete the term “National Information Center” in FCC rules because there is no longer a National Information Center (NIC) in federal and national emergency response plans.

[Read the full FNPRM, starting on page 25 of the recent FCC order.]

The post The FCC Contemplates “Persistent EAS Alerts” appeared first on Radio World.

Paul McLane

Inovonics Releases SiteStreamer Firmware Updates

Radio World
3 years 11 months ago

Inovonics has released two firmware updates — one each for the INOmini 635 FM SiteStreamer and INOmini 638 HD Radio SiteStreamer, respectively.

According to the company these updates will add RDS Radio Text Alarm features and modifies LED Header displays to the web interface.

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

The company has provided instructions to aid in the download and installation of the updated firmware.

The updates for the 635, Rev. 2.2.0.0, and 638, Rev. 1.3.0.0, are available directly from the website. Other Inovonics equipment downloads are also available.

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

Info: www.inovonicsbroadcast.com

 

The post Inovonics Releases SiteStreamer Firmware Updates appeared first on Radio World.

RW Staff

Logitek Moves to New Location

Radio World
3 years 11 months ago

Logitek Electronic Systems has moved its console manufacturing facility in Houston, Texas, to a new location a few blocks away.

The company had been in its previous location for about 20 years.

In its announcement, President Tag Borland said the prior plant was “analog only.”

“With our more efficient manufacturing methods and space-saving console designs that take up less room on the floor, combined with the fact that we haven’t been making VU meters for quite some time, we found that we could work just as well in a more streamlined space,” he said.

The company’s networkable AoIP products include the mixIT and Helix touchscreen-controlled consoles and the virtual console Helix Studio.

Its new address is 5403 Bissonnet Street, Suite B, Houston TX 77081. Phone numbers remain the same.

The post Logitek Moves to New Location appeared first on Radio World.

Paul McLane

#GALSNGEAR Announces Program for 2021 NAB Show

Radio World
3 years 11 months ago

The National Association of Broadcasters has announced that #GALSNGEAR, in partnership with the NAB, will host the Emerging Leaders Women’s Career Accelerator program at the 2021 NAB Show in Las Vegas. The one-day program will take place Tuesday, Oct. 12 and include multiple networking opportunities and two leadership workshops.

#GALSNGEAR works to ensure women in media tech gain visibility at industry events, access to the latest technology, and high-level networking and educational opportunities.

[For More News on the NAB Show See Our NAB Show News Page]

“We’re excited to partner with NAB to bring our Women’s Career Accelerator to NAB Show, empowering emerging leaders ready to advance their careers in screen media,” said director/producer and #GALSNGEAR founder Amy DeLouise.

The first leadership workshop, titled “Elevate Your Leadership Effectiveness,” will use a personalized leadership assessment and breakout sessions to help participants identify their natural leadership style, strengths, challenges and priorities. A second workshop, “Propel Your Leadership Brand,” will explore how to engage and align a personal leadership brand in-person and across digital channels.

Check out the current schedule of events.

“#GALSNGEAR educational and networking events at NAB Show have consistently supported and amplified women in media, entertainment and technology,” said April Carty-Sipp, executive vice president, Industry Affairs at NAB. “The #GALSNGEAR Career Accelerator brings together a new generation of leaders gaining valuable professional skills to advance in their chosen careers. I’m even more thrilled to participate in the program this year and do my part to help empower and encourage women in this business.”

For more information visit 2021 NAB Show.

The post #GALSNGEAR Announces Program for 2021 NAB Show appeared first on Radio World.

George Winslow

Shure Intros Broadcast-Quality Podium Mic

Radio World
3 years 11 months ago

Shure says its latest podium mic, the Microflex MX415Dual, is aiming to be a standout with two condenser cartridges for “delivering reliable, high-quality audio for high-stake moments.” The dual elements allow for more than one feed, for instance, a house feed and a multbox or broadcast feed. Or if one fails or is damaged there is another to carry on.

The MX415 is mounted on a 15-inch gooseneck. It has a cardioid pattern though the cartridges are swappable with other Microflex cartridges of different patterns.

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

It outputs to twin 5-foot (1.5 meter) cables exiting from the bottom of mic, terminating in two TQG 4-pin female connectors that can connect to included in-line mic preamps with XLR connectors.

There is an integrated shockmount to minimize podium noise, foam windscreen and mesh ball grille along with communications RF shielding to go after mobile phone interference. It ships with mounting accessories.

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

Info: www.shure.com

 

The post Shure Intros Broadcast-Quality Podium Mic appeared first on Radio World.

RW Staff

Chip Shortage Hits Radio Technology Marketplace

Radio World
3 years 11 months ago
STMicroelectronics IC microchips designed by ARM Ltd. in a storage tray at CSI Electronic Manufacturing Services Ltd. in April. (Chris Ratcliffe/Bloomberg via Getty Images)

The severity of the global computer chip shortage has broadcast equipment manufacturers finding creative ways to manage supply channels while trying to meet product demand. 

Despite the semiconductor shortages, people in the radio technology marketplace who spoke with Radio World say products are still being shipped, with mostly minor delays, thanks to prior planning. Equipment suppliers said they hope the semiconductor shortage will ease soon, perhaps by early 2022.  

The pandemic has disrupted global supply chains for integrated circuits since early 2020, as factories closed and transportation was delayed. Surging demand for motor vehicles and other consumer electronic products, prompted in part by economic stimulus measures, have exacerbated the situation.

While some suppliers were reluctant to discuss workflow issues for this story, others confirmed that their difficulty in sourcing components has worsened in recent months. Broadcasters are primarily seeing delays on computers and computer-based audio gear, sources said, but even transmitter delivery dates are being affected in some instances.

The scarcity of chips has had an impact on HD Radio. General Motors this summer decided to exclude HD Radio on certain pickup truck models in the 2021 and 2022 model years.  

HD Radio parent Xperi Corp. acknowledged there could be some “feature reductions in radios” in some cars but expressed confidence that HD Radio deployment in vehicles will continue to progress.

Global logistics

Scott Stiefel, COO of Telos Alliance, said a series of unplanned events — including fires at two chip factories in Japan — combined with the pandemic to contribute to the shortage.

“The same challenges affecting the auto, computer or household electronics industry are there for us,” he said.

“Chip shortages, end-of-life issues for low-volume components, as well as global logistics problems. But without question, the factory fires at the AKM and Renesas Fabrication facilities have impacted the electronics industry, already taxed by the COVID-related shortages. The mass buying and stockpiling over and above the normal demand have also created shortages in both supply as well as in logistics. Again not directly attributable to COVID, but a side effect of consumer behavior.”  

Inovonics President/CEO Ben Barber said chips and virtually all components have been affected. 

“Earlier this year we made the decision to ramp up our purchasing in order to get ahead of the delays. Making this type of investment has been expensive, but at the same time we have the raw inventory to continue to manufacture all of our product lines without being backordered,” Barber said.

Prices for chips are up. One microprocessor for which Inovonics normally pays $14 is now $60. “And lead times have also been extended in many cases to 42 weeks plus,” he said.

The shortage has affected virtually all parts including ICs, SMD parts, power supplies and even metal chassis, Barber said.

Tony Peterle, manager in the Americas for WorldCast Systems Broadcast, said the radio technology sector has been affected by the semiconductor shortage like every other area of industry. 

“Broadcast equipment is certainly no exception, but thanks to all our partners all over the world we have found immediate solutions and we continue to deliver,” he said.  

Peterle said most of WorldCast’s broadcast customers are thinking far enough ahead to give his company solid estimates on lead times.

“Most broadcasters are obviously aware of the component crisis and they are planning their project timelines accordingly.”

Another observer who asked not to be named said there are only a handful of companies that make the analog-to-digital and digital-to-analog components used in phones, cameras and just about anything that converts audio between analog and digital.

And of those, only two major chip makers, Cirrus Logic and AKM, produce the kind used in most pro audio and broadcast products. 

To make matters more difficult, the observer continued, AKM ADC ICs pinouts are different than Cirrus Technology’s equivalent ADC/DAC ICs, which makes it impossible to substitute one for the other without some redesign. 

“A year or more out”

The good news for broadcasters is that supply chain disruptions caused by the chip shortage haven’t necessarily resulted in immediate price increases for products.

“For now, we’re pricing our products based on our reserve inventories of components and materials, and re-evaluating by the month,” said Dee McVicker, a representative of Wheatstone. “We’ve been through volatile supply situations in the past — never this severe though, and one thing is always certain; things will change.” 

She described lead times on important components as “insane.” Nevertheless, McVicker said, Wheatstone’s manufacturing runs haven’t been compromised.

“We do both production runs of some products and customized runs of others, and that hasn’t changed any. But since we’re our own plant, we can scale our production according to our own needs,” McVicker said.

“If we had to rely on third parties to manufacture our products, we’d probably be in a situation where we’d have to batch our runs or, worse, have long wait times competing for component availability.”

Several equipment manufacturers described extra steps taken to limit the effects of the shortage and control supply chain volatility. 

“We are meeting daily with our vendors to make sure we can source chips and materials a year or more out. That takes a little bit of planning on our part and also close communication with our customers on their project time lines,” McVicker said.

IP audio codec maker Tieline said it manufactures its codecs in-house, which ensures as much control over the supply of critical components as possible; still, lead times have become exaggerated because of the chip shortage.

“We are definitely seeing lead times for components blow out, and it’s not always semiconductors that seem to have been affected,” said Charlie Gawley, vice president of sales for Tieline. 

“For some components, average lead times of 26 weeks or less have extended out to 52 weeks or more. And in one case, as far out to 2024. As you can imagine, this adds an additional layer of complexity to ensure the bill of materials for each product is available for manufacturing when required.”

Tieline believes the chip shortage will extend at least into early 2022, Gawley said. “However, we do not expect to be impacted given our order placements for components already placed.”

Gawley said Tieline has been able to absorb any extra costs and has not adjusted prices.

Several equipment vendors told Radio World that the chip shortage is affecting their research and development efforts and work on new products. 

Possibly softening the impact of the shortage is that more broadcast products now are based on software. However, “Our experience has shown us that not all products can be replaced by software,” said Todor Ivanov, CEO and owner of DEVA Broadcast. “Many of our devices are intended for use in the field and at transmitter sites where using PC-based solutions is not reliable enough. For all of those products, we have taken the necessary measures to make sure that no hardware shortages are experienced and that our customers can rely on our products at any given time.”

Sidebar: Steel Also Feels the Pinch Image: ERI

Steel prices in July were up 215% from 16 months prior, according to Fortune. 

A worsening shortage may scramble supply chains and increase the cost of broadcast towers. 

Tom Silliman, president of Electronics Research Inc., told Radio World in July that material for current projects was largely on hand and that work was continuing. However, he said, ERI’s supplier of steel for broadcast towers, O’Neal Steel, was unable to order additional material from steel mills other than what was on order.

“Rollings are closed at this time and there is not a date on when they will open them again. Definitely no additional orders for 2021,” Silliman said.   

Prices for the material that goes into tower members are going up terribly, Silliman said.

“Some of the solid rod suppliers don’t want to sell any more solid rod tower material now because the cost of the material is so high. They would rather sell other material,” he said.

ERI designs, fabricates and installs self-supporting towers, guyed towers and antenna mounts used by the broadcast industry. As of mid-summer it was experiencing only minor project delays, due mostly to a shortage of guy wire insulators for AM towers.

“This causes a problem because it pushes our crews into late fall, causing higher numbers of weather days,” Silliman said.

For new tower orders, Silliman said broadcasters should expect higher material costs and long delays in receiving tower steel.

“Material delivery time is way out. In 2020, O’Neal Steal was quoting us six-week delivery of tower steel, and now they are quoting six-month deliveries. And since prices for material has gone way up, tower prices will have to go up, too.”

 

The post Chip Shortage Hits Radio Technology Marketplace appeared first on Radio World.

Randy J. Stine

NAB Continues Its Fight Against Higher Station Fees

Radio World
3 years 11 months ago

The FCC’s process for assessing and collecting regulatory fees continues to draw daggers from the National Association of Broadcasters. The lobbying group says the commission is using a “pin-the-tail-on-the-donkey approach to assessing fees.”

The association has been vocal on this topic for the past few years and seems particularly determined this year, with fees scheduled to go up again.

NAB representatives met by teleconference with FCC staff members on Aug. 18 to review their arguments against the proposed hikes in fees to be paid by radio and television stations.

The average proposed increase in MD Docket No. 21-190 is about 8 percent, though some stations could see fees jump by as much as 15%.

[“State Associations Push Back on Fee Increases”]

According to a summary of the “ex parte” meeting, NAB objects to what it considers discrepancies in how the commission sets these fees and specifically argues that the FCC has no right to require broadcasters to contribute to a $33 million broadband mapping fee as directed in the proposal.

The NAB estimates that broadcasters use 0.07% of allotted spectrum but account for at least 16% of the FCC’s entire budget — all while offering a free service to the public.

The commission proposes collecting $374 million from all the industries it regulates. It could act on the proposal within days, given that the new fiscal year begins Oct. 1, according to legal observers, which adds a sense of urgency to broadcaster arguments.

During the recent meeting, NAB again said the FCC proposal ignores a requirement by Congress for the commission “to take into account factors that are reasonably related to the benefits provided to the payor of the fee by the commission’s activities,” as required by the Ray Baum Act of 2018, which states that the “touchstone” for setting fees should be benefits rather than licenses.

NAB also argues that under the Communications Act, the commission “must not only analyze the changes in the number of full-time equivalent employees (FTEs) across the agency, but also must adjust the resulting fees based on the benefits provided to the payor of the fee.”

It continued: “And apart from a very brief discussion of benefits provided in the context of non-geostationary orbit (NGSO) satellite systems, the proposed rulemaking notice setting the regulatory fees for the new fiscal year blows past this obligation as if Congress never mandated it.”

The broadcast group goes on to stake out its argument:

“The error infects the entire Notice, but is particularly acute when considering Congress’s unusual step of earmarking $33 million for broadband mapping beyond the commission’s general appropriation. The Notice’s treatment of the $33 million could not possibly be more violative of the statute.

“First, it makes no attempt to tie which FTEs [full-time equivalent employees] are working on broadband mapping to the fees associated with that project. If it had, it would have recognized that the Media Bureau has no role in the project and therefore Media Bureau regulatees are not responsible for contributing to its overall cost.

“Second, even beyond the first-step FTE examination, had the Notice bothered even acknowledging its benefits provided obligation, it undoubtedly would have concluded that broadcasters should not have to contribute to the $33 million broadband mapping cost because they receive no benefits whatsoever from that effort. The Notice’s failure to exempt broadcasters from that $33 million is a blatant violation of the statute.”

NAB concludes: “It is well past time for the commission to change its unlawful and unjust approach to regulatory fees. At the very least, the commission must exempt broadcasters from contributing to the commission’s broadband mapping efforts.”

The broadcast industry as a whole has been hyper critical of the FCC proposal. All 50 state broadcast associations in comments to the FCC have argued that their industry has been unfairly subsidizing competitors through fees for decades. Broadcasters also argue that the fee hike is unfair coming on the heels of a pandemic, hurt advertising revenue.

The post NAB Continues Its Fight Against Higher Station Fees appeared first on Radio World.

Randy J. Stine

Station Avoids Fine Thanks to FCC Database Error

Radio World
3 years 11 months ago

It’s not easy to get the FCC’s Media Bureau to cancel a forfeiture. But a broadcaster in Alabama has done so after pointing out a problem with the commission’s own online database system.

The commission had issued a notice of apparent liability to Autaugaville Radio, which owns AM station WXKD in Brantley, Ala., and an FM translator in Troy. The FCC said the broadcaster had failed to file for license renewal by April 1 as required, so it was apparently on the hook for a $4,500 penalty.

The station wrote back saying its attorney had thought the deadline was in June and that it did file on June 18. That explanation alone would be unlikely to impress the commission; but the station also told the FCC that until June 16, the FCC’s own LMS filing database did not reflect the actual expiration dates of the licenses.

“Instead, LMS listed the stations’ licenses as expiring on April 1, 2028,” according to a commission summary. “The licensee states that, until this error was brought to the attention of the bureau staff by licensee’s counsel, and corrected on June 16, 2021, LMS would not accept applications to renew the stations’ licenses.”

The bureau staff found that this was, in fact the case.

“While the licensee could have discovered this issue sooner if it had correctly calculated the deadline for filing applications to renew the stations’ licenses, the licensee brought the error to our attention upon its discovery, and filed the applications to renew the stations’ licenses two days after the error was corrected,” the commission wrote.

So the FCC has canceled the NAL and admonished the broadcaster for violating the rules.

The post Station Avoids Fine Thanks to FCC Database Error appeared first on Radio World.

Paul McLane

Radio Hall of Fame Announces 2021 Inductees

Radio World
3 years 11 months ago
Erica Farber

Erica Farber and Bill Siemering, prominent figures in U.S. commercial radio and public radio, respectively, are among eight new members of the Radio Hall of Fame.

The Museum of Broadcast Communications also named its first 33 “Legends” inductees, one for each year of the hall’s existence.

Farber is president/CEO of the Radio Advertising Bureau and the former publisher/CEO of Radio & Records. Siemering played a critical role in the founding of National Public Radio.

Bill Siemering

The other inductees are air talent. They are Brother Wease, Elliot Segal, Dan Patrick, Kim Komando, Javier Romero and “Preston & Steve,” aka Preston Elliot and Steve Morrison.

All will be honored at a ceremony in Chicago in October. The Radio Hall of Fame was founded by the Emerson Radio Corp. in 1988. The museum has run it since 1991.

The Radio Hall of Fame also decided to recognize of past innovators who have since died.

“While the industry celebrates 100 years of existence, the industry’s Hall of Fame is only 33 years into existence. The centennial milestone provides an opportunity to recognize the talents and efforts of 33 individuals in 2021, as well,” it stated.

The Legacy inductees are:

  • Aku aka Hal Lewis, air personality in Honolulu in 1960-1980’s on KGU and KGMB;
  • Raul Alarcon Sr., radio executive and founder of Spanish Broadcast Systems (SBS);
  • Jackson Armstrong, air personality in Cleveland in 1960–1980’s on WIXY, WKYC, WKBW and other
  • stations;
  • Dr. Joy Browne, syndicated talk radio air personality based from WOR-AM / New York City;
  • Frankie Crocker, air personality in Buffalo and New York City in 1950–1980’s on WUFO, WWRL,
  • WMCA  and WBLS-FM;
  • Don Cornelius, air personality, WVON-AM, Chicago;
  • Tom Donahue, air personality in San Francisco in 1960– 1980’s on KYA, KMPX, KSAN;
  • Bill Drake, programmer and founder, Drake-Chenault Enterprises;
  • Arlene Francis, air personality in New York City in 1930-1960’s and first female host of NBC’s
  • Monitor;
  • Barry Gray, talk radio air personality in 1940-1980’s in New York City on WOR and WMCA;
  • Toni Grant, talk radio air personality in Los Angeles in 1970-1980’s on KABC-AM and others via
  • syndication;
  • Petey Greene, air personality in Washington D.C. in 1960-1980’s on WOL-AM;
  • Maurice “Hot Rod“ Hulbert, air personality in Baltimore and Memphis in 1950 -1970’s;
  • Jocko Henderson, air personality in Philadelphia, New York and Baltimore in 1950-1970’s;
  • Rodney Jones, air personality in Chicago in the 1960’s on WVON-AM;
  • Chuck Leonard, air personality in New York City in 1960-1970’s on WWRL, WABC, WXLO, WRKS,
  • WBLS and others;
  • Melvin Lindsey, the originator of the “Quiet Storm“ late-night music programming format and
  • Washington D.C air personality    the 1970-1980’s;
  • Ron Lundy, air personality in New York City in 1960–1980’s on WABC and WCBS-FM;
  • Mary Margaret McBride, nationally syndicated talk personality based in New York City, 1930-1970’s;
  • Ruth Ann Meyer, programmer of New York City radio stations in 1950-1960’s;
  • Murray “Murray the K” Kaufman, air personality in New York City, 1950-1980’s on stations WINS and
  • WOR-FM;
  • Manuel “Paco“ Navarro, air personality in New York City in 1970-1980’s on WKTU-FM;
  • Pat O’Day, air personality, station owner and concert promoter in Seattle in 1960-1980’s;
  • Eddie O’Jay, air personality and pioneer of R&B radio in Milwaukee and Cleveland in 19960-1980’s;
  • Stu Olds, radio executive and CEO, Katz Media 1970-2010;
  • Alison Steele, air personality in New York City in 1960-1980’s on WNEW-AM and WNEW-FM;
  • “The Real” Don Steele, air personality in 1950-1980’s in Los Angeles on various stations;
  • Martha Jean “The Queen“ Steinberg, air personality in Memphis and Detroit in 1950-1980’s;
  • Todd Storz, radio executive and owner of Storz Broadcasting Company;
  • Jay Thomas, air personality in New York and Los Angeles in 1970-1990’s;
  • Rufus Thomas, air personality in Memphis in 1950-1980’s;
  • McHenry “Mac” Tichenor, radio executive, broadcast station owner of Tichenor Media (Heftel);
  • Nat D. Williams, air personality in Memphis in 1940-1970’s on WDIA-AM.

Museum Chairman David Plier said, “The combined list is the most diverse group of nominees in the hall of fame’s history, which is reflective of the audiences that are and have been listening to radio stations across America all these years.”

The post Radio Hall of Fame Announces 2021 Inductees appeared first on Radio World.

Paul McLane

Missed License Renewal Earns FM Translator a $3,500 Forfeiture

Radio World
3 years 11 months ago

The FCC Media Bureau has found an FM translator permittee liable for $3,500 for apparently willfully violating FCC Rules regarding filing a renewal license.

The bureau issued a construction permit for FM translator station W285FR in Palatka, Fla., to Natkim Radio in 2018 with an expiration date of Jan. 17, 2021. However, Natkim did not file a covering license application by that date and the permit expired. Nearly two months later Natkim filed a petition for reconsideration demonstrating that the translator was built and that they wanted to proceed with licensing. The bureau treated the petition as a waiver request, granted it, reinstated the permit and gave the permittee until Aug. 13, to file a covering license application. Just before the deadline, on Aug. 12, Natkim filed the application.

[Read: For Willfully Operating Without a License, Permittee Handed $3,500 Forfeiture]

But the permittee failed to file a covering license as required by FCC Rules and continued transmitting for nearly a month after the permit expired.

As a result, the Media Bureau issued a Notice of Apparent Liability. The commission’s Forfeiture Policy Statement establishes a base forfeiture amount of $3,000 for failing to file a required form and a base forfeiture of $10,000 for construction or operation without a permit. Based on its review of the facts and circumstances, the bureau found that a $7,000 base forfeiture is appropriate because the licensee failed to file a covering license application for the translator and engaged in unauthorized operation after the permit expired.

Taking into consideration all of the factors required by the Communications Act, the bureau decided to reduce the forfeiture further to $3,500 because the station is a translator and as such the station provides a secondary service.

As a result, Natkim Radio has 30 days to pay the full amount or file a written statement seeking reduction or cancellation of the proposed forfeiture.

 

The post Missed License Renewal Earns FM Translator a $3,500 Forfeiture appeared first on Radio World.

Susan Ashworth

Introducing 512 Audio

Radio World
3 years 11 months ago

Taking its name for Austin’s legacy area code, 512 Audio, based in that city, introduces itself with a handful of products, notably a pair of microphones.

Of chief interest to Radio World readers would be the Limelight microphone (shown). Roughly resembling a black version of a well-known radio broadcast mic standard, Limelight has a hypercardioid pattern with a dynamic capsule that “meets the needs of today’s podcasters, broadcasters, and streamers,” according to the company.

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

It has a built-in pop filter and low-frequency cut filter at 100Hz. The company specs Limelight 50 Hz–15 kHz.

Also coming out of the 512 Audio stable is the Skylight, a large diaphragm cardioid studio-style microphone. Both mics go for $199.99.

512 Audio is also offering a set of headphones, along with a boom arm and a metal mesh pop filter.

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

Info: www.512audio.com

 

The post Introducing 512 Audio appeared first on Radio World.

RW Staff

State Associations Push Back on FCC Fee Increases

Radio World
3 years 11 months ago

State broadcast associations are telling the Federal Communications Commission that its planned increase in regulatory fees will be harmful to radio and TV stations at a time when many stations face “an increasingly precarious situation.”

They also want the commission to start a proceeding that would lead to fees being allocated more fairly across industries that benefit from the FCC’s work.

[“Broadcasters Face Higher FCC Regulatory Fees”]

The leaders of several associations met via tele-conference calls last week with staff members of three FCC commissioners. The associations include those in Indiana, Minnesota, Georgia, Montana and Missouri.

The state groups echoed arguments that have been made to the FCC — so far without success — by the National Association of Broadcasters.

The associations described financial challenges facing broadcasters, especially those in small markets, where stations may be the only source of local news and information as well as a balance to misinformation on social media.

According to ex parte filings summarizing the calls, the associations complained about increases of “double-digit percentages year over year” and said that the FCC’s published Broadcast Totals “show a loss of at least 122 full-power commercial AM and FM radio stations since 2019, demonstrating the increasingly precarious situation many stations face.”

They also noted that the FCC’s most recent auction failed to attract a bidder for any of the offered AM station authorizations and for a third of the FM station authorizations.

This, they said, “further confirms an increasingly obvious fact: that the FCC’s proposal to charge broadcasters 16% of its operating costs while those same broadcasters hold only 0.07% of the spectrum regulated by the commission is an unsustainable approach to funding the commission’s operations.”

They also said that the fee increases “are due almost entirely to the commission’s decision to treat its work under the Broadband DATA Act as commission ‘overhead,’ to be spread across all FCC regulatees despite the fact that broadcasters have no connection to, and do not benefit from, that work in any way.”

That, they say, is contrary to the will of Congress.

“The commission’s traditional license-centric approach to setting regulatory fees is neither legal nor sustainable,” the associations wrote in their filings.

They said that approach “merely forces broadcasters to subsidize through excessive regulatory fees their fiercest competitors: social media and technology companies that consume vast amounts of the commission’s time and resources while paying no regulatory fees whatsoever.

“This subsidy is particularly offensive when some of these resources broadcasters are paying for are being used to encroach on broadcaster’s spectrum through unlicensed uses, reducing the ‘benefit’ of that spectrum to broadcasters while simultaneously benefitting technology companies who conveniently avoid having to pay for the cost of those proceedings since they are not an FCC licensee.”

The associations told FCC staffers that current law now requires it to diversify its portfolio of regulatory fee payors.

They want the commission to start a proceeding to examine how to bring its regulatory fee processes into compliance by expanding the universe of regulatory fee payors and acknowledging that the amount of fees must be governed by what is called the “touchstone” of the benefit the commission delivers to the payor.

[Read one of the ex parte summaries as filed with the commission.]

 

The post State Associations Push Back on FCC Fee Increases appeared first on Radio World.

Paul McLane

Corny Gould Joins Angry Audio

Radio World
3 years 11 months ago

Cornelius Gould has joined Angry Audio with the title of audio processing architect. Among his jobs will be helping to develop products for new media content creators.

Angry Audio is a Tennessee-based company founded in 2019 by Mike “Catfish” Dosch. It specializes in making “gizmos and gadgets.”

“Broadcasters around the world know Gould for his Omnia.11 work,” the company said in a press release. “What they may not realize is that he has been designing, building and tuning audio processing for decades. In fact, he is considered by many to be one of the world’s foremost audio processing authorities.”

Dosch said Angry Audio has a lot of customers working in podcasting and live-audio streaming. “With Corny on board, we have some new product ideas that should be real eye-openers,” he said.

Gould is best known in radio for his decade-plus at Telos Alliance. Before that he founded a streaming company and worked as an engineer for CBS Radio. More recently he was with Futuri Media in an R&D role; he also co-hosts a podcast about rocketry.

Send announcements for People News to radioworld@futurenet.com.

The post Corny Gould Joins Angry Audio appeared first on Radio World.

RW Staff

Florida Low-Power FM Station Has Liability Canceled by Media Bureau

Radio World
3 years 11 months ago

The Media Bureau has agreed to cancel a Notice of Apparent Liability against the licensee of an low-power FM station in Florida for a renewal violation — but not before the station was admonished by the Federal Communications Commission for operating without a license.

The bureau sent a liability notice to Minority Broadcasting Association, licensee of LPFM station WPJM in Palatka, Fla., for apparently willfully violating the FCC Rules by failing to file a license renewal application on time and engaging in unauthorized operation of the station.

[Read: LPFM Station Allowed to Resume Operations]

According to the rules, the bureau has the authority to set a base forfeiture of $3,000 for failing to file a required form. The guidelines also specify a base forfeiture of $10,000 for construction or operation without authorization. In Minority Broadcasting’s case, the bureau proposed a reduced forfeiture amount of $3,500 since the station is an LPFM and is providing a secondary service.

Minority Broadcasting responded to the commission’s notice and responded that its failure to file the application was not willful; rather, it resulted from unintentional oversight and argued that the commission did not give them enough opportunity to achieve compliance with the Administrative Procedure Act. Minority Broadcasting also requested cancellation of the notice due to an inability to pay.

But the bureau said that violations resulting from failure to become familiar with the FCC’s rules are still willful violations — even if the licensee didn’t intentionally set out to break the rules. As a result, the commission said it was not persuaded by Minority Broadcasting’s argument that the mistake was just an accident.

The bureau also said that Minority Broadcasting’s interpretation of the Administrative Procedure Act is also incorrect. The rules state that the suspension of an license is lawful only if the licensee has been given notice and an opportunity to achieve compliance. But here, the commission is not attempting to revoke or cancel the station’s license, so in this case the act has no standing, the bureau said.

The bureau also explained that in order for the commission to consider reducing or cancelling a forfeiture, the licensee must submit federal tax returns for the last three years or some other objective documentation showing the licensee’s current financial status. Minority Broadcasting said its financial status was clear: it doesn’t have a bank account and any funds needed for station operations are obtained through donations.

The commission accepted Minority Broadcasting’s showing that payment of the proposed forfeiture would create a financial hardship. The bureau also agreed to cancel the proposed forfeiture but not before admonishing Minority Broadcasting for its violation of the rules.

 

The post Florida Low-Power FM Station Has Liability Canceled by Media Bureau appeared first on Radio World.

Susan Ashworth

Grants to Help Public Stations Address COVID Misinformation

Radio World
3 years 11 months ago

To address misinformation about COVID-19 in local areas, the Corporation for Public Broadcasting is awarding a total of $275,000 in emergency grants to 14 public media stations across the country.

The grants — up to $20,000 each — will go to public television and radio stations in areas with low vaccination and high infection rates or in hotspots with a growing number of coronavirus infections.

Funding will be used to produce or extend programming about the pandemic, to organize community outreach efforts about vaccines and to develop multiplatform public service announcement campaigns.

“Public media stations, locally operated, work with their communities through partnerships of trust,” said Patricia Harrison, CPB president and CEO. “General managers of stations serving America’s communities that are hard hit by the pandemic are committed to breaking through the cycle of misinformation regarding the COVID-19 vaccine and are providing information that is saving lives.”

Some of the 14 grants include Mississippi Public Broadcasting in Jackson, Miss. The station will produce a series of radio and television broadcast specials focused on COVID-19. The station will also host a virtual town hall with medical experts and produce a social media campaign designed to combat information. Others, like Wyoming Public Media is Laramie, Wyo., will spotlight personal testimonials about COVID infections and increase newsroom reporting on the pandemic’s impact on the state economy. In the east, West Virginia Public Broadcasting in Charleston, W.Va., will orchestrate a multiplatform outreach effort to younger audiences in communities that have been vaccine hesitant.  The station will also work with kids programs like PBS KIDS to reach families with young children.

Other station’s include Arkansas PBS in Conway, Ark., Boise State Public Radio in Boise, KERA in Dallas, Nine PBS in St. Louis, KRSU in Tulsa, Okla., KOSU in Stillwater, Okla., Louisiana Public Broadcasting and WRKF in Baton Rouge, WBHM in Birmingham, Ala., WCTE in Cookeville, Tenn., and WJCT Public Media in Jacksonville, Fla.

 

The post Grants to Help Public Stations Address COVID Misinformation appeared first on Radio World.

Susan Ashworth

Radio, Stick to Your Knitting

Radio World
3 years 11 months ago
Getty Images/Dmitri Lobyrev Eyeem

The author of this commentary is communication lecturer and faculty director at WGSU(FM)  at SUNY Geneseo, Rochester, N.Y.

Many years ago, more than I care to remember, I heard a radio interview with a major rock artist of the time. I think it was the late Tom Petty. As I recall, the interviewer asked about his politics. His response was something along the lines of, “Man, I’m for everybody.”

It was an astute reply by a savvy public figure recognizing: a.) He was a music artist, not a politician or expert on all things; b.) He had fans of, undoubtedly, many political stripes; and c.) He didn’t want to alienate any of those fans, which was smart — if in a purely financial sense.

Four decades later, celebrities, corporations and, yes, even radio stations big and small seem to glom onto the latest social fad, fancy or frenzy by posting symbols such as colorful flags or raised fists.

Is it wise for radio stations?

Signaling virtue?

The marketers might say so. After all, what’s more important than connecting with the “youth audience” no matter the cause, wrongly viewing “youth” as a monolithic group.

I think they’re wrong — and that Tom Petty was right.

Customizing social-media logos, for instance, to conform with the latest cultural or social fad often represents, at best, virtue signaling — potentially alienating up to half a station’s listeners or more, if many — including those supporting a particular cause — view it as disingenuous corporate pandering, which, let’s be honest, it frequently is.

Consider the reactions to some of the most inane virtue-signaling social-media posts by big corporations. When followers asked Oreo, for instance, “But what does this have to do with cookies?!” … it’s a really good question. And how many radio stations shared rainbow-flag images in June but were too afraid to post the U.S. flag on Memorial Day, Flag Day and Independence Day, even though most of their listeners are Americans … living in America?

This isn’t to suggest that radio stations should avoid ever taking a stand on anything, which would be rather bland — especially for formats, such as talk, with consistent political slants.

But, for others, especially music-formatted stations, first know your audience, and ask yourself beforehand: Is it worth it? Do I really want to potentially alienate up to half — or more — of my listeners? Then think about your own motivation: Is it genuine? Or could it be seen as “jumping on the bandwagon” and pandering, if, deep down, there’s a good chance it is?

For many consumers, virtue signaling (“woke smoke” from “woke capitalism”) is growing wearying and off-putting, with a strong chance of backlash. So whether selling Oreo cookies or trying to reach radio audiences in especially challenging times for legacy media, why make the effort even harder by potentially alienating half your customer base? Instead, consider adhering to the venerable business-school advice: “Stick to the knitting“ — with what you know.

Tom Petty had it right: Just be “for everybody.”

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

The post Radio, Stick to Your Knitting appeared first on Radio World.

Michael Saffran

NPR Distribution Improves Its Hub

Radio World
3 years 11 months ago
Joe Schifano

This is one in a series of interviews with companies planning to exhibit at the 2021 NAB Show in October.

Joe Schifano is senior director of business development at NPR Distribution.

Radio World: What do you anticipate will be the most significant technology trends that radio professionals should be watching for at the show?

Joe Schifano: The convergence of broadcast radio and IP delivery of audio. Automobile dashboards are becoming an entertainment center, and broadcast radio will need to remain a player in the automobile.

RW: What will be your most important news or message for attendees?

Schifano: The move of our Hub product from a standalone service to sharing the same platform as our flagship public radio product ContentDepot. The move to the ContentDepot platform will greatly improve the user interface. It will also enable us to share features of ContentDepot such as MetaPub, permissioning of programming, receiver monitoring as well as spot insertion.

RW: What specifically will be new? And how is it different from what’s on the market?

Schifano: We are in the final stage of upgrading our Hub product. What we are finding are that networks that have been supporting their own content distribution — satellite and/or terrestrial — do not want to be in the uplink business anymore. They want someone else to manage their distribution system so that they can concentrate on other parts of their business — like creating revenue.

The great thing about the Hub is that the content creator maintains control of the content, and who it’s delivered to, without the headache of managing an uplink operation.

No more cap-ex discussions or maintenance of an aging infrastructure. No more calls in the middle of the night because of an uplink problem that needs to be taken care of immediately. No more paying for never-ending support contracts on the system you purchased or worrying about software upgrades.

Promotional image for NPR Distribution Hub.

The only piece of equipment needed at the content provider’s location is an audio codec. Everything else is located at our facilities in Washington, D.C. Additionally, we are fully redundant with a manned location in St. Paul, Minn. Our new interface simplifies the process of scheduling programs, spots, cues and more. Localization of programming and spots becomes much easier, which in turn enables more revenue opportunities.

RW: Affiliates of the public radio satellite system have been in the process of completing a major receiver switchover. What’s the status of that?    

Schifano: The project is complete. Our headend was completely replaced, as well as all the receivers at nearly 400 public radio stations. We are now fully redundant at our primary location and backup location.

RW: Will your booth or customer interactions change because of the pandemic?

Schifano: Although we will have a team on the floor in the Central Hall, it probably will not be our complete team. At least for the October show, we will be making use of remote meeting technology to answer any questions that may come up.

After a long 18 months of the pandemic, our team is anxious to see both our existing customers as well as prospects in person. Although we have survived in the virtual world, we really are looking forward to things getting back to normal.

Readers looking for more information on NPR Distribution’s Hub service can visit https://www.nprds.org/hub.

The post NPR Distribution Improves Its Hub appeared first on Radio World.

RW Staff

Ben Palmer Becomes President at Arrakis Systems

Radio World
3 years 11 months ago
Ben Palmer, right, succeeds his late father Mike as president of Arrakis Systems.

Benjamin Palmer has been named the president of Arrakis Systems, following the death of his father, founder Michael Palmer.

The firm’s ownership remains in the Palmer family. Siblings Aaron Palmer and Melissa Freeman also work at the company, in software development and automation respectively.

[Read: Mike Palmer, Founder of Arrakis, Dies at 69]

Ben Palmer joined the company in 2008 after graduating from Brigham Young University with a degree in manufacturing engineering. His roles have included worldwide sales manager, webmaster, sales engineer and vice president.

During his tenure, Ben Palmer developed software for the web-based Arrakis inventory control system, and was buyer and manager of purchasing for manufacturing. He developed software for employee time accounting, and created the Arrakis music libraries. He was the sole hardware design engineer for the DARC surface AOIP mixing console, ARC-5 analog console, Harmony Soundcard, Harmony Switcher and dual channel mic preamp; and completed the software design for the DARC Virtual AoIP console software product.

 

The post Ben Palmer Becomes President at Arrakis Systems appeared first on Radio World.

Paul McLane

Pipe Dream Theatre Produces Immersive Podcasts

Radio World
3 years 11 months ago
Liz Muller and C.E. Simon

During the global pandemic and under lockdown, theatrical stage director and performer Liz Muller had to find a fresh medium to express her creative vision. In starting this new chapter, she co-produced four immersive audio podcasts — “Three Ghosts” and the trilogy “AFTERWORDS.”

“Three Ghosts” is a musical based on Charles Dickens’ “A Christmas Carol.” The cast included 46 people worldwide, and they all recorded independently during the height of the pandemic. It was released Dec. 20, 2020.

“AFTERWORDS” is described as “emotional, hilarious, scary, sad and totally vulgar stories.” Episode 1, The Mouse & The Cat, was released on May 31, 2021.

No stranger to immersive productions in a theatrical setting, it wasn’t a stretch for Muller to take the leap into audio storytelling. She already had the basis with Pipe Dream Theatre, the production company she co-founded with collaborator, partner and composer C. E. Simon.

Live theater, immersive audio

However, it was a distinct challenge to be able to take live theatrical productions and adapt them to immersive podcasts.

Theatrical productions often involve 40 to 50 actors speaking their lines, vocalists, musicians, as well as a composer and sound designer.

As Muller explained, it was no small feat to be able to corral all of that talent, remotely, let alone secure recordings.

“To jump into 3D sound and decide to create immersive podcasts of that nature was an undertaking for certain,” said Muller. “Everyone’s got GarageBand, but a lot of people have never touched it, or they don’t have a microphone, or they’re recording on their iPhones, which is wild.”

She added, “Nobody is ever in a studio with me. I record the entire show, all parts, all voices, everything. And then I chunk it up into phrases, and I send it out to all of the cast members. And then they record themselves independently. Then I receive massive amounts of dialogue, and then compile it.”

Harnessing ambience

Muller said that because studio sessions weren’t possible, all of the voiceover work is recorded by the talent on readily available USB microphones and other devices. Studio treatments are encouraged, and audio is cleaned up afterwards.

“Most of our cast use their own USB microphones, since they are all over the world,” said Muller. “Some people are on their iPhones, and I’ve got them hanging a blanket up in a corner just to dampen the sound. And then we use effects and plugins, and get rid of gurgles, crackles, and whatever else is going on.”

Muller explained that there are a lot of variables when talent record their parts remotely.

“We still get these files with this crazy ambient noise and we’re like, ‘Are you at the airport?’” said Muller. “And it’s just like cleaning and mending, so that we can create the best product possible.”

Muller said that there’s also a challenge when you have so many recordings supplied from talent, all with different ambiences to contend with.

“Dealing with 50 different room ambiences is bonkers, and then getting that to sound like it’s even remotely in the same place. Sometimes it’s just trickery,” said Muller.

Theater informs storytelling

Muller said that C. E. Simon is involved in all aspects of the production. This includes writing, score, podcast sound design, Foley and mixing.

“He is the composer, he writes the script, he does all of the final podcast sound design,” said Muller. “He does all the Foley work and it comes from either libraries or subscription-based stuff. Or literally it’s us with a digital Tascam DR40, running around making noises and slamming doors and going up stairs, recording all of that.”

Muller and Simon both approach immersive audio storytelling much like they would approach a theatrical stage production or a musical.

“As a stage director, whenever I see words or hear music, I inevitably see the pictures of what people are doing,” said Muller.

“As Simon and I are working on the audio telling of a story, we look at each scene as we might as stage directors. Such as when there are two people in a room. They’re sitting down at a table and then they have to get up. There has to be movement. And now we’re just doing it with sound instead of visual.”

She added: “What we’ve learned is that it’s very hard to put a sound right in front of you. If there’s a human being in real life, right in front of you, you don’t hear sound like this. You hear sound globally, like it’s around you. A lot of times it’s more effective to pan it to the side or put it behind you because it’s a surprise.”

Some nuts and bolts

In terms of recording her own voiceovers, Muller uses a Shure Beta 58A mic through a Focusrite Scarlett Solo interface. The primary audio work is done in Logic Pro X. All of the assets from the remote talent are merged into Logic Pro by Muller. Muller then performs the pre-mixes for each scene, which includes the “comping” of the takes from the talent.

She puts together a first pass for timing, for tempo, and to capture the rhythm of scenes. Then she hands it off to Simon for further mixing and scoring. Simon uses the Accusonus ERA Bundle Standard for most of the audio repair. Once in the closing stages, Muller and Simon dial in the final mix of the podcast.

Muller said that if someone is planning to do immersive audio podcasts, especially on this scale, it’s a good idea to have others to help.

“Anybody jumping into 3D audio podcasts, get yourself a team,” said Muller. “It is not easy, and it’s time-consuming. It’s definitely different from working in stereo sound. But it’s so worth it.”

Ian Cohen covers pro audio, immersive audio, storytelling and music creation. He’s producer/host at Malibu’s 99.1 FM KBUU.

The post Pipe Dream Theatre Produces Immersive Podcasts appeared first on Radio World.

Ian Cohen

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