Radio World

Fig. 1: A strategically-placed IP camera keeps watch on your transmitter site equipment.

Ernie Nearman is a veteran broadcast engineer who has been practicing in Honolulu for decades. Like any contract engineer, Ernie sometimes has to be in two places at once, and believe it or not, he’s figured a way to do just that.

Ernie uses strategically-placed IP cameras at his sites to give him “remote” eyes to see what’s going on. He acknowledges that these IP cameras are not cheap, but if you buy the style that provides pan, tilt and zoom features, the camera does a pretty good job of letting you know what’s going on before you arrive at the site. 

Fig. 2: By selecting a camera with pan and tilt functions, the camera can zoom in to a specific piece of equipment, like this transmitter fault panel.

At one site, the camera is mounted on conduit so it normally faces the door (Fig. 1). Anyone entering the site can be identified. However, with the built-in mechanical adjustments, Ernie can remotely turn the camera to view the faults on a transmitter, as seen in Fig. 2 or point the camera in another direction to check the room temperature and Nitrogen pressure gauges (Fig. 3).

Fig. 3: Pan in another direction to check the room temperature and N2 pressures.

After a storm, wouldn’t it be nice to know the surge suppressor took a hit before arriving at the transmitter site? Fig. 4 shows that information. These little snapshots may not seem important, but when you are handling a number of contract clients, IP cameras can help you perform triage.

Fig. 4: How about checking your Surge Suppression status, before arriving at the site?

If, for example, a station goes down and you see that the fault can be corrected remotely, your time can be spent on bigger issues. Ernie says this benefit is especially appreciated when a storm rolls through, taking several of his contract clients off the air at the same time. These IP cameras permit engineers to work smarter and more efficiently.

Fig. 5: The compact camera fits in the palm of your hand, making mounting a breeze.

Ernie chose the Amcrest IP Camera, Model IP4M, in Fig. 5. It’s not the cheapest but its features include Ultra-HD resolution, remote viewing, two-way audio and night vision. It uses power over the Ethernet.

Fig. 6: Compile a screen to show both inside and outside the transmitter site.

Yes, you can find less expensive versions, but buying cheap junk probably won’t give you the features you need. Consider this a diagnostic tool, so don’t fall for the $20 wonders — you’ll be disappointed. 

You can find out more by Googling “Amcrest IP cameras” or searching for them on Amazon.

***

Have you signed up for the SBE Member Plus membership tier? When you do, you’ll have access to all of the SBE webinars. These broadcasting webinars provide online training in a variety of broadcast engineering topics. Head to www.sbe.org for more information.

***

April 1 is here. With that in mind, Newman-Kees’ Frank Hertel sent in some tips for using the latest release of Sonus Precarious Audio Software.

He writes that many engineers have yet to experience Sonus Precarious and its quirks. As an experienced user, Frank thought it would be useful to share some of the things that you need to be aware of when considering Sonus Precarious.

• If you download the free version, after three months, you will be required to purchase and install a dedicated Sonus Precarious hard drive to save your work.
• When deleting elements of your work, all mouse buttons and the scroll wheel must be used in reverse order. They provide this as an extra safety feature for jocks, to keep them from accidentally deleting elements of their work.
• All work is saved in the new Sonus Precarious file format. To distribute your recorded work to others, you must attach a document that has a ciphered phrase. That ciphered phrase must be decoded and entered to unlock the recording for playback.
• Sonus Precarious offers a user-selectable series of new bitrates, to enhance the sound of the recorded work. This gives you the sound quality that relates to the year of audio quality development. For example: one of the bitrates is called “64÷8,” and it actually enhances recordings to sound like 1941.  
• Be aware that the manual is written in 64-point “Baked Alaska Script” font. They did this because, they explain, “It’s pretty!”

Have a great April 1. 

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

The post Cameras Keep Watch at Your Transmitter Site  appeared first on Radio World.

The author is communications manager for Radiodays Europe.

COPENHAGEN — Have you seen the YouTube clip of two Glaswegians with strong Scottish accents trying to work the voice controls in a lift? Or the lady sitting in a mid-range car trying to find a radio station using the voice controls, her accent is very strong and she calls the stations by their abbreviated names.

Rosie Smith

Those are two, rather old, examples of where voice control doesn’t work. The problems of voice control are well known, but with the rise of the smart speaker the future is most surely voice-controlled so how does your station work with the voice? Can listeners find you? Or is your name and frequency too difficult to find on a voice-controlled device or in a device-controlled system in the car?

MORE WORK

Some stations are working on their smart speaker future and with the major smart speaker manufacturers to try and ensure that no matter the listener’s accent, the many ways the station is named (e.g. name/frequency/abbreviation), the speaker gets to the right place and you don’t lose listeners.

The sound of someone’s voice needs to be understood and, radio stations need to do more work to ensure they are the first on the list when “Alexa play…,” is uttered.

The revolution is happening or has happened depending on whom you talk to in terms of the sound of podcasting, “800,000 valid podcasts are now available in Apple Podcasts.”

In addition, the explosion of the podcast market continues with new players entering, new forms of production and a media truly open to all with a microphone and the ability to stand the heat of sitting under a duvet while recording their podcast (production method suggest by “Beef and Dairy Network Podcast” Ben Partridge, RDE Podcast Day 2019) — though apparently kids tents with a duvet over the top works just as well.

The sound of short, home produced podcasts though, like the early days of YouTube videos, are now moving on. With more production houses entering the market the sound of podcasts are becoming more professional, more stylized and may be losing some of the previously and joyously bad production which marked out podcasts in the early days.

That’s not to say that there still aren’t a lot of people out there desperate to know which microphone to use? What makes a podcast sound like a winner is becoming the Holy Grail: How do you make your podcast stand out in a market place where many new podcasts are launched daily?

The sound of the radio in terms of diversity and equality remains an area that needs to be tackled head on in all countries. More stations need more female voices and those from multicultural backgrounds. As local communities diversify so too must radio, bringing a wealth of opinions, experiences and familiarity to their listeners.

If the “woke” generation is the audience of tomorrow, then radio needs to appeal to them and bring the sound of their generation to radio. Podcasts in this respect cater to this demographic bringing with them the multisound world that should be the goal of all stations.

GATE-KEEPER PLATFORM

What is the next big thing for sound? In every space the sound you hear is a key part of the experience. But how do you deliver that sound? Will it be on 5G in the future? In the United Kingdom, mobile network operator and internet service provider, EE, has 5G coverage in over 50 towns at the end of 2019; in the United States Verizon 5G has gone live in parts of 31 cities; and in Australia Telestra covered 10 major cities by the end of 2019, according to TechRadar.com. A similar story in many other markets, 5G is coming to listeners and quickly.

Broadcasters are eagerly exploring how they can deliver more on the mobile networks but the issue of a “gate keeper” for your station’s sound is once again being discussed. Also, the question arises: Will listeners pay for radio streaming?

In a recent study by Imperial College London, researchers found “the evolution of modern culture, including pop music, is just as slow as biological evolution.” What do changing tastes mean for music stations? If smart speakers are outselling traditional radio devices what does that mean for radio? If the car of the future is autonomous what will radio sound like?

These are just some of the questions facing radio today. Making “sound” decisions for a station is the preoccupation for every CEO, head of radio and program director. Competition for the ear is growing, though radio still remains in a strong position, how do you navigate this new world of sound?

Sound ideas and sound decisions on all platforms, across all innovations in technology are paramount.  Radiodays Europe in Lisbon, now slated for December, will address these issues with examples from radio stations worldwide with a view to ensuring the sound of radio continues to hit the right note.

The post Sound Ideas. Sound Decisions. appeared first on Radio World.

This free resource is part of Radio World’s “Spring Show @ Home” initiative, helping equipment buyers and sellers keep in touch in an April without an NAB Show.

In the 21st century, radio is enduring, engaging and evolving. So too are the media companies that create all that great content. And so are the manufacturers that make the technologies that are the backbone of our great industry.

The guide is intended to give you a sampling of new offerings that you would have seen if you’d attended the show. It includes ads and Product Previews from our sponsors about technologies they are introducing or highlighting this spring. Also, you’ll find “Exhibitor” listings based on the material that companies had sent us shortly before the physical convention was cancelled.

Thank you for being part of this great industry and of the Radio World community.

Read the ebook here.

The post Spring Show @ Home appeared first on Radio World.

Wyoming Public Media is among the radio organizations building new pathways and processes for broadcasting from home during the COVID-19 pandemic.

Paul Montoya is director of engineering for WPM, which is part of the University of Wyoming and located in Laramie. It operates 45 transmission facilities; WPR channels covers 90% of the state.

Radio World: I’m told you’ve been doing some live shifts from home yourself. What technologies and products are you using and how do the pieces plug together?

Fig. 1: Control Room Zetta screen via secure VPN

Paul Montoya: This is something we have been working on for the last year, primarily for remote broadcasts. The goal has been to control the equipment back at the studio as if you were sitting in front of it. In the past, the most we could do is have someone bring up the remote location on the control room console, then fire “next event” closures when needed to play underwriters announcements, promos or other elements.

So to do this properly you really needed two screens at the remote location — one to remotely control the mixing console at the studio and the other to fully control the automation system. We use a Telos Axia Element console at the studio. For automation we use the RCS Zetta system. At our studios we use the Raritan Dominion KX III KVM to control workstations in all of our studios. This is an IP-based system so devices can be accessed via web browser.

So, to put everything together we first access the Control Room Zetta screen via secure VPN remotely on one screen. We now have a full-function version of the same screen an operator would be using in the studio (Fig. 1). Now we need some way to control the levels, inputs and channel on-off functions of the console.

Fig. 2: Telos SoftSurface

Telos Axia makes a piece of software called SoftSurface that accesses remote control of any LiveWire-based Fusion or Element console in a graphical format (Fig. 2). With this software on my second screen I can now control any function on the studio console from a computer on the LiveWire VLAN. Because I don’t want to extend my AoIP VLAN out of the studio, I run SoftSurface on another computer connected to the LiveWire VLAN. I can then access this computer through the secure VPN tunnel (or TeamViewer or GoToAssist).

Fig. 3: Comrex BRIC

The final element is a Comrex BRIC for getting my audio back to the studio console (Fig. 3). Now any audio at my remote location can be put on the air. In the case of the studio in my home this gives me access to a CD player and turntable. Now I can pretty well do anything that I could as if I was standing in the studio.

We always been prepared to use a setup like this for a campus emergency such as an “active shooter” situation. Never did we think it could also be used for a worldwide pandemic.

RW: What has the impact of the crisis been on air talent and other staff?

Montoya: We have four audio channels that we deliver. WPR Main (NPR, News and Information), Classical Wyoming, Wyoming Sounds (AAA Music) and Jazz Wyoming. Classical and Jazz have been no problem as they are satellite-delivered formats. Wyoming Sounds has gone 90% voice track with announcers being able to voice-track easily through the Zetta2Go interface that can be accessed through secure VPN. We have been able to do remote programming for live segments through the process I explained earlier.

The WPR Main Channel has been our biggest challenge because of the varied and ever-changing elements of the format, including White House press conferences that come at a variety of times and almost never seem to start on time. Between accessing the Zetta automation system remotely through our secure VPN and changing Axia Livewire audio routing remotely, we have been able to keep up with most functions remotely and safely. “Morning Edition” and “All Things Considered” in the afternoons are still being hosted live, however we have made plans to host these shows remotely and still have a live feel to the programs.

[Related: COVID-19: WAMU’s Game Plan]

Fortunately these two programs have fixed clocks and timed breaks so filling these elements remotely isn’t too terribly difficult. The host can record their local newscasts, weather and other timed show elements remotely. These can then be uploaded via secure VPN to an mapped ingest folder for our automation system. Then working in cooperation with our programming and traffic people these can be placed remotely into the proper location in the log. We have not had to try this yet, but it should work.

Reporters have been producing their stories remotely then dropping their stories into “Shared Audio” folders at the studio via secure VPN. Staff meetings are being conducted weekly using Zoom. We do “audio only” Zoom sessions as some people call in by phone. We haven’t found video to be necessary.  So far this has worked quite well.

RW: What is the strategy of the WPM technology team to react to the coronavirus, as far as its overall operational and technical processes are concerned? 

Montoya: We had a pretty good idea that COVID-19 virus could affect our operation about late February. We had received a copy of a plan put together by Northern California Public Radio that seemed to be similar to the plan we knew we would need. Working with our General Manager Christina Kuzmych, our program director and our news director, I was able to put together a plan that should hopefully get us through this crisis.

The plan consisted of three stages. Essentially Stage 1 was a readiness stage that took preventive measures to keep areas clean. Stage 2 included non-essential people working from home. The only people in studio would be live on-air personnel. Stage 3 would include all personnel working from home.

RW: How “virtual” can your operation get, and how?

Montoya: The plan is that by Stage 3 we would be 100% virtual with little knowledge by the general public that we were operating any less effectively. We have taken the attitude that we are an essential lifeline of information to the Wyoming public during a time of crisis. So far we have not had to operate at a Stage 3 level but I feel that we could.

RW: Any other specific technical obstacles have you encountered?

Montoya: Much of what we are doing, absolutely could not be done just a few years ago. A secure VPN was important. Access to our office VLAN for sharing and exchanging information was very important. Total remote control and access to our automation system was also important. The icing on the cake was remote control of the main mixing console. Access to these systems was very important, but we needed to accomplish this in a secure fashion.

RW: What lessons can other engineers and technical managers learn from what you’ve been doing?

Montoya: Preparing for any crisis is important to station operations. I’ve heard it said by other broadcast engineers that by simply looking around your plant (including transmitter sites) and just trying to imagine what can be done to stay on the air in a variety of emergencies is the first place to start. Just by stepping back and asking yourself, “If my studio was swallowed up by an earthquake, is there any way to stay on the air?”

Sharing your ideas with other station department leaders and general manager to make sure everyone is on board with any emergency is the final element in being prepared for any emergency. You also have to realize that it is almost impossible to plan for every situation and you may just have to “MacGyver” things in some situations.  They used to call this a “can do” attitude. Most engineers are quite skilled at this.

RW: Do you think these infrastructure changes will be permanent in any way?

Montoya: I would say that almost everything done during this crisis will stay in place. There is always another crisis looming on the horizon. We may collect up all the extra laptops we have distributed to staff members, but we will hang onto them to keep ready.

We’re looking to tell your story about solving radio technical challenges during the coronavirus crisis. Email us with your story idea at radioworld@futurenet.com.

The post In Wyoming, a Game Plan for COVID-19 appeared first on Radio World.

Digital audio workstation software developer Tracktion Software has launched Waveform Free, a new version of its professional flagship DAW that is free to all music creators.

The new DAW is released with no restrictions, offering unlimited track count, the ability to add as many plug-ins as the user wants, and a sizable feature set. The new DAW is suitable for all three major desktop operation systems; Windows, OSX and Linux as well as the Raspberry Pi.

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

It is compatible with current-day expressive instruments and also supports MPE. Waveform Free includes many of Tracktion’s recent offerings and features, such as the MIDI Pattern Generator to create synchronized melodies, chord progressions, bass lines and more, the 40SC Virtual Synthesizer and Micro Drum Sampler.

The DAW is supported with a dozens of tutorial videos as well numerous templates such as EDM production; band recording and mixing; location recording for churches, schools and others; and more.

Info: www.tracktion.com

 

The post Waveform Free DAW Debuts From Tracktion appeared first on Radio World.

Radial Engineering has introduced a new device, the USB-Mobile, a digital interface and direct box for mobile devices.

Usable with typical consumer mobile devices, including smartphones, tablets, and other media players, the Mobile-USB digital interface and direct box allows users to connect a device directly using a USB cable. The result is that users can provide high-quality playback, sending two channels of balanced analog outputs over XLR connectors to feed a PA system or a set of powered speakers.

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

The unit provides a USB-A input connector and stereo XLR outputs, as well as a level control to operate the DI in mic or line level. It also auto connects to most mobile devices.

The USB-Mobile is iOS compatible, and has the added benefit of charging the devices while they are used for audio playback. The unit is priced at $299.

Info: www.radialeng.com

 

The post Radial Debuts USB-Mobile Interface/DI appeared first on Radio World.

The business of managing radio facilities is more important than ever, while technology introductions roll on, even without a physical NAB Show. In this issue we bring you stories about trends that would normally have been discussed at the show, but with readers at home in mind — even including exhibitor listings so you can learn about their new product introductions. Also: Mark Lapidus explores the crucial role of apps for radio; Roger Lanctot comments about radio’s tenuous hold on the dashboard; and of course, there’s the coronavirus.

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

RADIO FUTURE
NAB Radio Technologists Look Ahead

We asked correspondent Davide Moro to report on David Layer’s presentation at the Digital Radio Summit 2020 in Geneva, which doubles as a kind of state-of-the-industry technical report for U.S. radio.

NAB SHOW 2021
Massive LVCC Expansion Is Underway

If we had gone to Vegas in April, we’d all be ogling dramatic changes at the convention center. Here’s what we can expect when we finally go back.

HISTORY SPECIAL:

• Broadcasters Get Behind All-Digital AM Option
• Health Crisis Challenges All of Radio
• Exploring the Inovonics 674 Monitor Receiver

The post Inside the March 31st Issue of Radio World appeared first on Radio World.

Podcast Radio is the United Kingdom’s first radio station devoted exclusively to podcasts. Launched in London, it broadcasts on DAB+ digital radio, showcasing podcast content from around the world. In this issue, we look at the station’s strategy and studios. In addition, we share tips to help you transition to AoIP; provide information on a new DRM shortwave service for Siberia; reveal the latest advances in transmitter technology, and more. Read the April issue of Radio World International here!

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

DIGITAL SHORTWAVE

Russia Returns to DRM on Shortwave

Radio Purga targets Chukotka, the country’s northeasternmost region

EBU DRS 2020

Radio Is More Than Linear

EBU’s annual meeting highlighted radio’s future with a feature-rich menu of podcasts, multiplatform content

ALSO IN THIS ISSUE

• How to Transition to AoIP in Five Steps
• Buyer’s Guide: Transmitters
• Barix and Digigram Asia Announce Partnership for APAC

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

The FCC has no plans to postpone its planned auction of C-Band spectrum.

That is according to senior FCC officials speaking on background Monday (March 30) about the impact of COVID-19 on FCC processes and actions.

The C-Band is the midband spectrum currently used by satellite operators to deliver network programming to broadcasters and cable operators.

[Read: C-Band Plan Aims to Limit Broadcast Disruption]

The officials said there was still plenty of “bandwidth and time,” even given the move of the 3.5 GHz (CBRS) auction. They said it was still important to transition the C-Band to 5G use, but that, of course, if there was a compelling reason to adjust that timeline they that is still on the table.

Currently, the FCC plans to auction 280 MHz of the spectrum for advanced wireless beginning in December.

It announced earlier that it had postponed the auction of those CBRS spectrum licenses, but that had been scheduled for June, and it has only been pushed back a month.

The officials said there were no plans for blanket extensions of waivers or comment deadlines due to the coronavirus, but that the FCC would continue to respond flexibly to individual requests for more time on a case-by-case basis.

 

The post FCC: C-Band Auction Still “Go” for December appeared first on Radio World.

Paul Kaminski is a frequent Radio World contributor and president of SBE Chapter One in New York. Due to the COVID-19 pandemic, the Society of Broadcast Engineers has asked chapters to meet virtually, and Chapter One hosted a teleconference meeting on Tuesday. Radio World reached out to Kaminski to learn more.

Radio World: SBE Chapter One just conducted its first virtual meeting at the request of the SBE national office. Overall, how did it go?

Paul Kaminski: Our chapter was able to connect members across our geographic area (Southern Tier of New York). SBE board member and past-President Vinny Lopez joined us on the teleconference. I would rate it a nine out of a possible 10.

RW: Describe the logistics for those who might not be familiar. What platform did you use to host the event? How did you notify members?

Kaminski: Our chapter vice chair, Jim Pratt, arranged for a call-in number with Zoom teleconferencing. We set a time, called in and gave our member and certification numbers for the meeting roster that is transmitted to the national SBE office. An email was sent to our members in good standing; Jim posted the reminder on our Chapter One Facebook page.

RW: How was attendance compared to normal monthly meetings? Were there any changes in your agenda or structure due to the virtual nature of the event?

Kaminski: Chapter One is a small chapter; attendance was on par with most in-person meetings. Because people joined the conference at different times, Robert’s Rules of Order were somewhat modified to fit the situation.

RW: Were there any challenges, anticipated or unexpected, technical or otherwise?

Kaminski: Other than the joining at different times, no technical glitches were noted. Zoom also has the ability to record the meeting; I received a copy from Jim in my Dropbox.

RW: What feedback have you received from others in Chapter One?

Kaminski: The attendees seemed to be pleased with the result; I hope the next meeting will attract more of our members.

RW: What advice do you have for other chapters who will be doing the same soon?

Kaminski: Know that the Zoom teleconference number is not a toll free number. Get the call-in conference number and meeting code to the members quickly. Do the due diligence with Zoom before making the arrangements. Have a mechanism to share the meeting with those who could not/ didn’t attend.

Just like in-person meetings, teleconferences need to be relevant and interesting to the membership. As an example, I would reach out to the SBE board member who is responsible for the chapter and ask them to join the teleconference, if possible.

There is nothing that would stop chapter leadership/program chairs from requesting subject matter experts on relevant topics (AoIP, remote origination, transmitter care and feeding, audio/video best practices, etc.) to join, if those experts
were given enough notice.

RW: Anything else RW readers should know?

Kaminski: I realize many of our SBE members (me included) are in the age cohort that could easily be affected by the COVID-19 outbreak. We should be following the CDC guidance, and use good common sense, as we work to keep broadcast and multimedia facilities operational.

The post SBE Chapter One “Zooms” to Successful First Virtual Meeting appeared first on Radio World.

That podcasting is on the rise should come as a surprise to no one. But the Jacobs Media Tech Survey 2020 gives this trend some granularity. According to their research, more than one in four now listen to podcasts weekly, or more often.

That number is led by millennials with 43%, followed by Gen Z at 37% and Gen X with 28%. Overall, this group has grown steadily from 20% with TS2016 to 26% with TS2020.

The research goes on to say that this number is led by listeners to alternative and sports radio formats, with 41 and 38% respectively.

Listening to podcasts can be habit forming, even addicting, according to Jacobs research. They say that among those who to claim they listen to podcasts and on-demand audio more over the last year, millennials are in the lead with 48%, followed by Gen Z, 43% and Gen X with 42%.

The platform of choice for listening to podcasts is clearly smartphones, in the lead with 80% of respondents, according to Jacobs research. Trailing way behind, computers get 35%, in-car audio systems at 27%, tablets with 22% and smart speakers trail with 11%.

Despite all of these upwards trends, the research says there is still a whopping 44% who never listen to podcasts. Why is that? Jacobs research found several reasons. Among AM/FM radio listeners, the research says that 53% just aren’t interested. Thirty-two percent are more specific and say, “I’m not interested in listening to talk programs.” Nineteen percent don’t have time and 18% say that they just don’t know how to do it.

[Read: AM/FM Holds Fast in a Volatile Media Landscape]

Technical issues seemed to be the reason the research found for the 16% who said they didn’t know how to find podcasts, the 9% who said there’s not a podcast app on their phone and the remaining 7% who claimed it was a hassle. Perhaps the most surprising response the research uncovered is the 8% who said, “I don’t know what a podcast is.”

 

The post TechSurvey 2020 Looks at Podcast Growth appeared first on Radio World.

The author is vice president of engineering for Spanish Broadcasting System.

MIAMI — As one of the largest Hispanic-controlled station groups in the U.S., the Spanish Broadcasting System Inc. operates 18 Spanish-language radio stations in top U.S. Hispanic markets including Miami, Chicago, New York, Los Angeles, San Francisco and Puerto Rico, along with the AIRE Radio Network, several TV stations and two internet portals. 

In the Miami area, we operate three FM stations — WCMQ(FM)/Zeta 92.3, airing salsa, WRMA(FM)/Ritmo 95.7, airing Cubatón/Reggaeton and WXDJ(FM)/El Zol 106.7, airing Bachata and tropical music — making it a particularly hot radio market for us. 

Last fall, we moved our transmitter facilities to the top of the Panorama Tower, a new 85-story skyscraper in Miami’s trendy Brickell district. Compared to our previous Miami high-rise site, this exceptionally high perch — the tallest south of New York — is especially advantageous for over-the-air coverage.

By December 2019, we completed the construction of our new transmitter building atop the Panorama Tower, which now houses three new GatesAir Flexiva FAX-20 kW solid-state transmitters, one for each of our Miami stations. Two of these units serve as main FM radio transmitters for WCMQ and WRMA, while the third serves as a backup for WXDJ. We procured the transmitters and additional gear through SCMS, which provided outstanding customer support and service through the entire process. SMCS also brought in the experts from Klein White Engineering of Phoenix for installation services.

After evaluating the top FM radio transmitters on the market, we chose the 20 kW GatesAir Flexiva FAX20 solid-state air-cooled transmitters, primarily because their inherent PowerSmart Plus architecture enables greater energy efficiency. Over time, we expect that this energy efficient design will result in substantial energy savings that will contribute to a solid return on investment. 

Since the rooftop transmitter building is only 26 by 15 feet, choosing transmitters that would pack all the features and functionality we needed into a compact size and footprint was paramount. In fact, we chose the air-cooled Flexiva FAX model because liquid cooling was not practical given that the site does not have sufficient space to accommodate the necessary plumbing.  

With the Flexiva’s low-maintenance design, we also find it easy to perform routine maintenance on the transmitters just by opening the front panel of their cabinets. Inside the transmitter, we can replace key components, such as power supplies and amplifiers, without having to interrupt the air signal because these modules are hot-swappable. 

EXCITERS

Our GatesAir package includes Flexiva software-defined exciters, which promote the reliability and stability that 24/7 operations require. With their inherent SNMP connectivity, this Flexiva transmitter model can be closely monitored from a remote location by our technicians. In fact, the system triggers alarms and notifications whenever immediate attention is required. 

While WXDJ is already airing in HD Radio on its main transmitter, located at another site, we plan to enable HD Radio on its back-up transmitter in the near future. The other two stations, WCMQ and WRMA, will soon offer HD Radio for the first time. To facilitate this, our new GatesAir equipment package includes the Flexiva FMXi 4g HD Radio platform, which comprises companion HD Radio Importer and HD Radio Exporter software. 

Our HD Radio programming originates from our broadcast studios in Miami’s Medley district, and the signals are transported to the transmitter site nine miles away via GatesAir Intraplex IP Link 200 codecs. These IP STL codecs use our two high-performance WAN services — AT&T and Atlantic Broadband — simultaneously, which permits signal failover to a redundant path whenever necessary. That is made possible by GatesAir’s Intraplex Dynamic Stream Splicing software built into the codecs.

Once transported to the Panorama site, the program signals first pass through an Orban audio processor, which feeds them to the GatesAir HD Radio Importer/Exporter software that is downstream. At the transmitter site, our stations share a Shively broadband panel antenna. With its two-input antenna panel design, this Shively antenna can broadcast RF signals according to two different profiles, such as omnidirectional and unidirectional, simultaneously.

COMBINATION

In order for our three separate stations to share the same antenna, their respective Flexiva transmitter outputs must be delivered to the antenna via a complex workflow that performs high-level combining and bandpass filtering. WCMQ and WXDJ combine into a single RF signal that is broadcast in an omnidirectional pattern radiating from the Miami metro and Boca Raton south to Key Largo. WRMA’s signal, which combines with the other two after passing through a bandpass filter, is broadcast from the antenna’s hybrid side in a single direction, north towards Broward County. 

With the Flexiva’s compact, energy-efficient design, GatesAir enabled us to transition from our older, tube-based transmitters to this next-generation solid-state technology. And coupled with the other GatesAir RF products we’ve installed, this solution saves valuable space, streamlines routine maintenance, supports our HD Radio roadmap, and boosts overall signal quality and reliability.

For information, contact Keith Adams at GatesAir in Ohio at 1-513-459-3447 or visit www.gatesair.com.

The post User Report: SBS FM Stations See Efficiency With GatesAir appeared first on Radio World.

Orban describes its XPN-AM/HD is its state-of-the-art AM/MW/SW processor.

The company says that it uses the latest generation MX limiter and provides unparalleled processing capability.

The processor is software-driven and controlled. One instance of XPN-AM software realizes a stereo AM and stereo HD Radio/netcast audio processor.

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

Each processor consists of the following cascaded processing elements: input DC removal, stereo synthesizer, mono bass, left/right phase skew corrector, stereo enhancer, two-band defeatable AGC with window gating, ratings loop-through, equalizer/high-frequency enhancer, subharmonic synthesizer, multiband compressor, peak limiter, automatic loudness controller (HD only), transmitter equalizer (AM only) output.

The AM and HD processors split after the ratings loop through. An input/output delay allows for correlating processing delays. Processing handles 44.1, 48, 96, or 192 kHz sample rates.

Orban had planned to demo XPN-AM/HD with a Nautel NX-5 transmitter running MDCL (Modulation Dependent Carrier Level) with AMC of 6 dB at the NAB Show. In recent field tests with Nautel and TownSquare Media, Orban demonstrated that through aggressive processing with the XPN-AM, they were able to significantly reduce the transmitter’s power without impacting fringe coverage and without adding significant distortion to the signal. In one test, the NX5’s power consumption was reduced by more than 50%.

Info: www.orban.com

 

The post Orban Offers AM Processor appeared first on Radio World.

GatesAir says it is extending the proven operational benefits of its liquid-cooled UHF transmitters to VHF and DAB digital radio with the global debut of its Maxiva VLX-OP Series.

The high-efficiency, frequency-agile transmitter line covers DAB/DAB+ radio, low-band VHF (Channels 2–6) and high-band VHF (Channels 7–13). The VLX-OP Series offers the same software-defined modulations as Maxiva VAXTE air-cooled transmitters to support global analog and digital standards.

According to the company, like the Maxiva ULXTE liquid-cooled UHF transmitters, the VLX-OP Series integrates redundant, liquid-cooling pumps that efficiently move transmitter-generated heat to building exteriors. The system minimizes cooling requirements inside RF shelters, and especially reduces utility bills at medium-to-high power levels. It also offers the power density of Maxiva transmitters to reduce size and weight, and hot-swappable modular designs to streamline maintenance, according to the company.

Info: www.gatesair.com

 

The post GatesAir Rolls Out New VHF and DAB Transmitter appeared first on Radio World.

Techsurvey 2020 from Jacobs Media is out, and as usual some trends are as expected, but there are always surprises. Overall, the future looks bright for AM/FM radio.

The media pyramid shows AM/FM with 90%, surpassed only by smartphones with 92% and TV/video with 95%. The bad news is radio has dropped by 1% for the past two years. The pyramid also shows radio’s popularity almost evenly divided between men and women.

What’s the main reason for listening to AM/FM radio? At the top of the list with 69% is easiest to listen to in the car. The next most popular reasons — it’s free, DJs/hosts/shows, hear favorite songs/artists and feeling a connection with radio.

“One of radio’s primary advantages is its local feel.” Forty-five percent of Techsurvey’s respondents strongly agree with this statement, while 42% agree. Even more interesting, the percent that strongly agree and agree has risen from 77% of respondents in TS 2016 to 88% in TS 2020.

“I really feel a sense of connection to the station that sent me this survey.” Seven in 10 of those surveyed strongly agree or agree with this statement, again suggesting how important localism is. There is a slight gender difference, with 69% of men and 74% of women agreeing.

There is some very revealing information for commercial radio in the Net Promoter Scores (NPS). This number is derived by asking respondents on a scale of 1 to 10, how likely they would be to recommend the station that sent them the survey. Christian and public radio lead the NPS scores with 77% and 71% respectively, even though they are not commercial radio, and not part of this Jacobs survey. Rock is the top commercial NPS radio format, trailing with 55%. Whatever Christian and public radio are doing, commercial radio might be well advised to do more of it as well.

Finally, the survey asked about station bumper stickers. They generally fell out of favor during the 1980s, but maybe it’s time to bring them back. More than one in four say they would put their home station’s bumper sticker on their car if it were available. Of that group, most listened to rhythmic urban, 49% and rock, 47%. Clearly, some stations haven’t given up on bumper stickers, because 3% of respondents said yes, they already have one.

 

The post AM/FM Holds Fast in a Volatile Media Landscape appeared first on Radio World.

Zach Wiedenfeld of Sound Devices shows off one of the new shields.

Sound Devices manufactures portable and installed production sound and video products for professional applications. Now the Wisconsin-based company also has begun to make face shields for healthcare workers to help protect them from the COVID-19 pandemic. The company is selling them at cost to hospitals. Radio World asked co-founder Matt Anderson about it.

Radio World: What kind of gear is involved, and how did this come about?

Matt Anderson: We’re making disposable face shields to help protect the health care workers who are on the front lines taking care of patients. The design for this shield is an open source project, which can be read about here. Luckily, we’re right near the University of Wisconsin, and these are local businesses are friends; we are indebted to them for the design.

We got on board after I read about the shortage of these in the news. I came in last Monday and asked our sales folks to call some hospitals and they verified the need, so we started buying materials that day and were producing them en masse 32 hours later.

RW: Radio station engineers know Sound Devices for audio equipment. How hard is it to adjust your capital plant and workforce to produce these types of products?

Anderson: Converting our lines was not too difficult, in that our workers and the folks who run the plant are phenomenally flexible and hard working. At present the assembly of these items is all manual, and we’re able to produce about 5,000 per day. We’re working on tooling up the assembly process to dramatically increase these numbers.

One of the most difficult aspects of making high volumes of this product is procuring enough material, especially in this unique business climate. Fortunately our purchasing folks are very determined. Last week two of them were driving from store to store throughout Wisconsin buying up all of the elastic they could find. And added to this, we have longstanding relationships with the suppliers of the foam and the plastic material as these are suppliers we use every day for gaskets etc. for our audio products.

RW: How will these products be sold or distributed?

Anderson: We are selling these products direct to hospitals at our cost to make them. Hospitals can reach out to sales@sounddevices.com. We’re also now selling them on our web store at www.sounddevices.com.

RW: What else should we know?

Anderson: It’s been a humbling experience to see everyone step up and pitch in for this cause. My engineers and I worked this entire weekend each day via Zoom, from 8 a.m. until 10 p.m. on designing tooling to ramp up production. I’m happy to say that I emerged from my garage with all digits still intact and with a fully functioning “shield press.”

Though the workers at our company are normally very hard-working, they are really going to the next level — from sales, to purchasing, to production, to engineering — and absolutely no complaining, just dedication. Though this situation we’re in is terrible, it is gratifying to see how much positive human spirit can come out of such a situation.

The post Q&A: Sound Devices Now Making Face Shields for Health Care appeared first on Radio World.

The author is vice president of engineering for Riverbend Communications.

IDAHO FALLS, Idaho — One of our stations was operating with an older Harris transmitter, which was no longer supported, and it was due for replacement. We have two transmitters operating in the room, and it was so noisy you couldn’t have a conversation in there. I was interested in replacing the transmitter with something that would run quietly. I have experience with one brand of solid-state transmitter, and it is definitely not quiet. And, naturally, I expected a new transmitter to bring cost savings in terms of using less electricity, reduced air conditioning costs and not having to purchase replacement tubes. The Harris needed a tube which would cost nearly $3,000 rebuilt.

I surveyed the market for a solid-state transmitter that would check all my boxes. This meant considering liquid-cooled transmitters — a leap of faith for a guy used to working with forced-air cooled transmitters for 40 years. I knew the high-power UHF TV guys have been using liquid cooling with their high-voltage tubes for years but most of them seemed nervous. It was an attitude adjustment.

I reviewed the details for two brands of liquid-cooled transmitters, one of them the Rohde & Schwarz THR9, as well as the air-cooled transmitter I was already familiar with. I obtained price quotes for both the liquid-cooled units.

I did not pursue the air-cooled transmitter because it did not meet one of my requirements, since it exhausts all its heat into the room, it does not reduce the need for cooling. It required the same amount of air conditioning that the previous Continental tube rig needed.

The liquid-cooled transmitters have an external heat exchanger that installs outside the building, and the heat goes there. There is no need to draw in outside air or provide tons of air conditioning. I ended up selecting the R&S THR9 20 kW transmitter, based on three factors: the splendid worldwide reputation of Dr. Ulrich Rohde and his company which includes high-end test equipment and VHF TV transmitters; the favorable price quotation; and warranty coverage that provided peace of mind.

The THR9 comes with enough coolant hose to install the heat exchanger up to 60 feet from the transmitter cabinet- it can be located further if necessary. I decided to locate it just outside the front of the transmitter building, and the THR9 sits in the middle of the room. It is compact and I wanted to retain access to all four sides of the cabinet, a decision I do not regret. The old Harris remained in place as a backup transmitter. It wouldn’t have been possible to remove it anyway — it must have been installed before the walls went up.

R&S assigned a factory tech to support our installation, and he contacted me by email. He gave me a useful tip or two, but I did not find it necessary to contact them further during the install, which took me about one day after the electricians finished the AC hookup. I did read the factory manuals thoroughly before proceeding — they are translated from the German, and Google Translate was my friend.

Now that the THR9 is in operation, the transmitter room is much quieter than it was. The only sound in the room is the soft whoosh of the forced-air cooling in the grounded-grid transmitter of our other station at the site. The R&S transmitter is virtually silent. The only way to tell if it’s running or not is to read its meters. And it has no physical meters. The front panel has an LED touchscreen with metering and control, which retracts inside the cabinet when not in use. This screen is available remotely and we can view it anywhere. The transmitter has two network connections available to use.

There are two coolant pumps inside the single cabinet. If one is removed from service the remaining pump will carry the load. Similarly, the heat exchanger has two cooling fans and if one fails, the remaining fan is sufficient to carry the load. There are four power amplifier modules in the 20 kW transmitter, and if one fails, the remaining amps pick up the load and operation continues uninterrupted. Amps can be easily and quickly removed without losing a drop of coolant.

We have two years of experience with the R&S THR9 transmitter now, and I am thrilled with its performance and reliability (and silence). And when the grounded grid transmitter is replaced, it will be with another THR9.

 

For information, contact Rohde & Schwarz in Maryland at 1-410-910-7800 or visit www.rohde-schwarz.com.

The post User Report: Rohde & Schwarz THR9 Is Cool and Quiet appeared first on Radio World.

Lawo Power Core MAX is a new version of the Power Core AoIP mixing engine that can support multiple physical or virtual mixing surfaces — two, three, or even four mixing interfaces per engine, depending on mixing requirements.

Power Core has 96 available DSP channels, 80 summing busses, an internal 1,920 x 1,920 routing matrix, plus 128 dual-redundant MADI channels and 128 AES67/Ravenna channels, standard.

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

Operators can use the eight rear-channel I/O expansion slots to accommodate more analog, digital, AES67 and Dante audio signals. There’s also ST2022-7 Seamless Protection Switching for dual-redundant AoIP network connections, and ST2110-30 compliance for seamless interoperability of audio and video equipment in combined radio / TV broadcast plants.

Lawo says that these capabilities, plus the ability to connect to as many as four independent Ruby mixing surfaces, makes Power Core MAX perfect for large multi-studio projects. In addition, broadcasters with medium-size or smaller facilities can use it as an I/O gateway and mixing engine for an entire radio station.

Info: www.lawo.com

 

The post Lawo Powers Up appeared first on Radio World.

The Congress has approved and President Trump has signed a $2 trillion coronavirus relief bill aimed at offsetting the economic impact of the spread of COVID-19. In that package was an additional $75 million for the Corporation for Public Broadcasting “to maintain programming and services and preserve small and rural stations threatened by declines in nonfederal revenues.”

This support is very welcome among the many rural stations the National Federation of Community Broadcasters interacts with. Yet the reality is stations across America need much more.

How serious is it? COVID-19 is the sort of financial calamity that threatens to wipe out community media.

[Read: Community Broadcaster: To Pledge or Not to Pledge]

Many of our country’s most vital stations rely on local underwriters, community events and listeners for the means to provide news, culture and education. What happens to these stations when businesses shutter, donors lose their jobs and our towns’ traditional gathering spots are no more? And, as critically, what happens to the life of a city when a community radio station dies?

Right now, there is not simply anxiety about the coronavirus cases stations are hearing about in their respective states. The stress about local economies is quite evident. There is hope the stimulus package will boost many communities. Hope, however, is not a promise. And in a pivotal year, where illness and elections bewitch the public consciousness, noncommercial media needs that promise now more than ever.

The cynic might say people can find their news on the internet. Still others would question whether these outlets playing music and local talk shows are relevant today. Yet the truth is that radio remains crucial to the overwhelming majority of Americans. Why? If the argument about ubiquity holds, wouldn’t hundreds of millions of people just be satisfied with getting their online channels of news and music?

A few are, but more are not, because they agree with people like Free Press’ Craig Aaron. Choice, localism and democracy are dear to all of us. “People need trustworthy news and information that isn’t hidden behind a paywall and more educational resources for kids who will be home from school for the foreseeable future,” Aaron writes. “This money isn’t for ‘Downton Abbey’ reruns. It should be earmarked specifically for emergency support, education, and especially local journalism.”

What’s more, increased federal and state attention on community radio stations should come with an appreciation for its effect on a city. Stations contribute to local creative economies and spark employment. The art galleries, restaurants, bars, live music venues and public spaces that find fellow travelers in community media make towns into destinations. Like businesses, noncommercial media must stay around.

CPB is incredibly valuable in this dialog, and its standards are an important starting point. However, as necessary are concerted investments by states and federal agencies into stations around matters like emergency preparedness and core infrastructure. In addition, the attitude of institutional and regional funders must change from the strictly transactional – you do this news story, you get this money, and somesuch — and more toward longer lasting community partnerships and investments that go 10 years and longer. Finally, I echo my colleagues who believe local journalism deserves greater support. The problem with an unnuanced approach is that media organizations with significant monies such as universities, or the networks disproportionately get major journalism funding while community radio is left to fend for itself. This is why long-term investment is necessary.

The coronavirus pandemic affects everyone and this situation is not changing soon. Emergency funding is excellent. It is also the prompt for new conversations on how states and regional leaders can fund on-the-ground media where it is much needed.

 

The post Community Broadcaster: COVID-19’s Threat to Community Radio appeared first on Radio World.

Henry Engineering’s SuperLight is a logic/control interface for controlling low-voltage studio tally lights. It can directly power 12 V DC LED tally lights that draw up to 500 mA. SuperLight includes a flasher circuit, as well as a DPDT relay output that can be used for any low voltage switching, speaker muting, or other utility use.

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

It is compatible with WheatNet Blade, Axia xNode and similar network protocols. Cat-5/Cat-6 interface can control multiple units using one cable.

The LED output can supply 12 VDC at up to 500 ma; it can also “sink” up to 2 amps if used with an external power source. The LED output can be set to “flash” when on for use with on-the-air warning lights. All control, relay output, and LED output connections are via plug-in Euroblock connectors. Two RJ45 connectors are also provided for control wiring compatibility with WheatNet-IP Blade and similar installations that use Cat-5/Cat-6 wiring.

Info: www.henryeng.com

The post Henry Engineering Turns on SuperLight appeared first on Radio World.