Industry News

Colleagues are remembering Texas-based radio engineer Gary Wachter, who died in November. He was 65.

According to his friend and fellow engineer Melissa Hussel, Wachter had carcinoma cancer and died at home. He is survived by his son, Matt, of South Carolina.

Wachter was chief engineer of Service Broadcasting in the Dallas/Fort Worth area and a familiar face at SBE Chapter 67 meetings.

Hussel said Wachter, whose mother was a German citizen, was born in Waco but spent part of his childhood in Germany. He remembered hanging around the projector booth of the movie theater on a military base, fascinated by the carbon arc projectors; late in life he would find enough parts to make his own at home.

Back in the United States Wachter entered the radio business in high school and was on the air in Corpus Christi using the name Wires Wachter; he worked at KEYS(AM) and KRYS(AM) as well as the local PBS station.

Discovering he enjoyed technical work more, he took an engineering job at KTSA(AM) in San Antonio around 1976, working there until 1984 as chief engineer, a stint that included a full studio buildout and installation of a Kahn AM stereo system. Subsequently he worked as chief at KFYI(AM) and KKFR(FM) in Phoenix, where he built out studios in a former TV station.

Around 2000 he came to Dallas and started as chief at Service Broadcasting, which owns KKDA(AM/FM) and KRNB(FM) nearby. Wachter led a facility move from Grand Prairie to Arlington, Texas, that involved another studio buildout, and handled an FM antenna upgrade for KRNB.

“He was very driven,” she said. “A fellow engineer once said that his transmitter suite was ‘so clean, you could eat off the floor,’ and he wasn’t wrong. Gary had a high work ethic, and always went above and beyond.”

Colleague and longtime friend Mike Chittenden said Wachter also wrote a software program for a Gentner VRC transmitter remote control and a screener program for Telos phone systems.

Messages to his family can be posted at the website of Rolling Oaks Funeral Home.

The post Gary Wachter Dies, Engineer in Southwest U.S. appeared first on Radio World.

All those forms — long and short, pre- and post-auction — must be filed on time when applying for a new construction permit with the Federal Communications Commission.

That’s the situation a licensee finds itself in after applying for a new FM broadcast construction permit in Hugo, Colo.

ScarboroughRadio LLC took part in the July auction (known as Auction 109) and was deemed to be a winning bidder of the Hugo permit. Winning bidders were required to file a post-auction long-form application — specifically FCC Form 2100, Schedule 301. And bidders were reminded through a Public Notice that if a winning bidder fails to submit the required application before the deadline — and also fails to establish a good reason for the delay — their application will be dismissed and they will be subject to a forfeiture payment.

In Scarborough’s case, it submitted its long-form application more than two weeks past the deadline, according to the FCC. It also did not request any sort of waiver to explain the late filing.

As a result, the Media Bureau sent a notice of apparent liability for forfeiture to Scarborough after finding that the licensee violated the FCC rules by failing to file the post-auction Form 2100 application on time.

[See more of our coverage of FCC actions.]

Ordinarily, as the Media Bureau has said, a winning bidder that fails to file the required long-form application on time is deemed to be in default. That typically means that the application is dismissed and the licensee is subject to payments laid out in the commission’s rules.

But sometimes special circumstances might lead the bureau to determine that a late-filed application can still be accepted. In this case, the bureau noted that Scarborough complied with all previous Auction 109 requirements. The bureau also noted that the licensee made a late payment on the balance of its auction bid just before filing its long-form application. And it said that the FM licensing process was not significantly delayed by Scarborough’s late filing.

“We find it in the public interest to avoid a delay in implementing new service to Hugo, Colo., by having to re-auction the FM construction permit, and therefore on our own motion grant a waiver as discussed below,” the bureau said in the order it released.

However, even though the commission agreed to accept the late-filed long-form application, the bureau still found that Scarborough failed to comply with the rules and said it would grant the construction application on the premise that Scarborough will submit a $3,000 forfeiture.

The licensee has 30 days to either pay or file a written statement seeking reduction or cancellation.

Comment on this or any article. Email radioworld@futurenet.com.

The post Late Form Leads to $3,000 Forfeiture for Auction Winner appeared first on Radio World.

The author is project director for WorldDAB.

With the recent COP26 conference in Glasgow highlighting the global need to tackle climate change, a new study from Germany has showed how digital radio can help broadcasters reduce energy usage. Describing DAB+ as “green radio,” the report says on broadcasting a single service, between 70 and 90 percent of energy can be saved by switching from FM to DAB+.

The Bavarian Regulatory Authority for Commercial Broadcasting (BLM) and the Bavarian Public Broadcaster, Bayerischer Rundfunk (BR), in partnership with network operators and receiver manufacturers, compared the energy consumption of broadcasting and receiving radio programs via FM and DAB+.

In Bavaria, all services by private radio providers and BR are available via DAB+. With around 13 million inhabitants, 16 percent of Germany’s population lives in the state.

The studies showed that, with a comparable supply, the energy consumption when broadcasting a program via DAB+ is significantly lower than FM. BR would save around 75 percent per station, while Antenne Bayern would save 85 percent in energy if its audio service were broadcast exclusively via DAB+. Other providers in Germany see similar potential reductions.

Given the extensive infrastructure that radio broadcasting operates, the research found that the cumulative resulting effect is considerable.

The report also identified that significant energy savings would also be possible by replacing Germany’s 122 million FM radios. Although most new receivers are often equipped with additional functions such as displays or wi-fi, their power consumption has dropped by around 40 percent in recent years.

The findings of the report, “Green Radio: A Comparison of Energy Consumption on FM and DAB+” were featured at the recent WorldDAB Summit, which saw the publication of an English-language translation of the report.

[See our coverage WorldDAB Summit 2021]

Concentration of DAB Stations Across Germany as of January 2021 (Courtesy WorldDAB)

Speaking at the Summit to 500 delegates from around the world, Veit Olischläger, head of technology, media management and public relations at BLM, said: “As we know, climate change is a challenge for all of us. We asked what broadcasters can do — so we made an examination of the potential savings of energy consumption for transmission, FM versus DAB+, and reception.”

“Broadcasting via DAB+ saves up to 90 percent of energy,” added Olischläger. “And regardless of DAB+, the greatest energy saving effects would be achieved just by replacing older FM sets.”

In Bavaria, 42 percent of the population aged 14 and over already have at least one DAB+ receiver in their household.

Radio World invites industry-oriented commentaries and responses. Send to Radio World.

The post Digital Radio Tackles Green Challenge appeared first on Radio World.

Tournament Town has turned the page on how local broadcast television can be distributed and received by viewers.

Thanks, in part, to broadcast data network builder BitPath, the NEXTGEN TV train has rolled into Greensboro-Winston Salem. And, the market debut for NEXTGEN TV involves Nexstar Media Group, Sinclair Broadcast Group and Hearst Television.

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Until August, he was Chief Marketing Officer at Publicis-owned Epsilon. Earlier in his career, he spent some 3 years in a similar role at what is now TEGNA Marketing Solutions.

Now, he’s the CMO for a SaaS provider working with broadcast media in the digital realm.

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“As we reach the end of 2021, advertising growth is showing much faster expansion than previously anticipated, driven primarily by growth in the U.S., U.K. and China.”

That’s the highly optimistic conclusion of distinguished Global President of Business Intelligence at groupM, Brian Wieser, who recently appeared on the InFOCUS Podcast, presented by dot.FM. 

Where do television and audio advertising measure up? He’s crunched the numbers and has some intriguing conclusions. For audio industry players, the future isn’t so bright.

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NEW YORK — When it comes to radio programming executives most closely associated to superserving the African American consumer across the New York Tri-State Area, none perhaps comes close in recent memory to Skip Dillard.

For the past year, Dillard has served as VP of National and Community Partnerships for iconic Adult R&B FM WBLS and its hip-hop sibling, WQHT (Hot 97), under the ownership of Mediaco, the joint venture between Soo Kim’s Standard General and Jeff Smulyan’s Emmis Communications. For 12 years before that, Dillard was VP of Programming and Operations Manager for WBLS and Emmis-owned WLIB-AM in New York.

Now, Dillard has moved to 345 Hudson Street, and is now the Brand Manager for recently launched Rhythmic Adult Contemporary and classic hip-hop formatted WXBK-FM “94.7 The Block.”

The move solidifies the musical direction of the station, which is mass appeal and designed to attract Millennials who were raised on Ice Cube, Jay-Z, SWV, Ja Rule, 2PAC, and Aaliyah. Dillard will oversee WXBK’s full portfolio of broadcast, digital and live experience assets.

In explaining the selection of Dillard to lead “The Block,” Audacy/New York SVP/Market Manager Chris Oliviero said, “Skip knows the music, the artists, the community and this city and has a depth of knowledge and relationships that make him the premiere choice to be the building block for this new brand. His arrival solidifies our commitment to making classic hip hop and throwbacks a vibrant sound on the New York dial, and we are excited to welcome him to The Block.”

Dillard added, “I am truly grateful for the opportunity to join the Audacy team here in New York City. There’s nothing quite like the chance to build a new, fun and exciting station for the greater New York City area that will be rooted in the community. I am honored to accept the challenge.”

Dillard’s career in radio began at Hampton University’s WHOV-FM 88.1 as a student, working at the Smooth Jazz FM serving the Norfolk area. Early in his career, he worked in multiple radio markets as both a talent and programmer. Among the stations on Dillard’s resume: WPGC-FM in Washington, D.C.; WOWI-FM in Norfolk; WMXD-FM in Detroit: WBLK-FM in Buffalo; and WYLD-FM in New Orleans. He was recently reappointed to his second two-year term to serve on the FCC‘s Communications Equity and Diversity Council.

In a recent interview with AllAccess.com, Dillard was asked when and why he decided to go into radio. He replied, “I was a music junkie who’s love of radio as a child drove me to try out for my college radio station at Hampton. I failed the first audition, but someone said, ‘let’s give him one more try.’ After graduation, it seemed like every door opening for me was coming from the radio industry regardless of whatever else I tried (law enforcement, Air traffic controller, Ad agency rep, video producer, etc.).”

Also asked what frustrates him the most about the radio and the music industry, Dillard replied, “Lack of vision at times from the top and lack of investment in people. We’re also sometimes too slow to innovate.”

Now, Dillard will have the chance to innovate at a station that on October 22 dropped Country to embrace programming that would have broader appeal in the Big Apple.

Sennheiser HD 400 PRO Studio Headphones

Sennheiser has introduced its new HD 400 PRO studio reference headphones, intended for use in mixing, editing and mastering applications.

Built around a lightweight, open-back design fitted with soft velour ear pads, they are the first open studio headphones in Sennheiser’s PRO line, and offer a wide frequency response of 6 to 38,000 Hz.

The Sennheiser-developed 120-ohm transducers include a diaphragm made from a proprietary polymer blend; working with the headphones’ driver magnets, according to Sennheiser, the diaphragm is expected to provide deeper bass. Distortion is below 0.05% (measured at 1 kHz, 90 dB SPL), and the headphones are said to accurately reproduces audio beyond the audible frequency range.

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

The headphone transducers sit at a slight angle, aiming to emulate the triangular listening position used when listening to monitor loudspeakers in a studio. This, along with the open-back design of the headphones is intended to provide a neutral soundstage.

The headphones are built around an ultra-light frame; the earcups feature soft velour earpads and the open, circumaural design offers ventilation for ears during long mixing sessions. The headphones come with a 3-meter coiled cable and a 1.8-meter straight cable, both fitted with a 3.5 mm (1/8″) jack plug for portable sources. A 6.3 mm (1/4″) adapter is included, ensuring that the HD 400 PRO connects to a typical mixing desk or audio interface.

The HD 400 PRO is available now and retails at US $249 (MSRP).

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

The post Sennheiser HD 400 PRO Studio Headphones Debut appeared first on Radio World.

A comparison of Tip-Ring-Sleeve and Tip-Ring-Ring-Sleeve plugs.

Consultant Frank Hertel of Newman-Kees RF Measurement needed to create a special audio interface recently.

He said he was not aware of a protocol for wiring Tip-Ring-Ring-Sleeve connectors, which are prevalent on laptop computers with only one audio jack.

The first image shows the difference between the typical Tip-Ring-Sleeve, with which most readers are familiar, and Tip-Ring-Ring-Sleeve connectors.

What surprised Frank was that the positive voltage for powering the electret mic is on the Sleeve of the Tip-Ring-Sleeve-Sleeve connector, and the Shield/Common/Ground connection for the electret mic and left and right outputs for the headphones are on one of the Ring connections, the one closest to the Sleeve (which, remember, is the positive voltage for powering the electret mic).

Therefore, if you want to connect any audio source other than the electret mic, you will need to add a DC blocking capacitor between the Sleeve and the hot phase wire of your external audio source (since that source does not require a DC voltage).

The hot signal wire from that source connects to the Sleeve of the Tip-Ring-Ring-Sleeve connector, through the blocking capacitor.

Frank said with a laugh that the protocol seems so foreign to the common one we used for years, in which the Sleeve is the connection for the Shield/Common/Ground. He suspects someone had a hangover when they decided to come up with this one.

He adds this note: When connecting an external audio source via the DC blocking capacitor, you may need to attach a resistor between the Sleeve (input) and the Ring (Shield/Common/Ground). If some current doesn’t flow between these connections, the computer’s input may not be activated. If you find that a resistor is required, a 2.2 K-ohm should do the job.

Computers vary. The best approach may be to add a 10 MFD DC blocking capacitor in series with the high lead of the external audio device, as well as the 2.2 K-ohm resistor connected across the Sleeve and the Ring terminals.

What is your experience? Email your thoughts to johnpbisset@gmail.com.

Stop the sound of silence

Contract and projects engineer Dan Slentz enjoys sharing clever, inexpensive ways of doing things.

He told us about a freeware silence sensor from Pira.cz. The software monitors the presence of an audio signal on a stereo program line or PC soundcard. When no signal is present for a specified time, pre-defined solutions activate.

This is useful for monitoring an STL feed or hard-drive playout system where continuous audio is required. If the audio drops below your chosen threshold, the Pira.cz Silence Detector will switch to a backup and notify you with an email alert.

Next, with COVID easing, you may see guests returning to your studios. If so, you know the importance of a “cough switch” on each microphone.

Dan found a compact, reasonably priced aluminum box that permits the user to toggle the mic on and off, so the box has dual usage — for the “Voice of God” in a stage manager’s TV studio setting, or a momentary mute cough switch for individual mics in an interview studio. Built for the pro audio industry, it is from AudioMan Products. At audiomanproducts.com, scroll down to “Push to Talk Ver. 2.”

Dan says the muting of the mic is quiet — no pops or clicks when the mute button is depressed. Plus, construction is solid, and it’s built with Neutrik XLR connectors.

The AudioMan Push to Talk Ver. 2 will work with dynamic or phantom-powered condenser microphones wired with balanced three-pin connectors. I’ve saved the best part for last: Push to Talk Ver. 2 is just $59, and quantity discounts are available.

An ideal addition to any talk/interview studio.

What’s the frequency, Workbench?

Finally, Tektronix is offering a free download of its colorful Worldwide Spectrum Allocations poster. We thank Brad Ohdner of Tektronix for sharing this resource with Workbench readers.

You can download this Tektronix Frequency Allocations Chart.

John Bisset, CPBE, has more than 50 years of broadcast experience and is in his 31st year at the Radio World Workbench. He handles western U.S. radio sales for the Telos Alliance and is a past recipient of the SBE’s Educator of the Year Award.

Workbench submissions are encouraged and qualify for SBE recertification credit. Email johnpbisset@gmail.com.

The post T-R-R-S: A new computer wiring protocol? appeared first on Radio World.

A new IPAWS planning toolkit has been made available for alerting authorities and broadcasters interested in learning more about the Integrated Public Alert and Warning System.

Using the program planning toolkit, alerting agencies can create a customized plan tailored to their agency’s operational capabilities. The kit contains step-by-step directions for creating an alerting program plan and offers customized resources, best practices and program templates to aid federal, state, local, tribal and territorial groups as they’re developing their individual alerting programs.

[Read more from us about IPAWS]

The toolkit was developed by the Department of Homeland Security Science & Technology Directorate, working with the Federal Emergency Management Agency’s IPAWS system.

“Getting information to the public in a timely manner saves lives,” the IPAWS staff wrote in an email introducing the new application.

“The new toolkit will assist public safety agencies in developing comprehensive alerting plans that minimize alerting delay challenges; plan for future alerts, warnings, and notifications enhancements; facilitate interoperability across different technologies; and improve information sharing among emergency management and public safety officials.”

The post New Emergency Alerting Toolkit Introduced for IPAWS appeared first on Radio World.