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Radio World

Special Report: WJEH Goes DARC for Remote Control of AoIP

Radio World
3 years 10 months ago
Arrakis Systems DARC

The author is president, Summit Technology Group. This story is from the Buyer’s Guide section on consoles, routers and mixers.

When deciding to modernize, WJEH(FM) owner Tom Susman found himself faced with a litany of powerful and versatile AoIP options.

The Charleston, W.Va.-based broadcaster considered the workflows in place, and the mix of satellite and local programming aired on the station, before deciding upon the Arrakis DARC Surface.

Summit Technology Group was contracted to, among other projects, install the DARC Surface in late May. The setup includes various presets, all recalled with a touchscreen gesture to allow board operators to easily switch between satellite and live assist as well as configure the console for local baseball remotes.

[Read more Radio World articles about audio consoles and mixers]

“The ability to control levels and call a preset remotely makes the DARC Surface an invaluable tool for broadcasters with unattended studios,” said Dan Hills, senior broadcast and RF engineer for Summit Technology Group.

“Not only is this good for a remote air staff, but it makes supporting the product a trivial task.”

While the initial installation of the DARC Surface at WJEH has solved many workflow challenges, Susman is not done improving the station. Much of the studio gear, including the DARC Surface and automation equipment, will be replicated at the transmitter site for the sake of redundancy.

Hills also notes that the various customization features make installation of the DARC Surface intuitive and helps to save on implementation costs.

Info: Ben Palmer at Arrakis Systems at 1-970-461-0730 or visit www.arrakis-systems.com.

 

The post Special Report: WJEH Goes DARC for Remote Control of AoIP appeared first on Radio World.

Paul Stewart

NABLF Broadcast Leadership Program Deadline Approaches

Radio World
3 years 10 months ago

If you are interested in the National Association of Broadcasters Leadership Foundation 2022 Broadcast Leadership Training Program, you better get moving.

The NABLF has announced that it is accepting applications until Aug. 2.

The NABLF says the “BLT program is designed to prepare senior-level broadcasters to advance into ownership or executive positions.”

It adds, “Broadcast professionals from all areas of the industry, including general managers, experienced sales managers and seasoned department heads, as well as regional and corporate executives, are encouraged to apply. Fellowship opportunities are available for women and people of color.”

The program will see its first weekend session Sept. 17–19. Sessions will be held in Washington on a once-in-a-month basis until June 2022.

 

The post NABLF Broadcast Leadership Program Deadline Approaches appeared first on Radio World.

RW Staff

User Report: Logitek Brings Compact AoIP to Alaska Broadcaster

Radio World
3 years 10 months ago
A Logitek mixIT console at Frontier Media’s Texarkana facility.

The author is group engineering and IT manager, Frontier Media.

Frontier Media operates radio centers in Alaska and Texas, and we’ve had quite a bit of experience with Logitek equipment over the years.

Our move into AoIP operation began when our Texarkana radio center had a lightning strike that took out basically everything in that studio and we needed brand new everything. With that rebuild, we selected Logitek JetStream Minis and Pilot consoles.

After seeing the advantages and possibilities of what that system can do, it had always been in the back of our minds to transition our Juneau stations to a similar setup one day.

[Read more Radio World articles about audio consoles and mixers]

That “day” arrived in late 2020 when we bought our first Jet67 and mixIT-12 for a new studio we were building out for a brand-new station in the Juneau center.

We completed that installation in January 2021. A couple months later we began working on a renovation of our Juneau newsroom.

Since we’d already gotten one Jet67-mixIT combination, we figured we’d keep building out our AoIP system and get another set for the newsroom. This was also the first studio I’d personally built out from the ground up. The installation of the mixIT and Jet67 in that studio was completed over one weekend in April 2021.

One Cable
Both installations in Juneau went smoothly, with everything working as I had anticipated. I have experience with the JetStream Server programs, which are also used to configure the Jet67 and mixIT, so I had no major hiccups or obstacles.

Cable management is minimal in these installations because you only have to run one single Ethernet cable to the mixIT, which means you’ve only got one cable coming out of the table and connecting to your console, whereas with traditional consoles you might have dozens of cables coming out of your console that can be a hassle to tie all together and make it not look like a rat’s nest.

With a little planning I was able to mount the Jet67 right next to the punchdown block with all its audio sources.

The mixIT packs a punch for its size. We’ve got mixers that are about the same size that don’t do half as much as the mixIT. We’ve also got mixers that can rival what the mixIT can do but they’re a lot bigger, and I imagine cost a good deal more.

Getting up to 16 total analog/mic inputs, up to 16 analog outputs, plus two digital ins and outs, and four total output busses (Program/A1/A2/A3), for the price you’re paying is impressive. Even if you’re not yet tapping into the AoIP networking potential, for the number of inputs and output busses you’re getting solid value for what you’re paying.

On the control surface, all the fader sources are clearly labeled so users know what is where, and it’s easy to switch sources with a couple taps on the touch screen display. Which to me is another advantage of the mixIT; for all the possibilities it offers and how complex you can make it, you can also set it up to be simple from a usability standpoint.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

Info: John Davis at Logitek Electronic Systems in Texas at 1-713-664-4470 or visit https://logitekaudio.com.

 

The post User Report: Logitek Brings Compact AoIP to Alaska Broadcaster appeared first on Radio World.

Ryan Houlihan

iHeart Adds “Request a Song” Feature in Alexa

Radio World
3 years 10 months ago

iHeartRadio introduced a voice-enabled “Request a Song” feature for Alexa.

Highlighting a partnership with Amazon, it says the feature lets listeners “communicate with their favorite DJs by requesting and dedicating songs live on the radio.”

On an Alexa-enabled device, the listener can speak to request and dedicate songs; Alexa will send the request to the station, where radio DJs can act on it.

[Read: For Radio, Audio Is the “New Now”]

The company says the feature is enabled by updates to Alexa’s voice AI. It says it is working on more interactive features including Q&As with DJs and show hosts, voice-driven polls and contests.

The feature was introduced first on stations in South Carolina, Arizona, Texas and Florida, with more planned.



The company posted a video with Chief Product Officer Chris Williams explaining the new skill, see it above. He calls the feature “a direct line to allow our audience to talk back, to share their thoughts and help influence what you hear on the radio.”

 

The post iHeart Adds “Request a Song” Feature in Alexa appeared first on Radio World.

RW Staff

Local Radio Ad Revenue to “Rebound Somewhat”

Radio World
3 years 10 months ago

Local ad revenue in the United States is picking up and radio is participating in the trend, according to new data from BIA Advisory Services.

The research company said it has revised its 2021 forecasts for total U.S. local advertising revenues across media and business verticals to $142.4 billion, up $4.8 billion or 3.9% from its November estimates.

[Read: Brands that Cracked the Advertising Code in 2021]

“The projection is split between traditional and digital media but shows that the divide is narrowing, with traditional advertising only 8% ahead of digital mediums that include mobile, online, over-the-top, email and traditional media’s online ventures,” it stated.

The company quoted its SVP and Chief Economist Mark Fratrik saying, “There’s an acceleration in the market that couldn’t be accounted for last fall. The economy is growing and we’re observing money being spent to reach audiences through various media.”

For radio specifically, it said local advertising “will rebound somewhat to $11.7 billion in 2021 and $12.3 billion in 2022.” Of those numbers, digital platforms will contribute $940 million and $1.04 billion respectively.

OTT will grow 16% this year, “surpassing the trajectory of mobile as more consumers take advantage of various streaming services on their TV screens.”

Local TV advertising will decline to $16.2 billion in 2021 “but bounce up to $19.3 billion in 2022,” with $1.5 billion and $1.7 billion respectively coming from digital platforms.

“The revised forecast also sees a 5.6% increase in overall compound annual growth in U.S. spending in local ad markets and expects the amount to reach $157.1 billion in 2022 and $162.1 billion in 2023, while the digital media share will first leapfrog to 51% over traditional media by 2023,” BIA reported.

 

The post Local Radio Ad Revenue to “Rebound Somewhat” appeared first on Radio World.

RW Staff

AoIP Supports New Work Habits

Radio World
3 years 10 months ago
Gustavo Robles

This is one in a series of comments from the ebook “The Real World of AoIP.” We asked several manufacturers to identify the most important technical development or trend in the use of AoIP.

The use of AoIP simplifies workflows and can support future upgrades, says AEQ Sales Manager Gustavo Robles, who expects the trend will continue.

“Based on AEQ’s experience with more than 40 years in the market and one of the most  extensive catalogue of AoIP solutions, and in view of the projects we have done in the past year as well as the point of view of our clients, we believe that the next step in AoIP technology will be the integration and standardization of control protocols, equipment, signals and clocks, both in audio projects and in audio and video applications,” he said.

He noted the adoption of standards like SMPTE 2110 and SMPTE 2022, on which AEQ is working and offering in new products such as the Atrium console and audio router X_core.

“In many cases, broadcast companies have both radio and television facilities,” he continued. “Being able to use common — or at least compatible — AoIP solutions greatly simplifies workflows and improves the possibility of growth or upgrades to their studios in the future.”

The global health crisis of the past year and a half will have a permanent impact. “It’s important to note that the migration of standard radio clients to VoIP has been very significant … coinciding with the terrible COVID-19 pandemic,” he said.

“End users have finally seen the great potential of AES67 technology, helping greatly in the ‘work at home mode’ mandatory at most program production centers in the world.

“New work habits that IP technology has made possible have come to stay and will establish themselves as a new industry standard.”

Read more opinions about trends in AoIP.

The post AoIP Supports New Work Habits appeared first on Radio World.

Paul McLane

Calrec Has the Vibez in South Africa

Radio World
3 years 10 months ago
The Calrec Type R in use at Vibez.Live.

I’m the co-founder and a host of Vibez.Live in South Africa, an internet radio station that my fiancé Valerie Jacobs and I launched on April 1, 2019. We had many years of experience of commercial radio broadcasting in South Africa; but as internet penetration continues to grow across Africa we saw a new opportunity.

As a retro station, we broadcast music from the ’60s, ’70s, ’80s and ’90s. But we don’t do that exclusively, and we have experimented a lot since we started. For example, recent months have seen us do something unique in South Africa by hosting a weekly “Trance Vibez” show in conjunction with Denon DJ SA and Midi Music.

Having used a variety of older equipment over the first 18 months of our existence, including an analog desk, we knew that we needed to upgrade to keep expanding and to benefit from enhanced capabilities.

We turned to Wild & Marr, Calrec’s partner in South Africa. We spoke with them in detail about Calrec’s AoIP-based Type R for Radio system. We were impressed and ordered and installed — with Wild & Marr’s expert guidance — a six-fader Type R with dual layer functionality, which gives us an extra six faders at the touch of a button.

We also added a Type R large soft panel with the feature sets preloaded for more control.

While the Type R core has enough I/O for our current needs, we also purchased a Type R analog I/O box that provides an additional 16 mic/line inputs and six GPIO interfaces. Being able to add more surfaces on the same core was cost-effective for us.

In terms of other equipment, we use two pairs of Shure SRH840 headphones, two Shure SM7B microphones and On-Stage’s versatile microphone boom arms.

[Read more Radio World articles about audio consoles and mixers]

Moving into the digital realm has been great. Microphone levels and music levels are now easily managed and compressed, which previously was virtually impossible. And then there’s the sound quality, with our listeners experiencing a far more crisp, clear and fuller sound. On our first broadcast with this technology, we were impressed with the positive comments from listeners about the improvement.

Although it may appear daunting at first, the Calrec Type R is probably one of the most user-friendly digital broadcast desks I’ve worked on. It has a simple layout, supersmooth faders and crystal-clear touchscreen display. The sleek, compact, no-fuss design fits perfectly into our studio environment, taking up less space while still doing the job that other much bigger desks do. For broadcasters where studio or desk space is limited, the Calrec Type R with its Ethernet connection does away with the old spaghetti junction of cables found in conventional studios. That’s also a major benefit regardless of size.

We are very happy with this solution; it takes us to the leading edge of radio broadcasting.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

Info: In U.S., Chris Fichera at Calrec/Group One at 1-310-927-7788; international, Anthony Harrison at Calrec at +44-7832-487565; or visit www.calrec.com.

 

The post Calrec Has the Vibez in South Africa appeared first on Radio World.

John Badenhorst

Inside the July 21, 2021 Issue of Radio World

Radio World
3 years 10 months ago

Mike Erickson on how to pick a broadcast processor. John Bisset on preventive maintenance, counterfeit circuit breakers and acoustic wall treatments.

Ron Schacht on why his AM station’s FM translator might be a net minus. Also, Paul Shulins on the services being offered by his new company.

And product news from SurferNetwork, Tieline, PromoSuite and WideOrbit.

Read the issue.

The post Inside the July 21, 2021 Issue of Radio World appeared first on Radio World.

Paul McLane

State EAS Plan Deadlines Announced

Radio World
3 years 10 months ago

State emergency communications committees pay attention.

The FCC’s the Public Safety and Homeland Security Bureau has announced that July 5, 2022, is the one-year deadline for filing State EAS Plans via the ARS online filing system, and the deadline for compliance with both the State EAS Plan content rules (Section 11.21(a)(1)-(7)) and EAS designations (Section 11.18).

[Read: Emergency Alert Changes Pass FCC]

The agency adds, “The ARS is an online filing system adopted in 2018 to modernize State EAS Plan submissions, and provide uniformity across State EAS Plans, in terms of both format and terminology, while affording sufficient flexibility to accommodate each SECC’s unique needs.”

 

The post State EAS Plan Deadlines Announced appeared first on Radio World.

RW Staff

FCC Taps Florida Station on the Shoulder

Radio World
3 years 10 months ago

A Florida radio station has received a notice of violation from the FCC’s Enforcement Bureau for alleged spurious emissions on frequencies beyond the FM band.

The FCC said agents from its Miami office inspected WQTL(FM) in Tallahassee, which is owned by Adams Radio of Tallahassee.

The rules state that any emission on a frequency removed from a station’s carrier by more than 600 kHz must be attenuated at least 43 + 10 Log10 (Power, in watts) dB below the level of the unmodulated carrier, or 80 dB, whichever is the lesser attenuation.

[Read: FCC Nixes $1,500 Liability Against FM Translator]

The FCC noted that WQTL’s effective radiated power is 2250 Watts, so emissions on a frequency removed from carrier by more than 600 kHz must be attenuated by at least 76.52 dB.

The agents found that WQTL’s fundamental frequency, 106.1 MHz, had a signal level of –24.35 dBm. The Enforcement Bureau’s agents said they conducted measurements on spurious emissions from WQTL’s transmitter on two frequencies. Emissions on 121.249 MHz had a signal level of –54.89 dBm, and emissions on 136.41 MHz had a level of –75.50 dBm.

“The spurious emissions identified … have signal levels in excess of the limit for such emissions determined pursuant to Section 73.317(d) of the commission’s rules,” the bureau wrote.

The commission did not say what prompted this inspection. It has asked the station for additional information concerning the finding and any remedial actions taken. It has 20 days to reply.

 

The post FCC Taps Florida Station on the Shoulder appeared first on Radio World.

Paul McLane

Freinwald to Resign Washington SECC’s Chair

Radio World
3 years 10 months ago
Clay Freinwald, left, and Kenny Gibson are shown on-site during a transmitter installation job at KQWS(FM) in Omak, Wash.

In September, Clay Freinwald will step down from his role as chair of the State Emergency Communications Committee in Washington state.

He has held that volunteer position longer than the Emergency Alert System has existed. Indeed, in 1996, when Freinwald was asked — by Entercom engineer John Price and the late Jimmy Hocutt of the state’s Emergency Management Division — to chair the SECC, the task at hand was to help write the state EAS plan, because the FCC was phasing out the Emergency Broadcasting System.

Several of the people who joined the committee at that time are still on it 25 years later, including current Vice Chair Ted Buehner.

[Read: Washington State EAS Is Evolving]

Freinwald continues to work part-time at Northwest Public Broadcasting as a telecommunications engineer, where he recently was involved with a transmitter installation at KQWS(FM) in Omak, Wash. He also provides site services for four American Tower sites around Seattle; he does contract work for KIRO(FM) and KING(FM); and he helps out at Bustos Media station KMIA(AM) in his hometown of Auburn, Wash.

He wants to spend more time on those activities as well as life at home; but said he’ll be available to work in other SECC roles if needed. “I would like to continue to deal with monitoring assignments, as this is part of our new plan,” he told Radio World.

Freinwald, who for a decade also chaired the EAS committee of the national Society of Broadcast Engineers, received Radio World’s “Excellence in Engineering” Award in 2007, and he was honored by the National Association of Broadcasters in 2018 with its Service to Broadcast Engineering Achievement Award. He’s also the rare engineer to receive a “Broadcaster of the Year” award from a state association; the Washington State Association of Broadcasters bestowed that honor in 1997.

New Plans in Place

In September the Washington SECC will roll out WA-PAWS, for Washington Public Alert and Warning Systems, incorporating updates as well as items required by the FCC for the EAS plan.

That’s timely, given that Congress and the commission are pressing states and their SECCs for a more organized and structured approach to alert management. But it seems Washington is one state that doesn’t need prompting.

Among the nation’s SECCs, the one in Washington has been among the most visible. When the commission asks for public input on an alerting issue, the Washington SECC usually is among those who reply. When the FCC began work on its Alert Reporting System, the state committee helped out with the beta testing.

Freinwald told me the group has historically tried to go beyond EAS by embracing all forms of public alert and warning. “Yes, Washington State’s program is different. We do what we feel should be done for the citizens here and are not limited by the FCC’s rules.”

He recalls being asked by the commission to send a copy of their state EAS plan, so he took a picture of its two large binders and asked if the commission really wanted copies of all of that information. (“We knew that one day we would want to change the title on the front of that binder.”)

[Read: Freinwald: Blue Alerts Offer No Tangible Improvements]

What might other states learn from the Washington experience?

“In many ways, our states are like ships passing in the night,” he said. “We all can, and should, be learning from each other. Washington has, perhaps, done a better job than some. Our goal to constantly improve is at the core of that.

“One of the biggest problems has been a lack of federal leadership and guidance,” he continued. “Some of this is based on the fear and/or respect for states’ rights, perhaps. The FCC recognizes this in that when states and territories submit their ‘plans,’ they get over 50 different approaches. The ARS will certainly help with this problem by providing some structure that has been lacking.”

But he noted that some states don’t even have a functioning SECC. “The fact that there is not a requirement to have one has not helped,” he said. “Clearly Congress was not happy with the situation in Hawaii, and this has started the ball rolling.”

He feels that the commission now is taking steps in the right direction that that it could do more. And he emphasizes that in Washington, EAS is a team effort.

“We work with a number of private and government entities. Communications is vital. We have email remailers for everyone in the state as well as one for the SECC members, and we do a lot of outreach and training.

“We have been blessed, and I am very proud of what we have been able to accomplish,” he said. “This is not to say that we are perfect; we are far from it, and have a lot of work to do going forward. There is always room for improvement.”

 

The post Freinwald to Resign Washington SECC’s Chair appeared first on Radio World.

Paul McLane

User Report: Nova Entertainment Rebuilds Anew in Sydney

Radio World
3 years 10 months ago
John Pearce and Lawo Ruby consoles at Nova Entertainment.

The author is senior solutions architect at Nova Entertainment.

When the 2000-vintage Klotz audio systems at Nova Entertainment Australia came up for replacement, the Technology & Content teams joined forces to design and deliver new spaces that more effectively captured, distributed and monetized content for multiple platforms.

Nova Entertainment operates stations in all major Australian capital cities. Because the Sydney site was the oldest and busiest, it was chosen first. The former system’s configurations were rigid by today’s standards and custom-designed only for live broadcast radio content. Due to capabilities, some studios went days without use, while others worked round the clock.

[Read more Radio World articles about audio consoles and mixers]

In recent years, content like podcasts have emerged as a major contributor to ongoing success as well as the now-inseparable video integration. Inspiration was therefore taken from numerous international TV studios as well as radio. Jago Design in the U.K. was engaged to help develop the initial concepts.

The technical design went out to tender a few years ago and a robust evaluation process followed.

In the end, the technology chosen was Lawo Ruby consoles and Power Core IP audio I/O and DSP nodes, Arista switches, Lawo VisTool and VSM, Riedel’s MediorNet video router, the Riedel Artist comms system, Philips Commercial Displays, Scala digital signage players, IHSE KVM extenders and routers, DMX lighting fixtures, and Panasonic PTZ cameras.

The Lawo ecosystem was chosen for its suite of relevant products under the one roof. As well as that, the Power Core, the building block of the system, was at an exciting point in its development and unrivalled for density and customization.

To maximize studio utilization and flexibility, each new space is designed as a blank canvas. Functionality is defined by settings saved in user snapshots, accessible by swiping an RFID building access card. Different scenarios are recalled in seconds. Control for audio, video, signage, lighting, KVM and more is through a single Lawo VisTool touch interface. When not in use, all settings are cleared and studios are turned off. When automated or network content is playing out, studios are bypassed.

System control is shared between Lawo’s VisTool, VSM and Line Scheduler systems. Studio touchscreen interfaces and user snapshot database management are handled by VisTool. VSM glues the discrete components of the system together, and Line Scheduler performs clever tricks to stitch studios together, as well as managing resources like codecs and interstate audio and video tielines.

The power of the integration between VisTool and VSM is put to good use, cross points controlled by VSM are visible to VisTool and able to be stored in user snapshots. This allows user snapshots to store settings for systems well outside its normal scope.

Now that Sydney is complete, the focus has shifted to other sites in the NOVA Entertainment network. Once rolled out further, the technology will connect sites together like never before with audio, video, intercom and control. An approach of “Any station, Any show, Anywhere” will allow any studio to go on-air to any brand nationally.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

Info: Jochen Richter in the U.S. at 1-888-810-4468 or for international queries +49-7222-1002-0 or visit www.lawo.com.

 

The post User Report: Nova Entertainment Rebuilds Anew in Sydney appeared first on Radio World.

John Pearce

FCC Wants Better Feedback About WEA

Radio World
3 years 10 months ago

The Federal Communications Commission wants to get a better sense of how effective the delivery of Wireless Emergency Alerts are.

So it has announced a new program of partnerships with 11 other government agencies. For the first time, it will survey these federal, state and local government partners about the delivery of WEA during the upcoming nationwide test on Aug. 11.

The FCC also has sent letters to wireless providers asking them to provide information on their performance after the test.

[Read: National EAS Test Will Focus on Broadcast Chain]

Acting Chairwoman Jessica Rosenworcel made the announcement.

“While the FCC has long required Emergency Alert System participants to report how nationwide EAS tests fared on their television and radio systems, this is the first time we will gather meaningful data about the performance of a nationwide Wireless Emergency Alert test,” Rosenworcel said in the announcement.

FEMA, in coordination with the FCC, will conduct the nationwide test of the Emergency Alert System and Wireless Emergency Alerts at 2:20 p.m. Eastern time on Wednesday, Aug. 11.

For the WEA portion, a test message will be directed only to consumer cellphones where the subscriber has opted in to receive test messages.

Participating in the survey will be FEMA, the National Weather Service, the Alabama Emergency Management Agency, Harris County (Texas) Office of Homeland Security & Emergency Management, City of Los Angeles Emergency Management Department, New York City Emergency Management, Mendocino County (Calif.) Office of Emergency Services, Ohio Emergency Management Agency, Oklahoma Department of Emergency Management and Homeland Security, City of Philadelphia Office of Emergency Management, and the Utah Department of Public Safety.

 

The post FCC Wants Better Feedback About WEA appeared first on Radio World.

RW Staff

$983,000 Grant to Help Public Media Stations

Radio World
3 years 10 months ago

An Indiana public radio news station will be doubling down its efforts to reach even more listeners thanks to a grant from the Corporation for Public Broadcasting (CPB).

The $983,000 grant to Indianapolis-based WFYI will allow its radio and TV stations to continue leading the America Amplified 2.0 public media program that is designed to meaningfully address local news and information needs through solid journalism practices. The initiative builds on the success of the first America Amplified, a CPB-supported partnership with public media outlets across the country.

[Read: CPB Announces Federal Grant Amounts]

Launched in 2019 to help strengthen public media’s ability to better incorporate community and citizen perspectives into the nation’s election coverage, the partnership also helped shape public media coverage of the coronavirus. One such venture under the previous grant was the establishment of weekly call-in radio shows co-hosted by public radio stations in different parts of the U.S.

With this current round of funding, WFYI plans to establish a team that will develop community engagement journalism practices at 20 public media stations around the country, with a particular focus on those parts of the nation that are often underserved by media.

“At WFYI, we believe engagement is the key to expanding audiences and deepening impact through all our public media platforms,” said WFYI President and CEO Greg Petrowich. “We’re pleased to have this opportunity to work with our colleagues at other stations to strengthen the role public media plays in their communities and learn from our shared experiences.”

[Read: Metropolitan Indianapolis Public Media to Take Reins of Purdue Station]

As part of the 18-month grant, a four-person team hosted by WFYI will develop and implement community engagement journalism strategies alongside participating public media stations. According to WFYI, stations will be grouped in peer learning groups based on their shared interests. Subgrants will be distributed directly to those stations to fund their engagement initiatives.

“America Amplified demonstrated that community engagement is vital to public media journalism and a key to the trust that people place in their local public media stations,” said Kathy Merritt, CPB senior vice president, journalism, radio and community service grant services. “CPB is proud to support this initiative, which will extend engaged journalism across the system, enable stations to be more responsive to their audiences and foster public trust.”

 

The post $983,000 Grant to Help Public Media Stations appeared first on Radio World.

Susan Ashworth

JVC Pro Video Offers New PTZ Camera Line

Radio World
3 years 10 months ago
JVC 4K KY-PZ400NW/NB PTZ Camera

The radio station with a static video need, JVC Professional Video has announced a new line of PTZ remote operated cameras — 4K KY-PZ400NW/NB (pictured) and HD KY-PZ200NW/NB, for late summer/fall delivery.

Both cameras provide optimal streaming image quality and performance for remote production over the internet according to JVC. They are equipped with NDI|HX and SRT streaming, H.265/H.264/MJPEG encoding and VITC (vertical interval timecode) multicamera synchronization technologies.

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

JVC Professional Video Vice President Joe D’Amico said, “This new camera line marks many firsts for us at JVC, including our first PTZ camera to feature 4K streaming as well as our first PTZ with NDI|HX and SRT.” He explained, “(T)he JVC PTZ cameras now offer a high-quality, low-latency IP video transmission standard that is ideal for streaming in an ever-evolving media landscape.”

A third new camera, HD KY-PZ200W/B, provides a more affordable option for those without the need for NDI|HX.

The KY-PZ400N is equipped with a 4K 1/2.5-inch progressive scanning CMOS image sensor, has a wide angle of view (approx. 26.4mm @35mm equivalence), 0.5 Lux of minimum illumination and 16x digital zoom. The KY-PZ200N and KY-PZ200 feature an HD 1/2.8-inch progressive CMOS image sensor, as well as 20x optical zoom reaching out to 606.9mm @35mm equivalence. All three cameras have HDMI and 3G-SDI, RJ45 with PoE, RS232 and RS485 interfaces standard.

The three cameras also offer cameras include SRT, HTTP, RTSP, RTMP/RTMPS and standard protocols along with Network Time Protocol. NTP allows for multicamera synchronization for live event production — for the mixing and streaming of concerts, shows, sports and other live productions where image synchronization is crucial.

All three cameras are available in black or white exteriors to best match the studio color scheme. They are compatible with JVC’s RM-LP100 remote camera controller, JVC’s KM-IP6000/4000 live IP production suites and a variety of other options from vMix, OBS Studio and NewTek

Prices: KY-PZ400N — $2,599 (MSRP); KY-PZ200N — $2,099 (MSRP); and KY-PZ200 — $1,899 (MSRP).

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

Info: http://pro.jvc.com

 

The post JVC Pro Video Offers New PTZ Camera Line appeared first on Radio World.

RW Staff

User Report: Wheatstone Tools Facilitate Streamlining

Radio World
3 years 10 months ago
Wheatstone’s ScreenBuilder application allowed Great Eastern Radio to create this customized virtual mixing GUI.

The author is chief technology officer, Great Eastern Radio.

What a difference a year makes.

Before COVID-19, the ideal console was one that could fit every conceivable studio permutation from here to the next decade. In fact, that’s what we got when we purchased the Wheatstone D75 consoles and TDM router system for Great Eastern Radio’s regional studios in West Lebanon, N.H.

That worked until last March, when we sent our staff home and discovered that we didn’t need all the studio space we thought we did. We decided to rent out half of our three-story facility to a bank and consolidate studios for eight stations into a little over a floor.

I had 30 days to move six studios into half the space.

Custom Interfaces

Those big, capable D75s had to go, along with miles and hundreds of pounds of wiring, which would be replaced by one Cat-5 cable.

I have been buying WheatNet-IP I/O Blades one or two at a time over the years to manage HD Radio audio, figuring the TDM router would eventually be replaced by WheatNet-IP audio networking. I already had one foot firmly in the IP world, so it was a simple matter of adding to that world with an IP-12 console for the main studio.

The IP-12 is a nice entry-level IP audio console that takes up a lot less space than the D75, but because it is self-contained, it has a similar feel as the D75.

[Read more Radio World articles about audio consoles and mixers]

I ordered the IP-12, plugged it into my existing Blades, and an AoIP studio was born. For talent, the change was minimal, which was great, because I had some big changes in store for the rest of the move.

Due to COVID it had become increasingly evident that talent could do a lot from home, but at times they still needed to be able to voicetrack or produce a show in an acoustically treated room with all the right mixing and processing tools.

So we purchased 4 x 8-foot WhisperRoom with a small dropdown table where our talent could park their laptops or tablets, plug into the WheatNet-IP through an Ethernet connection and call up sources and route audio and processing from a virtual mixer on their laptops that I created using ScreenBuilder.

The idea of setting up “glass” consoles in Whisper Rooms was partially borne out of the necessity to save space and partly because these could serve a real need. Wheatstone’s ScreenBuilder made making a custom “glass” console with a touchscreen interface fast and easy.

ScreenBuilder is an app for building your own interfaces into WheatNet-IP. In my case, I was able to drop and drag metering, faders and buttons onto a screen and script them to tie into the elements in the studio.

For example, I tied in virtual tallies to the Comrex Opal codec gateways in the main studio/rack room so that when a guest joins a show remotely, our talent will be able to see that he’s connected.

Most of the scripting was done using ScreenBuilder’s Wizard although I did create a few lines of code myself and “borrow” a few lines from a Wheatstone integrator (thanks, Danny Teunissen) for a few minor customizations.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

More info: Jay Tyler at Wheatstone in North Carolina at 1-252-638-7000 or visit www.wheatstone.com.

The post User Report: Wheatstone Tools Facilitate Streamlining appeared first on Radio World.

Chris Verdi

Future Names Davis Content/Brand Director of AVT

Radio World
3 years 10 months ago

Future Plc, the parent of Radio World, announced the appointment of Cindy Davis as content and brand director of AV Technology.

Since 2015, she has been a contributing editor to Future’s AV Technology (AVT) magazine, writing features and its Manager’s Guide series, as well as contributing articles to sister publications Systems Contractor News (SCN) and Sound & Video Contractor (SVC). In 2016, she helped launch the AV/IT Summit. She also developed and moderates the New Era AV/IT webcast series.

As the principal of CustomMedia.Co, Davis created multiplatform content for AVT, SCN, SVC and consumer electronics publications TWICE and Residential Systems.

The announcement was made by Carmel King, vice president of the company’s B2B Tech Group.

Davis is former publisher and editor-in-chief of Electronic House. From 2009 to present, as principal of CustomMedia.Co, she developed content for associations such as IEEE Standards Association and AVIXA, for Future and for numerous AV/IT companies.

 

The post Future Names Davis Content/Brand Director of AVT appeared first on Radio World.

RW Staff

Brands that Cracked the Advertising Code in 2021

Radio World
3 years 10 months ago

Stories of advertising success abound across the radio industry — if you know what you’re doing. That’s one assessment from Veritonic, a marketing company that tracks trends in audio and identified 10 brands that “got audio right” in the first half of 2021.

Thankfully for the industry, there continues to be an increased focus on audio marketing, the company said in a recent blog post — despite the changes wrought by the pandemic. Podcasts, for one, have held their worth throughout the pandemic; according to the Interactive Advertising Bureau, podcast advertising revenue is expected to exceed $1 billion this year and $2 billion by 2023.

Veritonic compiled a list of the top 10 podcast advertisers, noted for at least one creative attribute, be it aesthetically appealing audio, a humorous spot or successfully persuasive ad.

Top 10 Podcast Advertisers
Salesforce
chiliPAD
Zander Insurance
TD Ameritrade
Fundrise
Mini
NetSuite
Cash App
Hyundai
Parade

The software as a service company Salesforce, for example, jumped from the number eight spot in 2020 to number one in 2021 due to its ability to consistently create ads with strong recall. Other companies like the cool bedding company chiliPAD saw its advertisements score well because of the emotional attributes they built into their advertising, including a sense of familiarity and the jovial conversational tone between its podcast hosts.

Veritonic also ranked the top 10 radio advertisers for the first half of 2021. The industry can expect to see a 10% increase over the course of 2021, something the company calls a “considerable rebound” after the setbacks that were wrought by the pandemic.

Top 10 Radio Advertisers
Owning
Brakes Plus
CuriosityStream
Pennzoil
Little Caesars
LinkedIn
Roman
Cabinet Discounters
Sit ’n Sleep
PNC Bank

Companies with strong advertisements included Little Caesars, which uses humor and sonic branding (think of that “Pizza–Pizza” tune) to set itself apart from the competition. Other strong advertisers include LinkedIn and Pennzoil, which both enticed listeners with offers for free deals and promotions.

In its blog, Veritonic also reiterated the success that advertisers are having with sonic branding. It pointed to a recent study that found that consumers were more consistently able to identify a brand when the name of that brand was tied to an audio melody.

A weekly rating of audio advertisements are searchable on the Veritonic website including sample clips and a description of the audio scoring system that the company uses.

 

The post Brands that Cracked the Advertising Code in 2021 appeared first on Radio World.

Susan Ashworth

User Report: KFM Takes Leap of Faith With Virtual Mixing

Radio World
3 years 10 months ago
Virtual audio mixing with the Axia Audio iQs virtual audio console at KFM Network.

Over the last 24 years our little local radio station grew from serving a single city to having a network of 13 radio stations with studios in five cities.

Whether we were doing a live remote down at a local car dealership or trying to air live content from another city, it always involved having an operator in a local studio monitor levels and turn channels on or off on the board.

Then COVID hit, and addressing concerns that had lingered for a very long time became urgent. Fortunately, we had been researching options that would afford multiple personnel the flexibility to monitor, operate and execute full control of the network from any remote location.

[Read more Radio World articles about audio consoles and mixers]

Remote control of on-air programming has been around a long time, so that was no issue. Remote operation of control room mixers has been around a little while, and remained an option. But to truly give full control of the entire radio station (and network) to all our on-air staff consecutively narrowed things down to only a few options.

We wanted the ability to “do radio” without a “physical radio station.”

One of them was a clear winner. We took the leap and ordered the Axia iQs virtual mixing console. In a nutshell, the iQs is a 1RU computer that is routed to a central switch. It utilizes as many xNode Livewire digital network interface units that you may require, each capable of four inputs and four outputs of digital or analog audio signals along with GPIO options all routed to the switch.

Once set up, you have a virtual mixer that you can operate from a touchscreen monitor in a traditional radio studio, or from a laptop in your house, or from a cellphone on your boat. At your disposal are all of the capabilities of a large-scale studio (or network of studios), and you are able to configure and control them from anywhere.

The xNodes have a proven track record of reliability, but having a small one-rack unit replace a four-foot radio console with 300 wires attached to it was a bit of a stretch. And to think that the only cable attached to this “virtual console” was a single about the width of a straw.

Removing the miles of cables running to our studio and replacing a $20,000 18-fader digital console with a touchscreen monitor took a little faith. Especially when we were told that we were the first station in Canada to do so.

We anticipated a steep learning curve and were prepared to spend a month converting our main studio, four sister studios and 13 broadcast locations. But the engineers at Telos Alliance have made this system so user-friendly that we were using it within seven days of installation.

Axia has made this system user-definable and expandable. iQs has our staff amazed at its simplicity, our engineer thrilled with its flexibility and our accountant happy as a clam with the price.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

Info: Cam Eicher at The Telos Alliance at 1-216-241-7225 or www.telosalliance.com.

 

The post User Report: KFM Takes Leap of Faith With Virtual Mixing appeared first on Radio World.

Curtis Belcher

FCC Media Bureau Extends Deadlines for 2018 Quadrennial Review

Radio World
3 years 10 months ago

The FCC’s Media Bureau is extending comment and reply deadlines for the update of the 2018 Quadrennial Review.

Originally set July 1, for Aug. 2 (comments) and Aug. 30, (reply), the new deadlines are now Sept. 2 (comments) and Oct. 1 (reply).

[Read: FCC Wants More Input Before Finishing Rule Review]

On July 12, the FCC was petitioned by Common Cause, Free Press, the Multicultural Media, Telecom and Internet Council, the National Association of Black Owned Broadcasters, and the National Association of Broadcasters for the extension. The groups suggested the dates accepted.

According to the FCC, “The Joint Filers explain that, as more than two years have passed since the original comment cycle in this proceeding was completed, there have been many economic and legal developments in the media industry in that time. The Joint Filers state that they and other interested parties need additional time to address the many complex economic and legal issues through research, updates to previously filed material, and new information.”

[Read: Further Relaxation of Ownership Seems Unlikely]

The Media Bureau said that while it doesn’t normally grant extensions, “an extension should enable interested parties to present more complete and thoughtful comments to the commission, we agree with the joint filers that both the parties commenting in the proceeding and the commission should benefit and that the extension should not disadvantage any party.”

 

The post FCC Media Bureau Extends Deadlines for 2018 Quadrennial Review appeared first on Radio World.

RW Staff

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