Radio World

Lareau Farm, Waitsfield, Vt.

The Vermont Association of Broadcasters announced it will hold its annual convention in August.

VAB had to cancel last year because of the pandemic.

The 65th Annual VAB Convention and Production of the Year Award Ceremony will take place on Wednesday, Aug. 18, from 8 a.m. to 2 p.m., according to the association’s newsletter.

“Our new venue, Lareau Farm Inn, is home to the original American Flatbread in Waitsfield, Vt., and features two outdoor covered pavilions where we’ll spend the day learning, laughing and socializing again,” VAB wrote.

Details and schedule are to follow at the VAB website.

Send your event news and updates to radioworld@futurenet.com.

 

The post VAB Will Hold Annual Convention in August appeared first on Radio World.

Advocates of low-power FM in the United States are hoping that the Federal Communications Commission will adopt a proposal to raise the maximum power level for many stations from 100 to 250 watts.

It’s not a new idea, but supporters are excited because the commission recently opened a 30-day window for public comments on a fresh petition from REC Networks. This has led some to speculate that under a Democratic presidential administration, the FCC may be more willing to entertain the idea.

The proposal to amend Parts 73 and 74 of the rules was submitted by Michelle Bradley, founder of REC Networks. Bradley says the dial can accommodate the change, noting that nearly two-thirds of LPFM stations are outside of the top 100 Nielsen Audio markets and that only 15% are in “deep-urban areas.”

In the summary, Bradley gave a brief history of the 250-watt debate and proposals since 2012 and why she is updating the proposal now, including changes to address concerns that had been raised about the earlier versions.

[Read the proposal.]

Among stations in support is WXOX(LP), “Art FM,” in Louisville, Ky. The station emailed its community calling this “a very exciting and unexpected opportunity that would help our low-power stations exponentially.” It asked supporters to file comments by the June 20 deadline.

“Discuss technical issues with the current 100 watts permitted by the FCC,” it suggested. “This includes inability to get FM signal beyond a few miles from the transmitter site and difficulty receiving FM signal inside certain buildings within this limited range. Discuss local populations that may be excluded by the low wattage.”

Specifically, the new proposal would would create an LP250 class of service with an effective service contour of about 4-1/2 miles, in addition to the current LP100 service.

The maximum height above average terrain would be 451 meters or 1,479 feet.

There would be a second distance separation table for the new class that includes distances up to 9 km longer than the LP100 service.

Bradley said the proposal “fully respects the 20-kilometer buffer zone” and includes a suggested policy for upgrades on stations that are already second-adjacent short-spaced. She said the proposal does not add any new processes that would involve a contour study. It would allow class upgrades and downgrades as a minor change as long as other minor change criteria are met.

It also suggests a “launch window” method to manage an expected rush of stations wanting to upgrade. And it proposes a simplified RF radiation standard similar to the one used in LP100.

“In other words, this is simply like the LP100 service that has been around for the past 20 years, but just an add-on with the LP250 ‘numbers,’” Bradley wrote. “Or, in other words, simple.”

[A separate appendix to the proposal lists upgrade implications for all existing LPFMs, read that here.]

Bradley said the new proposal addresses past concerns about 250 watts. For example she submitted the accompanying image showing three hypothetical LPFM facilities.

Their class-standard interfering contours are in red, the full-service station’s protected contour is in green and the buffer zone is in orange 20 kilometers outside of the green protected contour curve.

The LPFM curve at the top depicts an LP100 station under current rules. The middle curve (OLD250) depicts a method proposed earlier in which the buffer zone is penetrated to keep minimum distance separation. The bottom curve (NEW250) depicts what is being proposed.

By increasing the distances for the LP250 class on co- and first-adjacent channels, Bradley says the proposal satisfies the commission’s past concerns.

Comments can be submitted at the FCC comment system. Refer to Proceeding RM-11909.

 

 

The post LPFMs Are Hopeful About “Simple LP250” appeared first on Radio World.

A sample Quu advertiser message.

Quu Inc. and vCreative announced an integration.

“vCreative customers can now publish messages on car dashboards for their clients that use Quu’s advertising services,” they said in an announcement.

vCreative provides media production workflow solutions. Quu adds dynamic visuals to radio broadcasts.

Quu’s system lets stations publish programming and sales messages called Visual Quus that it says helps with upsells and makes ads more effective. With this integration, radio stations now can produce and send those Visual Quus via the vCreative vPPO production workflow system.

The announcement was made by  Susie Hedrick, CEO of vCreative, and Steve Newberry, CEO of Quu.

The post vCreative Can Now Publish to Quu appeared first on Radio World.

Wedel Software has hired Rick Rowland as an onboarding manager for its new Adthos Platform.

“Rick has been working in the industry for more than 30 years and has, by his own admission, held just about every radio station role within that time,” the company said in its announcement.

[Visit Radio World’s People News Page]

“Not only that, but he’s also designed his own suite of radio software focused on media readiness, commercial reconciliation and daily file readiness.”

Rowland’s products include Power-Link Software Systems and Proof of Play.

The hire was announced by CEO Raoul Wedel. The company introduced the Adthos ad sales platform this month.

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

 

The post Wedel Hires Rowland in Adthos Role appeared first on Radio World.

AEQ has a new codec for remote broadcasting; we asked Roberto Tejero, right, AEQ product manager and expert trainer, about it as part of our recent ebook about remote radio.

RW: What prompted it, and how does it reflect trends in radio workflows?

Roberto Tejero: Radio has historically been the most flexible, immediate and dynamic media. Stations have been trying for a long time to prevent regular contributors or collaborators having to travel to the station. Thousands of ALIO audio codecs have been installed on the home desks of regular participants of talk shows, commentators, correspondents and experts.

The pandemic has accelerated the trend. After the first confinement, all radio organizations have begun to facilitate technical resources so that their hosts and regular guests and contributors can work remotely.

The budget for this has put a lot of strain on many stations, and they have started looking for non-professional solutions. Dropouts, artifacts and faulty sound are common. 

Our mission is to adapt to the needs of changing environments. After almost exhausting our stock of the Phoenix ALIO portable audio codec, and seeing the need to produce a device that is easier to operate, adapted to non-technical personnel, we developed TALENT, which is a new portable audio codec, with fantastic design and small dimensions. 

It is simple to connect and allows transmission of a high-quality stereo audio channel. With a simple, domestic internet connection or wireless 3G / 4G / 5G data and a headset, you can make radio at home or from anywhere easily and safely.

RW: Generally speaking, what level of home connectivity is needed to create reliable work-from-home operations?

Tejero: This problem doesn’t have a single solution. It depends on the quality of service of the telecommunications infrastructure at each location. 

In many countries it is essential to be able to request a connection with guaranteed QoS from the service provider, either wired or wireless.

The good news is that a high-capacity connection is normally not required to be able to operate audio codecs from a remote location or home. A stable connection is enough to provide sufficient bandwidth for the encoding algorithm used. 

An ideal environment is the use of fiber optics, but it is also possible to use ADSL connections if they have reasonable latency and bandwidth. In numbers, for radio broadcast quality, OPUS encoding, a stable bandwidth of 400 kbps and a latency of less than 100 ms is sufficient.

RW: What other considerations are stations dealing with now? 

Tejero: There are many challenges when it comes to outside radio broadcasting. Almost more important than latency and audio quality are the costs involved. This affects both large corporations and small radio stations to different degrees. 

The fact that hosts are producing their shows from home at least implies a minimum investment in audio codecs. This expense can be multiplied by hundreds of audio codecs for each possible collaborator who goes on the air. 

In addition to responding to the requirements of simple handling, TALENT has a suitable price for any broadcaster. It eliminates the need to purchase more expensive audio codecs or the purchase of mobile devices dedicated exclusively to broadcast software applications.

RW: Are air talent connecting wirelessly or via wired connection from home?

Tejero: That depends on the country. For example, in Spain, wired connections are the most reliable. This is the case in the urban areas of most developed countries. 

In rural areas and countries with lower levels of development, quality wired connections are not always available and it may be a better solution to use a 3G / 4G router modem. 

To respond to this situation, TALENT has an Ethernet interface through which it allows both wired and wireless connections. This interface can be connected to a local network with connectivity to a fiber optic service provider network, domestic ADSL or other wired connection. But you can also connect to a wireless router that provides connectivity through WiFi or through 3G / 4G / 5G wireless phone networks.

RW: Anything else we should know? 

Tejero: We want to highlight the benefits that we have incorporated into a basic device as TALENT.

It does not need to be configured or operated by the user. You can simply speak without needing to touch any buttons, except Help if required. It also has a local app for smartphone, TALENT Pilot, allowing the user to control and configure the audio codec.

It supports all types of headphones, low or high impedance, and microphones, dynamic and condenser, as it features phantom power. It also has a Bluetooth connection so you can connect it to your mobile phone, do phone interviews and send them mixed to the studio.

It can be powered in many ways, depending on where and how you are: from the USB outlet of a PC, from a 5 to 15 volt outlet, such as a vehicle battery or a power bank, or from the mains power supply that comes with the unit.

Operation is very intuitive. It is intended for personnel without prior technical knowledge. Typically the station’s technician will hand it over to the user, ready to connect to the domestic router and the power source and start working.

For local control, the Talent audio codec has indicators and basic controls to make the necessary adjustments during the broadcast. It also has the app for smartphone so that somewhat expert users can connect it in places other than their home.

TALENT, connected by Bluetooth to a smartphone, allows you make telephone interviews or, alternatively, through applications such as Skype, WhatsApp or Zoom, among others. These latter provide high quality to the interviewee’s voice and mix them to program signal sent to the station through the IP connection.

Further, TALENT can be controlled remotely. This operation can be in parallel or even overriding the local controls of the equipment. Therefore, one of the most important buttons is the “HELP” button. This is used to call for attention or request remote assistance from the station’s technician.

The post AEQ Rolls Out a New Codec appeared first on Radio World.

The National Association of Broadcasters’ technology innovation initiative, Pilot, will be accepting submissions for this year’s Pilot Innovation Challenge through 5 p.m. ET on July 9.

The program will provide mentorship and promotion to winning proposals, along with an opportunity to demonstrate their products at the NAB Show in Las Vegas, Oct. 9–13, 2021.

“The Innovation Challenge offers a platform for developing technologies that will help broadcasters better serve their audience, while providing emerging companies a showcase for their cutting-edge products,” said Pilot Executive Director John Clark in a press statement.

[Read: The Fall Radio Show Will Be at the Westgate]

This year’s challenge seeks startups and growing companies that provide solutions to some of the challenges and opportunities facing broadcasters over the next two to three years. The challenge is looking for products or prototypes that are focused on the following areas:

• Edge technologies that drive new revenue opportunities for broadcasters, such as through geo-targeted content, location-based advertising, accurate audience measurement and augmented experiences;
• Technologies that enhance broadcast journalism to help viewers and listeners get more from their most trusted source of local news, including tools to better aggregate and verify crowd-sourced news reports, enhancements to news-gathering technologies such as drones, or avatar news anchors to deliver personalized updates on a myriad of topics; and
• In-vehicle technologies that deliver more value out of broadcasting, including technologies that enhance the in-car experience for radio listeners, as well as technologies that harness the mobile reception capabilities of the NextGen TV standard to deliver even more rich data services or back-seat entertainment.

Individuals, teams, companies, academic institutions and nonprofit organizations are eligible to apply subject to the official rules of participation. Up to 10 finalists will be selected by a panel of industry experts by early August, with up to three winning proposals being notified by Sept. 1.

Three winners will be selected to receive relevant mentorship, feedback, numerous opportunities to engage with broadcasters and a trip to the annual NAB Show. They will be provided exhibit space in the “Startup Loft” to demonstrate their prototype to potential customers, investors and partners.

To learn more, visit NAB’s Pilot website.

 

The post Pilot’s 2021 Innovation Challenge Is Open for Applications appeared first on Radio World.

How little we knew … Attendees wait for the doors to open at the 2019 NAB Show. Photo by Jim Peck.

The NAB Show and the fall Radio Show in October will both have a different look and feel this year.

This was expected, given the unusual circumstances of the pandemic; but now details about how the shows will work — particularly the aspects of interest to radio people — are becoming clearer. We also know more about the health and hygiene steps that will be taken at the conventions.

As we’ve reported, the “big” NAB Show was postponed to the fall, and the two-day Radio Show, co-produced by the NAB and the RAB, was reset for the same week, also in Las Vegas. (The 2020 Radio Show was supposed to be in Nashville but was cancelled; this year’s fall show originally was supposed to be in New Orleans.)

Thus the NAB Show will be held Oct. 9 to 13, while the Radio Show will be Oct. 13 and 14, with a day of overlap on the Wednesday.

Now the NAB and RAB have told the show community that Radio Show conferences and exhibits will be held at the Westgate Las Vegas, next door to the Las Vegas Convention Center, and the official show hotel for the Radio Show will be the Sahara Las Vegas.

Note how Radio Show booths will work. Exhibitors have the option to purchase a tabletop exhibit for the two days of the Radio Show; these will be in the general session ballroom of the Westgate, and exhibitors have been told to expect a space selection process in coming weeks.

That means attendees who want to visit radio industry suppliers should look for them on the main NAB Show floor of the LVCC on Sunday through Wednesday, while some radio suppliers also (or conceivably only) will have tabletops at the Radio Show in the Westgate on Wednesday and Thursday.

The published conference agenda for the Radio Show includes time slots dedicated to exhibits on both days. Registrants to co-located events including the Radio Show get access to the NAB Show floor and to any all-access NAB Show Main Stage sessions and special events.

Pandemic response

As for health considerations for the NAB Show, organizers note that Las Vegas returned to pre-pandemic guidelines on June 1.

“We are working with a top medical firm to guarantee we are following all health and safety protocols as outlined by the U.S. Centers for Disease Control,” the NAB Show website states. “As information around the virus continues to develop, we will adjust our approach as needed.”

Masks are not required for attendees who are fully vaccinated. “Visitors may be required to undergo health screenings such as temperature checks or other screening processes upon entry.”

Registration will be “touchless,” and organizers encourage people to register at a hotel satellite location before going to the LVCC.

The organizers ask that people refrain from greeting one another using any physical contact. Meeting rooms and floor theaters will be set up with three feet of social distancing.

NAB wrote that the LVCC “has invested in HVAC upgrades to allow for greater ventilation as well as using air filters with a quality rating of MERV 14 (hospital grade filtration system). The frequency of the filter changes and the outdoor air exchange rate have both been increased.”

The LVCC management is also planning deep advance cleaning, enhanced sanitation at high-touch areas, UV lights and sanitizing AV equipment, among other precautions; and hand sanitation facilities will be available.

You can read more about the show safety precautions here.

Of course, a question everyone will be asking is just how many people will show up.

No one we’ve talked to expects the 91,000+ that NAB reported as attending the spring show in 2019. (The fall Radio Show usually draws a little over 2,000.) It remains to be seen how many folks will decide to travel to an in-person convention in the fall of 2021, especially given that the spring show usually draws a quarter of its people from abroad.

Regardless, being able to hold a sizeable in-person event at all will be a notable milestone as our industry works its way back.

A final note of interest is that most broadcast visitors who do attend will get their first look at the LVCC’s massive West Hall expansion, though this year’s NAB Show won’t use that space. The Las Vegas Review Journal has a video and pix.

The post The Fall Radio Show Will Be at the Westgate appeared first on Radio World.

The National Association of Broadcasters is expressing concern about what it is calling a significant increase in regulatory fees by the Federal Communications Commission on broadcasters.

For the third consecutive year in a row, the commission plans to increase fees to “unfair, unsustainable levels,” particularly in light of the economic impact that the COVID-19 pandemic had on the broadcasting industry, the NAB said in its filing.

The Notice of Proposed Rulemaking proposed a 5 to 15% increase in regulatory fees for radio broadcasters face a (with TV broadcasters fee factor jumping nearly 9%) even though the commission’s general salary and expenses budget increased by only 0.5%, the NAB said. The FCC proposes to collect $374 million for the 2021 fiscal year, with Congress appropriating expenses into two separate categories: $341 million to cover FCC salaries and expenses and an additional $33 million specifically to cover costs associated with the implementation of the Broadband DATA Act.

Ann Marie Cumming, NAB senior vice president of communications, said in a statement that the NAB objects to its members being used to pay for the funding the Broadband DATA Act. The legislation is designed to improve accuracy of the FCC’s broadband availability maps to help close the digital divide that exists between urban and rural areas.

Not only does the FCC fail to explain the reasons for this year’s fee increase, but it’s clear that the commission is forcing broadcasters to subsidize the regulation of other entities that are either contributing less than their fair share of fees or being given a free ride altogether, she said.

In its filing, the NAB said that the commission has an “obligation to ensure that its regulatory framework enables TV and radio stations to serve the public interest in free, over-the-air broadcast service, which means that the broadcast industry must remain economically viable in an increasingly competitive marketplace.”

The NAB urged the commission to adjust its proposal so that only the beneficiaries of the commission’s Broadband DATA Act initiatives pay for the associated costs. The NAB also pressed the commission to expand the base of fee payers to include big tech and other unlicensed spectrum users that use a substantial amount of the commission’s resources and benefit from its activities.

“Many broadcasters simply cannot afford unnecessary expenses in a year when revenues continued to decline due to the economic impacts of the ongoing COVID-19 pandemic and a slow-moving recovery,” the NAB said in its filing. “The commission must confront and correct the elements of its regulatory fee proposal that impair broadcasters’ ability to remain economically viable in a competitive marketplace, and undermine their ability to provide quality, free service to the public.”

The broadcast industry must remain economically viable in an increasingly competitive marketplace, the NAB said, a situation made all the more tricky because broadcasters cannot simply pass on regulatory costs to consumers.

The FCC is seeking comment on its proposed changes, which are available through Docket Number 21-190 at the FCC’s ECFS comment database. Reply comments are being accepted through June 18.

 

The post NAB Questions Fee Hike Proposed by FCC for FY2021 appeared first on Radio World.

Guillama Asso is shown using KYBIO.

From our “Who’s Buying What” page: Connect said Monaco Media Diffusion is using its KYBIO monitoring and control platform.

MMD is a radio and TV operator for the Principality of Monaco. Connect is part of the WorldCast Group.

The company said MMD is using KYBIO to oversee operation of its FM and DAB infrastructure including 136 devices such as transmitters, satellite receivers and audio processing.

KYBIO can be purchased as a cloud-based SaaS or on-premise license; MMD chose the latter, with a five-year support contract. The company says its users include RAI, Bell Media, Sutro Tower and Disney Television.

MMD’s managing director is Thierry Poyet. Technical contact is Guillame Asso.

The post In Monaco, MMD Puts KYBIO to Use appeared first on Radio World.

Ralph Justus is shown at the NAB Show in 2009. Radio World photo by Jim Peck

Ralph Justus, who for many years was at the center of technology developments in U.S. broadcasting and consumer electronics, has died.

He was known in our industry through roles at the Federal Communications Commission, National Association of Broadcasters, Consumer Electronics Association and Electronics Industries Alliance. Among other accomplishments he was credited with playing an “instrumental” role in the development of digital TV standards starting in the late 1990s.

According to his obituary, he died at age 72. Justus finished his career as a patent examiner for the U.S. Patent Office.

According to a 2004 profile published by the Advanced Television Systems Committee, Justus started in broadcast technology in the late 1970s as supervisory electronics engineer of the FCC Television Branch and a staff engineer in the AM and FM radio branches.

In 1983 he moved to the NAB to become director of engineering, regulatory and international affairs, working on issues involving radio and television technologies, auxiliary and satellite systems, spectrum management, proceedings at federal agencies including the FCC, EPA, FAA, Department of State and participation in the International Telecommunications Union, according to the ATSC article.

He then moved over to become director of engineering for the CEA (now called the Consumer Technology Association), where he worked on radio and TV system design and performance, TV antennas, audio technologies, regulatory activities and consumer electronics/cable TV compatibility.

For several years starting in 1999 he chaired the ATSC Technology Group on Distribution, or T3. In that role he was “instrumental in guiding many new DTV standards,” according to the 2004 article.

In 2003 Justus also was elected president of the Institute of Electrical and Electronics Engineers’ Consumer Electronics Society, according to a Radio World story at the time. He also was a former president of the IEEE Broadcast Technology Society.

At the CEA he was promoted after eight years to the post of vice president of technology and standards, a position he held until he left in 2005, according to his LinkedIn page. He later worked for the Building Performance Institute and as a consultant before joining the USPTO in 2012, working on radio, television and satellite communications, telecom technologies and intellectual property patent applications.

Justus also was active in technical organizations such as SMPTE and the AES. He was a graduate of Georgia Institute of Technology with a Bachelor of Science in electrical engineering.

The post Ralph Justus Dies; Former Tech Executive at NAB, CEA appeared first on Radio World.

Raoul Wedel Photo: Maarten Huisman

This past week, Adthos introduced what it calls “the only free ad-serving technology built specifically for radio.” Athos Ad-Server is an ad sales application that replaces playout of ads by an existing automation system, allowing digital audio and radio “to be sold seamlessly within a single integrated campaign.”

We sought to learn more about it and emailed with Raoul Wedel, CEO of parent company Wedel Software.

[Read: Adthos Ad-Server Is Free Ad-Serving App for Radio]

RW: What prompted Wedel to launch this Adthos initiative?
Raoul Wedel: Our traffic and billing system can do live reconciliation. But when implementing it, we found out that it would require integration and development with each and every automation system provider. Instead of building dozens of integrations, we felt this was a better solution. And made it available for free.

RW: Why would a broadcaster wish to replace the ads in an existing automation system?
Wedel: For traditional ad playout, the Adthos Ad-Server comes already with maybe two dozen features that most small automation systems don’t have. Like live reconciliation, sending new logs live without intervention or integration with cloud storage systems for material management.

The future of audio advertising is dynamic, in scheduling or creative replacement. If terrestrial radio wants to keep up with digital they will need to move forward on those subjects. The Adthos Ad-Server is a simple, non-intrusive app that can be easily installed and managed. It allows for frame-accurate ad replacement. So an advertiser can play a McDonald’s spot on the radio but may replace the ad with a local franchise’s address.

RW: What are the main features and benefits of Ad-Server?
Wedel: It reconciles your schedules live. Logs can be sent without any intervention; material can be stored cloud-based.

Also it includes a streaming encoder compatible with Triton, AdsWizz, Icecast and Shoutcast. It enables dynamic scheduling and dynamic creative replacements.

And it gives advertisers and agencies a portal to view their schedules and listen to an aircheck of what has been played.

RW: Ad-Server is free, so how does Wedel Software benefit, i.e. how do you make your money from the service?
Wedel: We feel that the current state of technology of radio stations is preventing terrestrial radio advertising from moving into the digital space. This is our vision of a solution for the problem. And we’re putting our money where our mouth is. By laying this foundation it opens the door for other technologies and advances to truly gain broad acceptance in the market. It is a platform that we can build on.

RW: You said there are future integrations planned, what kind of additional features should we expect?
Wedel: There are three main releases of the platform, we call chapters. The second and third chapters are due after the summer and since the ad server enables dynamic scheduling and dynamic ad replacement, you’d have to think along those lines.

RW: What else should we know?
Wedel: That we have made it as easy as possible to convert to our platform. In a testing phase, the ad server can run in parallel with your current automation system. Even though it is free, we have staff dedicated to onboarding our first customers. Our platform comes with a preloaded list of U.S. FCC licensed stations and station owners, so it’s easy to start.

 

The post Raoul Wedel Talks About the Adthos Ad-Server appeared first on Radio World.

Frank Foti is executive chairman of The Telos Alliance and founder of Omnia Audio. We spoke with him for the recent Radio World ebook about audio processing?

Radio World: Frank, what would you say is the most important recent or pending development in the design or use of processors?
Frank Foti: The recipe for audio processing is never finished.

Aside from ongoing development to subjectively improve sonic performance, the function of processing has crossed over into the virtual realm. This concept was first fostered by Steve Church, and myself back about 1994, as our early efforts began on Livewire, our audio over IP platform then under development.

Today, we have the tools to provide processing in the software-as-a-service (SaaS) format, as well as a container. Yet we also know that there are those in the marketplace whose comfort level remains having their processing running in a dedicated appliance. Our work will always support that platform as well.

RW: What should we know about differences in processing needs for analog over the air, digital OTA, podcasts and streaming?
Foti: Telos Systems was first to introduce data-reduced audio more than 25 years ago. Steve Church and I were also the first to recognize the need of dedicated processing for conventional broadcasting, and audio streams.

In reality, digital OTA, podcasts and streaming are all basically one form or another of the data-reduced technology. Thus, all conventional analog OTA transmissions for FM or AM need to employ a processor for that function, and digital OTA, podcasts, streaming, need to use processing designed for data reduced audio.

The main difference between conventional and data-reduced audio transmissions is the final limiter function. Suffice it to say, a processor designed for one system will not “play” well with the other type of system.

[Read: WorldCast Products Reflect New Service Models]

RW: How will cloud, virtualization and SaaS affect our processing marketplace?
Foti: It already has! The pandemic of 2020 escalated efforts that were already in place regarding this topic. If anything, now we’ll observe refinements to what’s already in place.

The concepts of the cloud and virtualization present flexibility to the broadcaster that was never possible before. Processing can be installed, adjusted, modified as a system, moved, updated and a host of other utilities from basically anywhere in the world. We even have the ability to transport monitor audio back to remote locations that might be outside of the listening coverage.

RW: Six years ago we had an ebook where we wondered how processors could advance much more, given how powerful their hardware and algorithms were. What about today?
Foti: This question gets asked fairly often. The Achilles Heel of broadcast audio processing has always been the final limiting system. As much as we’d all love a free lunch, it does not apply here, and there is a breaking point.

I’m constantly evaluating our own efforts, as well as those from others. Using choice content, which is challenging for any algorithm, it is easy to discern a good limiter design from another. Sadly, there are some current designs that leave a lot to be desired in this area.

Recent ongoing development from my own workstation has produced a new final limiting system that further reduces and in some cases eliminates sonic annoyances. Those being harmonic and intermodulation distortion components that are audible.

RW: Has radio reached a point of “hypercompression,” with little further change in how loud we can make over-the-air audio? How do we break out of that plateau?
Foti: Loudness is really only a problem if it’s accomplished in an annoying fashion. That’s not being said to promote loudness. It is possible to create a “standout” loud on-air signal that is not annoying.

It comes down to the processor involved, as well as who sets it up. The term “hypercompression” can be defined differently based on interpretation.

I know there are some who absolutely love the sound of “deep compression” and the effect the added intermod it creates, whereas there are others who use less dynamic compression and rely on the final limiting system for their end result. Both are capable of generating large levels of RMS modulation, yet result in dramatically different effected signatures.

Is one better than the other? It’s all very subjective, as well as what is truly to be defined as hypercompression.

RW: As John Kean told us in another article, AES loudness metrics are moving to a lower target level for content, streams, podcasts and on-demand file transfer, like existing metrics for online and over-the-top video. If radio stays with its current environment — modulation limiting, reception noise, loudness wars — could radio see loss of audience due to listener fatigue?
Foti: Any broadcast facility that has lost audience due to listener fatigue needs to realize this occurred due to their approach to audio processing.

Loudness is not the issue. It’s how one achieves a loud signature that determines the listenability of a signal. There is a difference between the perception of a good clean loud signal, and another which sounds like your head is squashed within the jaws of a vice. Both are loud, but both are not bad.

It really comes down to choices made by the broadcaster. Analogy: A car that goes fast is not necessarily a reckless auto. It comes down on the driver of the car. Same applies here.

RW: We read that processing can mitigate multipath distortion and reduce clipping distortion in content. How can users evaluate such claims?
Foti: Great question! I’ve done significant work in this area, and have recently created a method to test, and observe the effects of induced multipath, based on audio processing. Surely, it could be further developed, as a tool for broadcasters.

As of this writing, there is nothing on the market, but there are technical papers that address it. Suffice it to say, I’d be very weary of those who make ad hoc statements about multipath, exaggerated by processing, that were done without any technical evidence or test criteria or employed good engineering practice.

RW: Nautel and Telos recently did a joint demo aimed at eliminating alignment issues by locking the FM and HD1 outputs from the processor through the HD air chain to the transmitter. What’s your take?
Foti: Having been in some of the discussions about this method, this is a solid design that negates outside/ancillary devices to monitor and adjust the time alignment. This is the first systemic approach, which further solidifies the digital transmission infrastructure. It’s very straightforward in design, and reduces the level of complexity within the digital transmission system.

We need to remember that as HD Radio evolved and refined itself, the overall system and infrastructure has had to change. Now that the tech has become mature, it’s possible to create a method that efficiently and reliably creates the broadcast signals for conventional and digital transmission.

 

The post The Recipe for Processing Is Never Finished appeared first on Radio World.

Don Elliot with his Sennheiser MKH 416 and Hook Studios screen.

June is Microphone Month here at Radio World. This is one in a series of interviews with people who work in and around radio about the kinds of mics they love and why.

Voice veteran Don Elliot applied his music training to radio and jingles, working as a voice talent, PD, DJ, production guy and agent. Stops included WEAM(AM) in D.C., KCMO(AM/FM/TV) and KUDL(AM) in Kansas City, KISN(AM) in Portland and KOIL(AM) in Omaha.

In Los Angeles he worked at 1500 kHz in its various formats, then was hired to switch KIIS to top 40. At KFI(AM)/KOST(FM) he was the house voice for several years, and later broadcast taught at Fullerton and Saddleback Colleges.

Radio World: What’s your favorite microphone for radio on-air work? 

Don Elliot: I am very appreciative of this question to ignite some independent thinking as opposed to the acceptance of the ubiquitous, oversized repurposed kick drum mic, the RE20 amongst “me too” stations that rely on crowd advice. But if it works for you, that’s great. Just know that getting out of the box won’t kill you.

Every voice and every microphone is different. That’s why there is no “one-size-fits-all.” You have to try them and listen.

For me, it’s the Sennheiser MKH 416 with a Hook Studios pop screen when I must work closer than a foot. It just finds that sweet spot in my voice without any EQ, and that’s the ideal situation. Much better to spend $1,000 on a mic that works than to spend $300 on one and then $4,000 in outboard gear to make it sound like the $1,000 mic in the first place! Simple.

RW: What’s your choice for remote or specialty work?

Elliot: It puzzles me to see ENG video work being done with omnidirectional microphones, which are known for a 360-degree pick up.

I can understand the benefit for an interviewer who does not know how to move the mic back and forth between themselves and the interviewee, but it’s at the cost of inviting unwanted ambience into the audio.

Far better to use a good cardioid and learn the technique of keeping the interviewee within the polar pattern during the interview. There is much to benefit from using its known null pattern capability when you use your mic as a tool in this way. I call it “fixing it at the source” instead of having headaches back in the studio trying to rescue bad field audio.

Above all, pay attention to the quality of your interface. I use a Centrance MicPort2 with its amazing boutique-quality preamps, 48v phantom, headphone amp and built-in limiter, to get the most out of any mic on location.

RW: If you were training someone what’s a tip you might share or common misconception to dispel?

Elliot: I would bring them to the realization that radio environments are not ideal and that must be taken into consideration in finding a mic not only ideal for the voice but also for “the room.” That’s the tip.

As for the misconceptions, one must realize that “proximity effect” does not change the pitch of your voice but instead causes an artificial low-end mushiness that can lead to loss of intelligibility in a mix or overcompensation for something that is not natural. You must consider listener fatigue in the results that you are getting.

Also, learn proper placement and which polar pattern to use! When I’m singing, I like either my U 87 in a good studio environment, or my Vanguard V13 — I heard Bill Rogers doing Disney promo work on one,which prompted me to buy — which has the advantage of remote-controlling the pattern so you can hear the changes immediately. And it’s continuously variable. I like the openness of this mic in omni, knowing that all mics sound best in omni, but we are hampered by environments into which we are forced. The V13 is a problem-solver.

RW: Other thoughts?

Elliot: When I first started at KFI/KOST, I was given the studio tour, with identical microphones in every position in the production rooms because “that way we have a consistent sound.” It was an uphill battle to convince them that to get a consistent sound you needed a variety of microphones, because no two voices are the same! I would use a ribbon microphone on a female voice that tends to fill out a higher range without making it sound artificially basic. It also helps with sibilance.

Traditionally in an air studio, one step in the right direction has been a multi EQ unit, one module for each jock in order to achieve this desired goal of consistency. I have never been a fan of EQ boost. If anything before boosting, I would start to cut some frequencies if necessary. It’s always better to be able to fix it at the source.

And although it’s probably for another subject sometime, a good microphone preamp could be the most important and prized item in the chain, which reminds us all that the “chain” only as good as its weakest link!

The best takeaway is that just because you have the tool doesn’t mean you know how to use it! Learn from the pros, but don’t be afraid to deviate and experiment.

Read more of Radio World’s coverage of microphones.

The post My Favorite Mics: Don Elliot appeared first on Radio World.

Before the FCC closes its current quadrennial review of media ownership rules, it wants more public input.

The commission also has reinstated deregulatory changes that the Supreme Court recently upheld in the “Prometheus” decision.

Regarding the first item, the commission wrote that, “Given the passage of time since the prior comment period ended, as well as the subsequent litigation culminating with the Supreme Court’s recent decision, we now seek further comment to update the record in the 2018 Quadrennial Review proceeding.”

The Telecommunications Act requires the commission to review its media ownership rules every four years to determine whether they remain “necessary in the public interest as the result of competition.” A final order in the 2018 cycle has yet to be issued.

The Local Radio Ownership Rule, or “radio subcaps,” remain subject to the FCC’s review, along with certain television ownership rules.

“Beyond reviewing the existing record in light of the passage of time, we also seek submission of new or additional information regarding the media marketplace that commenters believe is relevant to this proceeding,” it wrote in a public notice.

“Specifically, we seek information regarding the broadcast industry’s evolution since early 2019 and its current trajectory, including the effects, if any, of technological change, new entry, consolidation or changing market conditions. We seek comment in particular on the further development and impact of technological advances and industry practices.”

Among other things, the FCC also wants to hear about other relevant trends in the broadcast industry or related markets, such as the growth of online audio and video sources, “including as sources for news and information, as well as the continued strength and importance of broadcast radio and television stations in the local communities they serve.”

It asked for more info about the impact of the pandemic on its proceeding, and whether those have any bearing on ownership rules.

And it asked for input on diversity proposals, noting that the Supreme Court did not address whether the Telecom Act bars the FCC from considering minority and female ownership in its quadrennial reviews.

One of the issues that radio industry people will be watching is whether the FCC takes any action on the subcaps that limit how many radio stations a given company can own in a given service (AM or FM) in one market. The NAB hopes the commission will at least ease those. But FCC watchers note that the FCC seems less likely to deregulate media ownership rules under a Democratic administration. (The current Acting Chairwoman Jessica Rosenworcel had opposed the changes that the Supreme Court just upheld when she was in the Democratic minority on the commission.)

For a full list of what the commission is asking, see the public notice. Filings should refer to MB Docket No. 18-349. Comments will be due 30 days after this notice appears in the Federal Register.

Regarding the second item, the FCC Media Bureau now officially has reinstated several of the commission’s prior ownership rule changes. It did so per the Supreme Court’s unanimous decision. So the Newspaper/Broadcast Cross-Ownership Rule, the Radio/Television Cross-Ownership Rule and the Television Joint Sales Agreement Attribution Rule are eliminated.

The post FCC Wants More Input Before Finishing Rule Review appeared first on Radio World.

Hercules has launched its new DG Adaptive Series of stands intended for studio use by broadcasters, podcasters, content creators and musicians. The new line includes three new products — the Universal Podcast Mic & Camera Arm Stand, Smartphone Holder and 2-In-1 Tablet and Phone Holder.

Currently shipping, the new models all include 360-degree rotation, the TightVice locking mechanism, the ability to accommodate a variety of devices and accessories, and adaptive application for ease of mounting on any surface.

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

The Universal Mic & Camera Arm Stand ($59.99) can clamp to a flat or round surface and can hold a microphone, pop filter and a device, be it smartphone or tablet, so users can access content and record at the same time. Using Hercules’ TightVice 360-degree rotation, each component can reportedly adjust to any angle.

Akin to that, the Smartphone Holder ($39.99) can support a variety of smartphones. It sets up on a flat surface, or with round or square tubes, and supports phone sizes of 4.7 inches– 6.9 inches. Meanwhile, the 2-In-1 Tablet and Phone Holder ($49.99) expands upon the Smartphone Holder, in that it extends to fit all tablets. With support for tablet and phone sizes 6.1 inches–13 inches, it also has an option to mount directly into a tripod stand.

All DG Adaptive Models are available worldwide via licensed Hercules dealers and e-commerce partners.

Info: www.herculesstands.com

 

The post Hercules Unveils DG Adaptive Stand Line appeared first on Radio World.

DPA Microphones named Søren Høgsberg as its executive vice president of sales and marketing.

“As a former executive with many of Denmark’s leading corporations, Høgsberg will call on his global experiences to lead DPA in strengthening the coordination of its sales and marketing initiatives,” the company stated in the announcement.

[Visit Radio World’s People News Page]

Kalle Hvidt Nielsen, CEO of DPA Microphones A/S, was quoted saying the company seeks to grow its presence in the global market. “It has been our recent goal to bring sales and marketing together under one functional, joint management team.”

He will oversee global sales and marketing including product management, customer care and corporate service.

Høgsberg is former VP of international sales for Demant A/S, which makes hearing aids, audiological equipment and personal communication devices. He also worked for Vestas Wind System A/S and GN Store Nord A/S.

He has degrees from the Aarhus School of Business.

Send your people news to radioworld@futurenet.com.

 

The post DPA Names Høgsberg to Sales Post appeared first on Radio World.

Jeff Welton

Regular host Jeff Welton said, “When we started these sessions in June 2020, it was a way to stay in touch with our friends in the radio community and keep ideas flowing through the pandemic lockdowns.”

Nautel says that its continuing Transmission Talk Tuesday series of webinars has reached its one-year anniversary.

He added, “We had no idea that our online gatherings would still be in place a year later, or that they would remain as popular as they have been.”

The menu for the beginning of the second year consists of:

• “How Technology has Changed our Lives,” June 8. Guests — Jim Gray, managing partner for Optimized Media Group and Matt Herdon, product manager, Nautel;
• “SNMP — How and Why,” June 15. Guests — Josh Bohn, president/CEO, MaxxKonnect Group and Shane Toven, senior engineer, Educational Media Foundation;
• “STLs — Moving Signals from Here to There,” June 22. Guests — Josh Bohn, president/CEO, MaxxKonnect Group and Alex Hartman, Nautel customer service technologist;
• “Tips and Thoughts for Contract Engineering,” June 29. Guest — Tom Ray, president of Tom Ray Broadcast Consulting.

 

The post Nautel Transmission Talk Tuesday Notes Anniversary appeared first on Radio World.

Cox Media Group, which owns 57 radio stations and over two dozen TV stations across 20 American markets, appears to have been hit by a ransomware attack, according to technology website, The Record. Technoblogger Matthew Keys had additional information.

According to reports, the attack took place early Thursday morning and is said to have hit internal networks and was all the group’s streaming capabilities. Live programming was also affected.

“This morning we were told to shut down everything and log out our emails to ensure nothing spread,” a Cox employee told The Record. “According to my friends at affiliate stations, we shut things down in time to be safe and should be back up and running soon.”

Sources told The Record that the company’s autonomous system, AS397123, has also disappeared from the internet default-free zone as the company attempted to deal with the attack.

The attack follows what was described as the “biggest-ever” attack on an Australian media company earlier this year.

In March Australian broadcaster Nine was forced to abandon its Sydney newsroom and revert to using whiteboards and moving production staff to other cities following a cyberattack.

This article is republished from TVBEurope.

 

The post Cox Media Hit by Ransomware Attack appeared first on Radio World.

What’s your favorite on-air mic and why? Which models do you turn to for remote work, newsgathering, live music?

June is Microphone Month at Radio World, so we have been asking a number of radio engineers, voice talent and other professionals to share their preferences along with any tips for getting the most out of microphones.

Several are below, followed by links to more.

Josh Rogosin Josh Rogosin

Broadcast/recording technician and technical director, NPR Music

As the audio engineer for the popular “Tiny Desk” program, Rogosin says Heil’s large-diaphragm dynamic PR 40 sounds great on a kick drum, with the PR 30 for guitar amps. He  loves the Cole 4038 ribbon for brass and drum overheads.

“Nothing looks like Ear Trumpet Labs’ handmade mics. Nadine sounds great on upright bass, Delphina has a nice full sound for strings and vocals with a nice low end. I love how you can angle the Chantelle wherever you need to focus it.”

Rogosin says he “adores” the ICON Pro from Earthworks for his home setup. “It’s a condenser that’s amazing at off-axis rejection, ignores table thump as good as any dynamic I’ve used but sounds so much airier than an SM7B without being such a gain hog.”

The Shure Beta 57A is the best mic he’s heard under $140 and has a nice hot output for a dynamic. “Sounds great on everything.”

Click the image to read Rogosin’s article at the NPR website about the mics he uses on “Tiny Desk.”

Rogosin says the Blue Hummingbird condenser mic is small, sounds great and the pivoting head makes it great in cramped spaces.

“The signature mic at the Tiny Desk is the Sennheiser MKH 418-S,” he concluded. “It’s crystal clear on vocals and the mid/side configuration is flexible enough to capture off-axis sources. I place it far enough away to see faces and avoid proximity effect and plosives.”

That said, he added, “Never underestimate the power of post-production to make or break a great sounding mic.”

 

David Antoine 

Chief technology officer, WBGO Jazz 88.3 FM | Newark Public Radio.

David Antoine

Antoine likes working with quality large diaphragm condenser microphones such as the Neumann TLM103, which he compliments for its “very smooth sound” when paired with right processor, especially for jazz or classical commentary.

“For a microphone that won’t break the bank I also like Audio-Technica’s AT4040. This mic works very well with female voices.”

Out in the field, he turns to the Shure SM58. “There’s a reason most of Shures wireless mic offerings have SM58 heads.”

Antoine doesn’t think you have to drop big dollars to get quality sound.

“Take some time to talk into a mic, listen to how it sounds with your voice or the voice of a good announcer. You can find its sweet spot and the settings that are right for a particular microphone.”

Also, don’t over-process or over-EQ a quality microphone. “If a mic is well designed and well-made it will faithfully reproduce the source, whether it’s voice or an instrument.

“Distance from the sound source matters a lot. Not too close, not too far. Again, take some time with the microphone and you’ll get the desired result.”

 

Randy Williams

Chief engineer, Learfield | IMG College

Working for a major sports operation like Learfield | IMG College, Williams has experience with headsets, and for live play-by-play he favors the Sennheiser HMD-26 II headset, finding it “extremely durable, repairable, with replaceable parts, and great noise reduction in loud venues.”

His choice for studio recording is the Shure SM7B, for its “warm vocal reproduction, wide frequency response and great noise reduction outside the cardioid pickup pattern.

Randy Williams with some of his favorite gear.

For home studio or podcasting setups, he recommends the Blue Yeti or Blue Snowball for their low cost, reproduction quality, multiple patterns and easy setup — “almost completely plug-and-play.”

Williams urges mic users to really know and understand the demands of a given venue or studio setup, in terms of noise, acoustics and size.

“Then have a strong understanding of the microphone capabilities and pickup patterns to maximize the quality of the vocal reproduction. Pop filters and windscreens can be lifesavers!”

Finally, he said, have a solid understanding of the difference between condenser and dynamic microphones and when to use each style.

 

Martin Stabbert 

SVP/Engineering, Townsquare Media

For studio mics, and if cost isn’t a factor within reason, the Neumann BCM104 would be near the top of his list. 

“To my ear, it offers a nice proximity boost but still maintains a pleasant spectral balance. The single-pattern design is also well-suited for most studio applications and the body doesn’t have any external switches to invite unauthorized adjustments.” It’s also easy to clean, which is more important than ever.

“That said, the real workhorse and one of the best values in the broadcast studio has to be the Heil PR-40. Its cardioid pattern and conventional, end-fire physical design and lack of switches makes it easy to use and difficult to misuse.”

He finds the frequency response of the PR-40 smooth and likes its high-end boost for a touch of brightness. “It is an excellent option for most applications and hard to beat from a cost/performance perspective.”

For remotes, basic PA or MOS interviews, the Shure SM58 and Sennheiser e835 are his staples. “Both are even available with an on/off switch for applications that might benefit from it. Simple, rugged, familiar to all and competitively priced.”

Stabbert’s favorite handheld for an interview that might end up on video is the Sennheiser MD46, with its camera-ready matte finish, low handling noise and suppression of wind and extraneous noises.  

“The pattern is officially described as cardioid, but I think it behaves a little tighter than that. The extra length and weight can become a concern when adding on a wireless transmitter, but that would be the only potential issue worth noting.”

 

Read more of our coverage:

My Favorite Mics: Joan Baker, voice talent, author and coach

My Favorite Mics: Ira Wilner, Monadnock Broadcasting Group and Saga Communications of New England

Working With Mics: Rob Byers, Minnesota Public Radio/American Public Media

 

The post Today’s Microphones Offer a Buffet of Choices appeared first on Radio World.

The Jacobs Media TechSurvey2021 is out, and as always, it reflects both consumer adoption of new media technology and the social environment it evolves in. For 2021, the survey says some areas were heavily impacted by COVID-19, while others continued on their established trajectory. Of course, there are always surprises.

The annual media- and brand-usage pyramids fall into the “business as usual” category, with little change over the past year. In usage, the leader is still TV/video, followed by smartphones and AM/FM radio. Brands are led by Facebook, down four percentage points from last year with 68%, followed by Netflix and the respondents’ home station stream, referred to in the survey as P1.

The 2021survey results for AM/FM radio are a mixed bag. Overall, listening is trending down, especially among younger demographics, but it was headed that way before COVID. On the plus side, localism remains a key secret of success. The number who strongly agree that a local orientation makes the difference has trended upward from 43% in TS 2017 to 49% in TS 2021.

AM/FM has, according to TS 2021, picked up some momentum this year. The number who reported listening more in 2021 increased from 15–23% over the previous year. While those listening less also increased two percentage points to 13%, that loss, according to Jacobs, is largely explained by those who later in the survey reported spending less time in their cars as a result of COVID.

High on the surprises part of TechSurvey 2021 are the reasons that respondents suggest for why they tune in. Six out of ten who answered say that personalities are a main reason they listen to radio. Of those, CHR and hot AC fans seem to value them the most. TechSurvey’s data suggests this is part of a larger trend.

Over time, the long-standing appeal of music on the radio seems to have been replaced by the popularity of its personalities as a main reason to listen. This trend began with TS 2014, music and personalities reached near parity in 2018, and since then, the trend clearly favors personalities. No reasons are posited for why this switch might be happening.

Has the music industry gone into a slump, producing fewer hit songs?

Have radio personalities become more mainstream in their presentation and delivery?

Or could it be a bit of both?

One wonders.

 

The post Amidst Social and Economic Upheaval, Radio Continues to Flourish appeared first on Radio World.