Radio World

A colleague asked me recently how many apps I had on my phone. I guessed that I had about 50. She told me point-blank that my sense of reality was seriously impaired, so I did the count. The answer astounded me. I currently have 176 apps. Talk about a lack of self-awareness! 

With 128 gigs of storage, I don’t think about running out of memory until, of course, I do. 

According to socialmediatoday.com, the average smartphone user devotes 2.3 hours daily to app use. This stat is reflective of those with about 30 apps, and much of this time spent is with the big social media companies or huge national media brands.

For radio stations owned by the major groups, decisions about apps are made, generally, at the corporate level and then messaging is pushed down. 

iHeartMedia is to be commended for its “all-in” strategy and promotional roll-out across its stations. However, I’ve never heard or seen iHeart advertise their app to target a new audience that might never or rarely listen to broadcast radio. Perhaps they do so and I’ve just never encountered it. Marketing apps via digital advertising, in app stores and with Google search terms could be an opportunity for stations and groups who want to grow total audience. 

For small groups, standalones and non-commercial stations, what’s the app situation for 2020 and beyond?

I don’t think it’s debatable that every station in America has to be available via mobile phone and tablet in some form or another. 

On-demand behavior is driven by the desire for immediate gratification, most frequently obtained with the device in one’s pocket. A radio in the car or even on a different floor of the house won’t cut it anymore. I’ve stayed at four Airbnbs in the last six months and none of them even had a radio receiver. 

[Can an App Solve the DRM Receiver Problem?]

The least costly approach to streaming comes via radio station aggregation apps like TuneIn. The disadvantage of this platform is that it’s easy for your station to get lost among so many listening opportunities; listeners may not even bother looking for your station once they stumble upon so many wonderful choices.

For those who can afford to build and maintain a standalone app, there are three choices to evaluate. While there is no clear-cut best choice, it does seem that the future is moving toward the latest technology.

NATIVE 

The most common type of app is called a “native” app. This type is developed specifically for device use, primarily on iOS and/or Android. Native apps are the most expensive to build, maintain and market. 

They must be approved by Apple and/or Google to ensure they contain no malware or serious bugs. Each time you update your app, it has to be updated in-store. Plus, when Apple or Google roll out a new operating system, you may have to make your app compatible with their update. 

Because the native app has to match the user interface and software standards, the experience is often smoother and more intuitive for the user. 

On the other hand, the volume of competitors in the app store is enormous, potentially mitigating the discoverability benefits of that marketplace. 

WEB

Your next choice is a “web” app. This sort of app is really a mobile website built to look like and function as a native app. In fact, it’s often difficult to tell the difference between a web app and a native app. 

Web apps are much cheaper to build and maintain because they don’t have to comply with a phone’s operating system or meet standards for placement in an app store. Web apps run in a browser and auto-update each time they load. Yes, you can even make an icon shortcut that looks like a native app and resides on a phone home screen. 

The downsides are: not all functions may work off-line; they are less intuitive to use; they can be slower to load; and they may appear less premium to users . 

PWA

Your third choice has a ton of advocates and shows significant promise. It’s basically a hybrid between a native app and a web app. It’s called a “progressive web” app, or PWA. 

Unlike a web app, a PWA can use push notifications and access some device features, such as gestures.   

Unfortunately, this type of app does not yet work on all types and versions of browsers. This is ultimately slowing its adoption. 

I have never built one of these apps, so I can only repeat what I’ve read — and the reviews so far are mostly positive and optimistic. 

If Apple and Google don’t get greedy with their walled-off stores and instead encourage the development of PWAs, it will lower the barrier of app entry for all and provide an improved user experience. This seems inevitable, but there are no guarantees yet. 

One thing is certain though: We Americans love our phones and our apps. Radio must create and maintain a presence on mobile devices or risk relying completely on in-car listening, where even that piece of audio real estate is no longer the exclusive domain of broadcast stations. 

Mark Lapidus is a multi-platform media, content and marketing executive and longtime Radio World contributor. Email mark.lapidus1@gmail.com.

The post Apps Are Key to Radio’s Relevance in 2020 appeared first on Radio World.

With 116 member organizations in 56 countries, the European Broadcasting Union is the world’s largest association of public service media. Radio World Spoke to EBU Technology & Innovation Project Manager Digital Radio Ben Poor, to learn about the measures the EBU and its members are taking in light of the COVID-19 health crisis, and how he sees this situation impacting the future of broadcasting. 

RW: What impact is the coronavirus emergency having on EBU members’ station operations?

Ben Poor: As a general rule, EBU Members are the primary go-to point for real-time information on this evolving crisis. This means that — no matter what — they will continue to broadcast and have set themselves up to address this challenge. Over the past years, many have had substantial downward pressure on their operational and capital expenditure budgets. Thus they have had to pioneer automation and efficient workflows. Despite this, they have typically split their operational teams into separated teams that have no direct contact and are typically located at different sites and at home.

Ben Poor

Our members have sent all non-operational staff home so as to avoid compromising the operational teams and are active in working-from-home. In addition, they have stalled all non-operation-critical projects due to national containment procedures.

RW: Are there specific impacts in technical infrastructure and programming operations we should know about?

Poor: EBU members are prioritizing their news operations as part of their response to the crisis. They have also put in place measures to protect their news teams. This typically involves them being isolated as far as possible. In addition, there are evolving guidelines regarding live shows, where audiences are now excluded from attending, and being pre-recorded. Some radio talent is even making their contributions via links from home.

Also, operators are regularly disinfecting buildings and equipment of course. As regards distribution infrastructure, broadcasting continues as before. EBU members have prepared for scaling their online distribution channels to ensure that they can address the explosion in demand.

There is a shift in viewing and listening patterns, where EBU members have noticed that the evening peaks are now spread throughout the day. So, the broadcasters are revising their schedules to address the older populations at home as well as the children that are also now at home as schools have closed. Many others have set up dedicated podcasts to keep people informed about the crisis.

These are just some of the measures EBU members have introduced, and others are evolving continuously.

RW: What impact is the emergency having on radio engineers and technical staff, professionally or personally?

Poor: Due to the importance of the radio operations to the general well-being and security of the populations impacted by the lockdowns around Europe, staff is working around the clock in isolated teams to ensure the continuity of the broadcast and online operations. That said, many of the engineering staff have been working from home, and the operational staff are typically isolated so as to avoid contamination. This places some strain on the teams that will doubtless surface as the crisis evolves.

The European Broadcasting Union building in Geneva from above.

RW: It’s often common to ask engineers to step in when other staffers have to step out. Are there any best practices the EBU hopes engineers and their employers will adopt?

Poor: Indeed, the EBU has gathered the best practices being adopted by the pioneers in this space. These are available to any member or broadcaster through the EBU’s website. We have also established collaborative expert groups to facilitate communication between members so as to enable fast and efficient transmission of information. Keeping our stations on air is our business and all EBU members already have sophisticated contingency planning. Interestingly, one item we have noticed is that some of the planning is focused around equipment rather than people, so we’ve had to adapt some of this planning for the current crisis.

RW: How are you working to help your members during this crisis?

Poor: The EBU itself is a means of exchange between the members that are facing broadly the same challenges. Even if the individual countries have adopted different approaches to the crisis.

We have set up a dedicated webpage to share information. We are also looking at opportunities to share content between members and are providing advice and guidelines for how to deal with this situation.

RW: How do you see this situation impacting the future of broadcasting, in particular that of radio?

Poor: The longer-term impact of this crisis remains to be seen. With all non-essential projects on hold, we may not feel the impact on radio (and TV) schedules until later in the year when the productions currently in preparation would normally air.

This crisis may actually accelerate some of the developments around decentralization of studios and content production. This is especially true for radio, where we are seeing a slight trend in some countries to use content from outside traditional studios.

We have issued a report outlining audience reliance on public service media news during this period. The report also includes best practice case studies.

The post EBU Members Work to Ensure News Continuity appeared first on Radio World.

Cumulus Media has joined other broadcasters in instituting furloughs, pay cuts and other measures this week to combat the financial downturn anticipated due to the effects of COVID-19.

Chicago media observer Roger Feder reported Wednesday morning that Cumulus’ “salaried employees will take three weeks of unpaid leave in one-week installments over the next 15 weeks. Others will take 90-day pay cuts, and a third group will be put on 90-day furloughs, starting April 16.” 

However, SAG-AFTRA, which represents station on-air talent, is pushing back, according to his reporting.

Additionally, CEO Mary Berner will take a 50% pay cut, Feder writes.

Cumulus declined to comment when contacted for information about this story.

The post Cumulus Institutes Furloughs, Salary Cuts appeared first on Radio World.

Russia has resumed Digital Radio Mondiale broadcasts on shortwave. The country originally aired the Voice of Russia via DRM a few years ago. The new service is tentatively called Radio Purga (“Radio Blizzard”). The target area is the Chukotka region of the Russian Far East. Analog shortwave transmissions once served the area, but those ended in the early 2000s when the broadcaster left analog shortwave.

Getty Images

Chukotka is vast and the target audience only numbers a few thousand. Thus, shortwave is the only practical way to reach the population. The transmitter site, Komsomolsk Amur, used to broadcast Voice of Russia’s analog programming and is now being used for the DRM program.

NEW SERVICE

The new service is a joint project between the government in Chukotka and the Far Eastern regional center of the Russian Television and Radio Broadcasting Network.

Using DRM for Radio Purga has several advantages over analog shortwave. Radio Purga over DRM, for example, offers a static-free and higher fidelity signal. Studies have shown that DRM is just as reliable as analog shortwave over this distance via single-hop transmission.

The broadcaster is considering transmitting two audio programs from a single DRM transmitter. This is something analog shortwave can’t do. It’s also planning on using DRM’s ability to transmit short text message or a type of RSS feed (Journaline). DRM transmissions also use only a quarter of the power that analog transmissions do.

“We have in these remote places 2,000 residents who need to be provided with communications services … the Northern Sea Route also requires attention,” said Roman Kopin, the governor of Chukotka, last spring when the project was initiated, according to a Russian press report. In addition to mariners on the Northern Sea Route, the audience includes geologists, miners, reindeer herders and hunters.

Test transmissions started in August via different DRM modes and bandwidths to trial “hardware setup and determine signal acceptability,” with the goal of covering over 95% of the area. Programming consists of a music loop and has been heard as far away as the United States. As of press time the broadcaster was still carrying out transmission tests but regular programing is expected to begin sometime in the next few months.

One of shortwave’s greatest strengths has always been its ability to communicate to hard-to-reach locations. Radio Purga’s audience is spread over an immense, remote region. The resumption of shortwave via DRM will provide the population with a communications lifeline in both audio and text.

The post Russia Returns to DRM on Shortwave appeared first on Radio World.

Duchesne Drew

Duchesne Drew will lead Minnesota Public Radio as president effective May 4, MPR CEO and American Public Media Group President/CEO Jon McTaggart announced Wednesday.

Next month, Drew will take over for interim MPR President Tim Roesler, who has held that title since November. The prior MPR presidents were McTaggart and MPR founder Bill Kling, according to the Star Tribune. According to the press release, Roesler will help with the leadership transition through June, when he will return to his normal full-time position as chief business development officer for AMP Group.

[MPR Names HQ After Founder]

In his new role, Drew will be responsible for strategy, programming and daily operations for the 46-station radio network, and MPR brands including MPR News, Classical MPR and The Current, as well as the pubcaster’s social and digital services. 

Drew most recently served as community network vice president for the Bush Foundation. Prior to that, he was managing editor for the Star Tribune.

McTaggart described Drew as having “terrific leadership and news experience” and said “his commitment to using public media to inform and inspire people is a perfect fit for MPR.”

The post Minnesota Public Radio Hires New President appeared first on Radio World.

If you wanted to learn how your community is handling the coronavirus pandemic but had trouble getting the information you needed, what would you do? If you’re like many of us, you’d probably turn to Google, send a couple emails and then, exasperated, call it a day.

If you’re Bill Trifiro, that would be an inadequate response.

Trifiro, a radio reporter based in Roanoke, Va., became frustrated last week when trying to report on the local situation. “I could get the Cleveland Clinic on the phone, but I couldn’t get our local hospital system to answer questions,” he explained in a Monday morning interview.

He also identified the absence of hyper-local information and a need for connection. With his background and professional network, Trifiro decided a coronavirus radio station programmed by volunteers was a logical solution. 

Trifiro then reached out to Rob Ruthenberg, “the guy who knows everyone and can build radio stations,” as he put it.

Ruthenberg, who is a radio consultant and former GM, had been experiencing his own frustrations related to the pandemic and doing his part to help friends and neighbors navigate the situation. He noted the emphasis on national news and also was concerned about potential misinformation being spread on social media. Trifiro asked Ruthenberg to help create the format and recruit volunteers.

Next, Trifiro reached out to Flinn Broadcasting, which holds the license for WBZS(FM), a commercial station in Shawsville that had also just ended a local market agreement. According to Trifiro, Lonnie Flinn quickly agreed to let them use the 102.5 MHz signal and passed him on the engineers who could make it happen. 

“These guys are not just sharing their time and their energy and footing the electric bill, they’re sharing their license,” said Ruthenberg. He and Trifiro understand the gravity of this. “It’s important to stress that these people are trusting us, and we owe it to them not to damage that,” Ruthenberg said. 

SETTING STANDARDS

In order to ensure that their fellow volunteers are on the same page, they’ve instituted a training program to explain how to assess news sources and vet information, the standards talk.

About one-third of the volunteer staff are veteran broadcasters or have been trained so far, according to Trifiro. Both expect to get the rest up to speed quickly, and they also hope more people will join their ranks as the word spreads about the COVID Virginia project. As of Tuesday afternoon, COVID Virginia has about 20 volunteers who have signed on or expressed interest.

COVID Virginia is looking for more volunteers to host shows, screen calls, serve as producers, and do the innumerable tasks that keep a station running. They’re also asking people to do this work from their homes and with their own limited resources. 

MAKING IT HAPPEN

In order to enable this collaboration from the technological side, Trifiro reached out to Backbone Networks Chief Technology Officer/Vice President George Capalbo. At Trifiro’s request, Backbone created a custom network and shared an app that enables volunteers to get on the air with uncompressed audio to ensure that the station’s audio is broadcast-quality. All for free for the next 60 days, or perhaps even longer.

“We’re planning on going through June 10, when Virginia’s emergency order lifts,” Trifiro explained. “But if it goes past that we’ll go past that, and George has already said he’ll go past that and it give it to us for free as well.” 

Their appreciation for this generosity is apparent, and it’s not hard to understand why the pair sound a bit incredulous that they’re actually pulling this off.

“The hardest parts were outsourced and given to us for free! And people are giving of their time,” Trifiro said, explaining how some of their volunteers are also reporters from the local NPR affiliate or broadcasters who have come out of retirement to step up for their community.

Trifiro and Ruthenberg are also excited to partner with other radio stations and even a TV news team on the project, which will give them resources to cover news that would otherwise have gone unreported. Other stations understand that COVID Virginia isn’t “trying to be the competition,” Trifiro said, noting that it helps that the format has a designated sign off date (and they aren’t planning to run commercials).  

WDBJ(TV) channel 7 is providing audio for the 5–7 a.m. time slot, and 24/7 News Source — which is owned by iHeartMedia and for which Trifiro is also a correspondent — has donated top- and bottom-of-the-hour news updates, in addition to other audio as the COVID Virginia volunteers require. “We want to be local, but it’s great to have the national information to ‘localize’ and lean on for comparison,” Trifiro explained.

WHY RADIO, WHY HERE, WHY NOW?

Ruthenberg is in charge of volunteer recruitment. So far, he’s taken an individualized approach, going through his address book and calling up colleagues and reaching out to local colleges. He’s gotten a communications professor and one student volunteer to sign on thus far, and he hopes others will follow.

“It’s a real opportunity for people who want to work in this environment to get a real first hand, brass tacks kind of handle on it. It’s one of those things in this industry, your biggest learning experiences are under fire. This is no exception,” Ruthenberg said.

He is also clear why the COVID Virginia station is so important to southwest Virginia. It’s simple: demographics. The area around Roanoke is popular among retirees and others older than 65, who are among those most vulnerable to COVID-19 — and those who can least afford to parse Facebook posts’ veracity. 

“We have this aging population that has this inherent disconnect with different forms of technology,” Ruthenberg explained. But he is confident radio can make a difference here. “We’re bringing radio back to being the initially useful tool that it was intended to be.”

Trifiro agrees. “In times of crisis, when there’s epidemics, or now a pandemic, when there’s horrible disasters, people need local radio.”

For this project in particular, Trifiro said, “Part of what we’re going to do is help dispel the stuff that you’re seeing on Facebook that isn’t true, and we’re going to do it in a way that hopefully ties the community together and makes them feel not so alone in isolation, like the tag says, we’re together in isolation.”

As far as they know, COVID Virginia is the only station that will not only be covering the press conferences remotely and interviewing experts, but also taking calls from listeners who are seeking connection while practicing social distancing. (As of Tuesday afternoon, Trifiro was troubleshooting some issues with the phone system, but expected to have callers on the air by the Wednesday morning show.)

Ruthenberg is clear that the station will fight misinformation, but also seek to affirm people’s emotions, while learning from past mistakes. The fall out from the “war of the worlds” broadcast, for example, is exactly what they plan to avoid.

Just as Flinn, Capalbo and others contributed to getting COVID Virginia on the air, Trifiro and Ruthenberg want to help other broadcasters pursue similar initiatives. 

“If there are other communities in Virginia that are in need of this kind of sharing and information to cut down the isolation, we are definitely up for adding on,” Trifiro said. He added, “We’re focused on southwest Virginia because that’s where the terrestrial stick is, but we’re all Virginians.” 

Trifiro said he hopes the radio station can emulate what FDR did during the Great Depression with his fireside chats, providing information and hope with a steady voice. However, he knows that COVID Virginia’s audio signature will be quite different.

“We’re going to be as professional as possible because we’re running a radio station, and we have that obligation,” Trifiro said. “But at the same time, folks are going to hear my kid knocking on the door, the dogs barking, perhaps, and know that we’re going through what they’re going through, which I think is unique.”

It’s only been a week since he dreamed up the idea, but Trifiro says he’s already looking forward to taking the station off the air, which he and Ruthenberg say won’t happen “until we win. When we beat COVID-19.” 

If you’re interested in learning more about COVID Virginia, visit https://www.covidvirginia.com, check out their Facebook group or tune your dial to WBSZ(FM) 102.5 in Roanoke, Va., area. If you’d like to volunteer for the station, email help@covidvirginia.com. 

The post COVID Virginia to Help Listeners Be “Together in Isolation” appeared first on Radio World.

The bad news: AM radio will never be the same. How many dyed-in-the-wool broadcast vets built crystal sets or foxhole radios and played with a cat’s whisker? How many hours of AM DXing, especially during the Sunday morning maintenance period, listening for an announcer in a distant control room to give the calls? 

In the digital AM world, we’ll sure miss the singing of an iron core when it’s replaced with a digital “whoosh” sound. Nostalgia will always exert a tug on the heartstrings of a Real Broadcaster of a Certain Age. 

Those days are disappearing.

The good news: AM radio will never be the same. It will be substantially better. That is to say, the game is likely to be changed radically by all-digital “HD” AM.

Many of us have objected to the jamming of first adjacents by IBuzz. It’s difficult to tolerate the degraded audio when an “HD” AM signal reverts to analog. 

Those qualities were attendant to the use of MA1 hybrid analog/digital use on the standard broadcast band. All-digital MA3 is a whole new ballgame. Xperi, successor to iBiquity, currently is allowing AM stations to license the technology at no cost in perpetuity.

Under the hybrid MA1 standard, the analog signal was accompanied by a digital signal that was 10 to 20 dB down from the nominal carrier power. Under the all-digital MA3 standard, there is no analog signal; the digital signal is at full power. 

Some 75% of the power in an analog signal was wasted in the carrier and redundant sidebands. Only one “single sideband” at a maximum of 25% of the station’s total power was necessary to convey useful data, the station’s audio. With all-digital AM, 100% of the station’s power is employed for that purpose. It’s much less vulnerable to many kinds of interference, and audio quality is not limited by the receiver’s IF response curve.

Fig. 1

The tests of all-digital MA3 at WWFD in Frederick, Md., have been famously successful. The station’s 2 mV/m contour (green in Fig. 1), often considered to be an AM station’s analog listening limit today, covers about 368,000 people in a 1,300 square mile area.

The 0.5 mV/m (orange in Fig. 1) is protected from interference, and was historically considered to be an AM station’s daytime coverage before AM interference became a significant issue. For WWFD, this signal covers about 2.33 million people over a 4,545 square mile area.

The all-digital MA3 signal has been proven reliable out to around the 0.1 mV/m contour, or 100 uV/m (red in the figure). This is 1/5 the strength of the old standard, and merely 5% of the signal level that is generally considered usable on today’s radios. 

For WWFD, this contour covers about 10 million people over a 21,900 square mile area. I carried it from 70 miles south of the station in Stafford, Va., to beyond Baltimore. (I neglected to try beyond that, so it might have even greater range.) The audio was indistinguishable from FM stereo, and in the future can incorporate graphics and other data. 

My stock 2013 BMW car radio with a windshield antenna is nothing special. In fact, the analog AM side sounds awful, just like so many other “modern” dashboard AM receivers. 

But HD AM dashboard penetration is already around a third of all cars, and climbing. That’s significantly higher than AM’s share of AQH listening in our country today. All-digital MA3 signals are totally compatible and listenable on any HD AM receiver. (Note, however, that all-digital WWFD did not stop a scan.)

I made two very informal short videos on an iPhone of my WWFD listening experience last May and posted them on YouTube here:

• Stafford, Va.: https://youtu.be/vyG8Nyba_lk
• Baltimore: https://youtu.be/hWp6mh4WKQU

CASE IN POINT

As I write this, I’m helping a friend who’s ready to retire from operating his 10,000-watt AM in Greenfield, Mass., so I decided to look into its potential as an all-digital AM. 

Fig. 2

The station is WIZZ, a daytimer on 1520 designed with a single two-tower pattern to protect Buffalo during Critical Hours, as required for two hours after Local Sunrise, and two hours before Local Sunset. Between those two limits, however, a preliminary study shows that WIZZ can operate with 50 kW non-directional.

The potential of WIZZ HD AM all-digital coverage by day at 50,000 watts non-directional is shown in Fig. 2 in red. This is the 0.1 mV/m coverage contour. Also shown is the currently licensed 10 kW directional contour. Note that the station also has some freedom of movement to optimize population coverage, by moving toward Boston, for example.

All-digital HD AM coverage from the present site would be just under 5 million people within a 15,600 square mile area. 

[Upgrading to AM All-Digital: Why, How and Lessons Learned]

I wouldn’t want to use a daytime facility like this to compete head-to-head with a format that exists in every market, but the phenomenal coverage is ideal for reaching an enormous potential audience with any unduplicated or specialty format. In that way, it’s not so different from FM in the 1960s. This station now broadcasts a format of American standards and pop hits that most stations have abandoned. The audience for this kind of format is older but fiercely loyal, not to mention well-heeled. When the station goes off, so does their radio. In this format, the station enjoys revenue streams from both advertisers and listeners. The associated FM translator can retain the audience during a transition to all-digital AM.

This is one example of the difference MA3 all-digital AM can make for an AM station. Obviously, each situation is different, but it behooves every broadcast engineer to take a close look at digital AM and advise their licensees of its potential in their particular situation.

The author is a technical and general radio consultant and small group owner. He has held numerous radio roles and founded an AM, six commercial FMs, two NCE FMs and numerous translators.

The post All-Digital MA3 Is a Whole New Ballgame appeared first on Radio World.

Moseley describes the NX-GEN-T as an economical advanced microwave STL/TSL software-defined frequency-agile digital radio for 6 GHz to 38 GHz bands.

It offers T1/E1, Gigabit Ethernet, 2 x OC3, DS3, NxDS3, add/drop MUX, OC3 interfaces. Modulation includes 4QAM, 16QAM, 32QAM, 64QAM, 128QAM, conforming to channel bandwidth and payload requirements along with ATPC, XPIC, Adaptive Modulation.

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

The data rate is 155 Mbps to maximize payload capacity. A web browser interface provides for remote operation.

This carrier class product transports a programmable mix of native TDM and IP traffic separately, ensuring a seamless transition from legacy TDM networks to an all-IP network, the company says. An onboard “Add and Drop” multiplexer allows DS3/28DS1, SDH/63E1, add/drop operation. A QoS/Ethernet features deliver secure LAN/WLAN networks.

It is at home indoor or outdoor with an integrated package that can be directly mounted onto a pole or tower. Operational temperature range is –22 F/–30 C to 131 F/55 C.

Info: www.moseleysb.com

 

The post Moseley Steps Into the Next Generation appeared first on Radio World.

Electronics Research, Inc. has updated the design of its low-power integrated FM channel combiner, Model FI136. This compact and easily installed combiner is intended for use with FM translators and low-power FM facilities. It combines any two FM channels, with a minimum spacing of 1.6 MHz, into a single output to be fed to a broadband FM antenna.

The FI136 has 7-16 DIN, female inputs, that are rated to handle 750 watts each for a combined output power handling capability of 1.5 kW. The FI136 is available with a 7/8-inch or 1-5/8-inch output and includes a single port directional coupler at the combined output to allow for intermodulation product measurements.

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

The combiner is constructed from a lightweight aluminum housing with copper resonators. The design includes nonadjacent coupling which increases rejection of out-of-band emissions and features temperature compensation for stable operation even with varying ambient temperatures and at initial startup. The combiner is designed to allow for retuning with a minimum of disassembly. The FI136 includes mounting tabs for attachment to the transmitter building wall or ceiling, with customer supplied hardware.

ERI also manufactures the FI836 which is a high-power integrated FM channel combiner that is available to combine any two FM channels, with a minimum spacing of 1.8 MHz, with power handling capability of up to 30 kW at each input, 60 kW at the combined output.

Info: www.eriinc.com

 

The post Low-Power Integrated FM Channel Combiner From ERI appeared first on Radio World.

The DB4005 is the latest monitoring product from DEVA Broadcast.

The company explains that the unit makes use of sophisticated DSP algorithms and provides SDR FM tuner-based signal processing. “Its powerful digital filters are a guarantee of precision and enable the FM signal to be accurately and repeatedly analyzed with each device,” the company adds.

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

A leading feature of the DB4005 is the MPX input, which allows users to monitor external composite signals, regardless of whether they are from a composite STL receiver/stereo FM encoder, or from an off-air source. In addition, the loudness meter allows for measurements to be shown as defined by ITU BS.1770-4 and EBU R128 recommendations — the DB4005 supports both standards.

DB4005 is easy to use and packs a host of features. These include TCP/IP connectivity, audio streaming, and automatic alerts for operation outside of predefined ITU-R ranges, as well as optional GSM connectivity. Onboard tools include oscilloscope, loudness analyzer, spectrum analyzer, de-emphasis, stereo decoder, RDS/RBDS decoder, data logger, FTP server and audio streaming.

Alarms include RF, pilot left and right audio levels, MPX, MPX power and RDS. Remote operation can be rendered via PC or Android and Apple smart devices.

Info: www.devabroadcast.com

 

The post DEVA Broadcast DB4005 Promises Precision appeared first on Radio World.

The NAB says there’s no need for further industry testing before the FCC can allow AM stations individually to switch to all-digital operation on a voluntary basis.

It also opposes any notification period, instead favoring a simple immediate approach. It sees no need to put a carrier frequency tolerance standard in place. And it hopes the FCC will recommit to IBOC rather than reopen discussion of other formats.

In comments filed with the FCC, the broadcast association has reiterated its support for allowing all-digital on the AM band in the United States for those stations that want to adopt it. The NAB said that nearly all others who have commented to the commission have supported the idea.

[Read: Hubbard Radio Backs Push for All-Digital Option on AM]

In addition to reviewing the various reasons it had listed earlier (reaching more listeners, improving signals, allowing additional programming), the association now has made some specific additional points:

• • It argues that no additional testing is needed because it considers the all-digital MA3 mode as proven, based on field and lab tests as well as the experimental operation of a station in Frederick, Md.;

 

• • NAB disagrees with those who think testing is needed to determine potential interference to co-channels during nighttime hours. “The evidence shows that all-digital signals will cause fewer interference concerns than hybrid operations and eliminate any concerns about interference to adjacent channels. … WWFD has been broadcasting all-digital nighttime service for 20 months without any problems. Also, the rollout of all-digital is expected to be fairly gradual, which will provide the FCC and industry time to monitor and address any interference problems, as NPR suggests.”

 

• • NAB agreed with Xperi, which told the FCC that although NAB Labs’ tests may not have exhaustively tested every conceivable all-digital AM operational scenario, “the success of the WWFD experiment confirms that there is more than an adequate foundation for FCC action.” The NAB said the FCC can simply address individual cases of interference as they arise, under current practice.

 

• • The commission had asked whether to impose a carrier frequency tolerance standard on AM stations of 1 Hz as a way to improve all-digital reception. NAB says no, calling the idea “an unnecessary burden on AM broadcasters who will continue to operate in analog mode.” It agreed that tightening the carrier frequency tolerance would benefit analog and all-digital operations by reducing the impact of co-channel interference. “However, given today’s extremely challenging economic climate for radio broadcasting, especially AM service, such a new requirement would be a burden and counterproductive to the FCC’s goal of AM radio revitalization.” At most, it said, the FCC should table the idea for the time being.

 

• • NAB supports a proposal from Nautel regarding the allowed operating power (nominal power) limits. Nautel wants the relevant section to be applied “to the average all-digital signal power including the digital signal power and the unmodulated analog carrier power” and not simply the “unmodulated analog carrier power” as proposed in the FCC notice. NAB called this “an important modification which makes good technical sense” and would make it easier for more AM stations to be switch to MA3.

 

• • The broadcast association reiterated support for the plan to incorporate the NRSC-5-D standard by reference into the digital audio broadcasting rules — in other words, for the FCC to verify its commitment to IBOC. “Adopting NRSC-5-D as a formal technical standard will provide stakeholders the regulatory certainty needed to confidently invest in providing digital broadcasting service and products,” NAB wrote. “Contrary to the requests of Dolby and a few others calling for the FCC to start over with a reevaluation of alternatives to IBOC as the standard for all-digital AM service, confirming IBOC as the single standard for digital audio broadcasting will avoid completely upending the long-standing and ongoing progress of digital radio in the United States.”

 

• • And NAB supports a simple notification procedure for AM stations’ conversion. It opposes a request from the Society of Broadcast Engineers for a longer prior notification period (such as 60 days) for converting to all-digital service to allow co- and adjacent analog channel stations to determine certain baseline data before digital service starts. “NAB submits that NAB Labs’ extensive testing and WWFD’s real-world experience confirm that such a requirement is unnecessary.”

 

The post NAB Says FCC Should Act Now to Allow All-Digital on AM appeared first on Radio World.

The Federal Communications Commission has announced a proposed fine of $20,000 against Entercom for broadcasting an Emergency Alert System tone in 2018 during a skit on WNEW(FM) just hours before nationwide tests of WEA and EAS.

The rules prohibit airing real or simulated EAS codes and attention signals unless it’s an actual emergency, a test or a qualified PSA.

Radio World reached out to Entercom and will report any comment.

In October 2018 FEMA scheduled a Wireless Emergency Alert test message to mobile devices throughout the country, and immediately followed with a live test of the EAS. But earlier that morning, in drive time in New York City, Entercom used an emergency tone during the “Karen & Jeffrey” program to lampoon the pending test.

The FCC said that Entercom has acknowledged airing the Attention Signal. It said the skit was produced by an employee who first had included the EAS Header Code in an initial version of the skit. “After the host of the radio show and the station program direction identified the use of the EAS Header Code as problematic and something that must be removed from the segment,” the FCC wrote, “the employee replaced it with approximately one second of the Attention Signal. The station program director approved the revised segment for air.”

[COVID-19 and Emergency Alerting Best Practices]

It said this case is “specifically the type of behavior” that the rules seek to prevent.

“The unauthorized and inappropriate use of the EAS Tones may confuse people or lead to alert fatigue, resulting in people ignoring potentially life-saving warnings and information. We find that an average listener could reasonably mistake the airing of part of the Attention Signal for an actual EAS alert.” It said the rules prohibit such appropriation because non-emergency uses actually dilute their real meaning over time.

The FCC acknowledged that this was a single violation and a single transmission that apparently caused no downstream EAS activation. But it also pointed to the reach of the WNEW signal. “The fact that Entercom’s programming reached potentially vast audiences increases the extent and gravity of the violation and therefore supports an upward adjustment” in the proposed fine.

Entercom has 30 days to pay or reply in appeal.

The Notice of Apparently Liability for Forfeiture is available here. 

The post Entercom Faces Penalty for Misuse of EAS Tones in 2018 appeared first on Radio World.

Tired of the boring-looking usual acoustic treatment panel?

Portugal-based acoustic treatment manufacturer Jocavi has introduced WoodQuad, a quadratic diffuser with a different look

According to the company, WoodQuad panels have an average diffusion coefficient of 0.63 per square meter and are produced from solid wood blocks. Intended for medium to large studios and control rooms, the panels were created in collaboration with studio and loudspeaker designer Dave Malekpour, from Professional Audio Design and Augspurger Monitors.

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The WoodQuad’s design is intended to provide a more uniform sound field through mid and high frequencies and provide hemispherical scattering for wide angles of incidence. As a result, the panel reportedly provides large spectrum bandwidth diffusion in a single integrated piece and has the uniform scattering properties of a quadratic diffuser.

This panel is made of solid sustainable pine with a finish of five different colors of veneer — pine, cherry, oak, sucupira, wengé and mahogany.

The WoodQuad was originally custom-created for a New Hampshire studio owned by U.S. record producer and talent scout Angelo Montrone, founder and CEO of Majestic Music. Montrone was involved in records from artists like Natalie Cole, Matisyahu and John Cale and in 2013 established Majestic Music LLC. The studio is an 1800s farmhouse that combines a world-class recording studio and a bed & breakfast, with the aim of creating a creative incubator for artists to work in.

Jocavi, founded in 1992, specializes in developing and manufacturing acoustic treatment panels for the professional audio industry. The company is distributed around the world through 59 dealers as well as official sellers, and it established a branch in the United States in 2018.

Info: www.jocavi.net

 

The post Jocavi Launches WoodQuad Acoustic Diffuser appeared first on Radio World.

Getty/vladwel

Radio World wants to know your thoughts about how the radio industry is reacting to the coronavirus pandemic. We also want your feedback about our coverage of COVID-19’s impact on broadcasters.

We’ve created a survey to get your input and learn more about how readers have been affected. We ask questions about how radio station workflow may have changed, as well as how media consumption habits have shifted, and we want to learn whether you’re getting the information you need to do your job well during this crisis.

Please take our radio and COVID-19 survey. It’ll take about five minutes, and your responses will be anonymized. The results will be used to guide how we cover the pandemic’s affects going forward, and we will share relevant insights with readers.

Reader feedback is crucial, and we want to hear from as many readers as possible. Thanks for being a valuable part of the Radio World community. Stay safe and keep up the good work!

The post Take Our Survey — Your Opinion Matters appeared first on Radio World.

The Broadcasters Foundation of America is stepping in to do its part for people suffering from the wide-ranging impacts of the COVID-19 pandemic.

A Monday press release from the 501(c)3 public charity announced that the BFA’s executive committee recently held an emergency meeting to determine how best to address broadcasters’ needs during the crisis. The board voted to revise its emergency grant qualifications to enable those infected to apply for aid. 

Under the new rule, to qualify, an applicant must: 

• Be or have been a direct employee of an over-the-air broadcaster
• Be or have been infected with COVID-19
• Be out of work or have lost wages due to COVID-19
• Be in acute financial need due to hardships from COVID-19

For more information, email grants@thebfoa.org or call 212-373-8250.

Broadcasters Foundation of America Chairman Dan Mason said in the announcement, “Never in our history as broadcasters have we experienced an event that has caused this much hardship.”

The post Broadcasters Foundation Opens Grants to Those Affected by COVID-19 appeared first on Radio World.

With a mission to make codec herding easier, Tieline has released the TieLink Traversal Server. According to Tieline, it is “designed to facilitate simple codec discovery, NAT traversal, and connections throughout an entire codec network.”

A recent firmware upgrade for ViA, Genie and Merlin codecs provides their compatibility to the server.

Tieline VP Sales APAC/EMEA Charlie Gawley explained, “TieLink is particularly useful to networks with many IP codecs, because the ‘address book’ approach to grouping codecs greatly simplifies dialing for non-technical users.”

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According to Tieline, the TieLink Traversal Server is a secure, independently hosted global server network, with multiple global backups. It centralizes the Tieline codec contact list management and provides self-discovery of codecs within customized call-groups.

It adds that users can view the online or offline status of all codecs in a group and whether it is connected or disconnected.”

TieLink Traversal Server is compatible with Tieline’s Cloud Codec Controller software.

Info: https://tieline.com

 

The post Tieline Releases Codec Communication Software appeared first on Radio World.

John Records Landecker

John Records Landecker has never been to Las Vegas in his life. And with no NAB Show this year, he might not get there anytime soon. 

But the lack of a physical event in April doesn’t diminish his accomplishment. The National Association of Broadcasters chose him this year for induction into its NAB Broadcasting Hall of Fame.

The legendary top 40 radio jock has spent 50 years on the air and still works a weekly shift for WEFM(FM) in Michigan City, Ind.

He became a national name during his tenure at WLS(AM) in Chicago. The 50,000-watt station reaches audiences in some 40 states.

IT STARTED WITH A DICTAPHONE

“John Records Landecker has had a profound impact on radio and has inspired generations of new talent,” said NAB Executive Vice President of Industry Affairs Steve Newberry. “His induction into the Broadcasting Hall of Fame symbolizes the personal connection between DJs and their audiences and how innovative personalities can influence radio programming.”

Most stories about Landecker start out explaining that Records was not just a clever addition to his name to play off his radio work. The origins of that can be traced back to his mother’s maiden name. 

In fact, his autobiography is titled “Records Really is My Middle Name.” In addition, he has released six albums based on his bits and satirical songs accumulated through his career.

Landecker, 73, was born in Ann Arbor, Mich., just outside Detroit, and his earliest memories of radio are of several hometown AM radio stations that were fairly typical of that time.

“I didn’t really tune in for the music or even recall that part of it. But the announcers did everything. They hosted talk shows, read sports and weather, they did call-in buy and sell shows and remotes. I found it fascinating. So I began tape recording myself around the house,” Landecker said.

His father had a Dictaphone that Landecker was allowed to play with, and when he first heard his voice come out of it he was convinced that radio would be his career choice.  

“I just knew it even at a very young age. Maybe it was part ego, but I wanted to be the guy on the radio talking to people through this magic box,” Landecker said.

Landecker landed his first job in radio during high school in 1964 following a live on-air tryout. “I went to visit WOIA(AM) in Saline, Mich., where my girlfriend’s mother wrangled an interview for me with the station manager. So I get there and the jock handed me some copy and told me to read it when the light came on. I did. Then he joked on-air about it later. But it was my ever so humble start in radio,” Landecker said. 

 He attended Grand Valley State University in Grand Rapids, Mich., and later transferred to Michigan State University and majored in communication arts. While in college Landecker honed his craft while pulling air shifts at WTRX(AM) in Flint, Mich., WERX(AM) in Grand Rapids and WILS(AM) in  Lansing, Mich. 

Landecker, already inducted into the National Radio Hall of Fame in 2017 and saluted in an exhibit at the Rock and Roll Hall of Fame in Cleveland, fondly recalls the phone call that led to his first big break to major-market radio. 

“I was still in school at MSU in my senior year and working nights at WILS when a man from Philadelphia called my mom and said he was looking for me. It was WIBG(FM) in Philly. I called them back and took the job. I thanked my mom profusely for relaying the message to me,” Landecker said. 

Landecker says he credits two listeners of his show in Lansing for sending a tape of his show to radio executives that eventually landed him the gig. 

“They were just radio aficionados in Lansing that I didn’t even know, but they were impressed with my work at WILS and thought I deserved to work in a bigger city, so they put together an air check and sent it on to Mike Rivers in Detroit at CKLW(AM). He eventually moved on to Philadelphia where the tape ended up with the top executives at WIBG. It was crazy that it worked out,” he said.  

HOME IN THE WINDY CITY

Landecker was forced to change his name to Scott Walker to begin his Philadelphia radio tenure, but Chicago came calling a few years later and so began a dizzying span of about four decades in Chicago where he worked for multiple radio stations, beginning with WLS(AM). His career also included stops at WLUP(FM), WJMK(FM), WGN(AM) and WLS(FM). In between were brief stints at Toronto and Cleveland radio stations and hosting duties for “Into the Seventies,” a syndicated show from TKO Radio Networks.

“Chicago was the best for me and became home. The WLS success was really a team effort. There was only one person on the air at a time, but we all helped each other behind the scenes. We fed off each other’s energy. Nobody does it alone,” Landecker said. 

“And I worked with some incredible talent over the years. There was Larry Lujack at WLS and I worked with Bob Sirott and many others. Unbelievable talent. It was real radio.” 

Landecker banged the phones and developed bits at WLS(AM) where he worked from 1971 until 1982 and developed the “Boogie Check,” a nightly feature of a quick succession of phone calls from listeners, all without the parachute of an on-air delay. “There was some risk taking. I relied on the staff engineers to get me out of trouble as soon as possible!”

NEW OUTLETS

The old-school jock in Landecker has a hard time appreciating the current brand of commercial radio in this country with its “liner card reading” style of presentation, he said. 

“I guess if I was any good at voice-tracking I could still be successful. I think radio is kind of flat right now,” Landecker said.

 “That was really why I left WLS(FM) in 2015. There were so many rules. You only had a few seconds to talk. I had to execute the format and try to match to the PPM clock. It really wasn’t much fun. So I quit.” 

For young people who aspire to communicate to the masses there are many other options like podcasting and social media, Landecker said. 

“I just don’t think radio has the attraction now. There are so many different opportunities for young people to have a platform, it’s just not in radio. The days of knocking on the door of a program director and saying ‘Hey, I want to be in broadcasting’ are sadly over.”

Recently, Landecker has found a new outlet for his creative nature by taking to the stage for live summer theater in Michigan City and was expecting to be in another play this summer, at least before the coronavirus crisis erupted. 

“I even took acting classes in Los Angeles, where my two daughters, Amy and Tracy, live. I went to the Lesly Kahn Studios for acting lessons a few years back. The average age was probably 22 and I was 70. I took a comedy intensive session and loved it. Acting really is a team sport and I feed off the energy of other people,” he said.   

In addition to perfecting his acting chops, Landecker continues to work that air shift each Friday afternoon at WEFM(FM) in Michigan City with his friend and co-host, Mike Dempsey. “It’s really free-form radio. We talk about music or go out on remote. It’s live. I still get a chance to talk up the intro of a song and hit the post if I want. I still find it energizing. It’s just me being John Records Landecker,” he said.

And there is that famously fitting middle name again that still seems so appropriate. Turns out Landecker was bequeathed a name fit for a future member of the NAB Hall of Fame.

The post Landecker Succeeded by Making Connections appeared first on Radio World.

WorldCast Systems is letting all owners of Ecreso FM transmitters use its SmartFM technology gratis for one year.

SmartFM is compatible with recent generation Ecreso FM transmitters and users can activate it through a software upgrade or license activation.

According to the company, SmartFM can help stations save up to €4000 (about $4,300) per year when using an Ecreso FM 10 kW transmitter. Or they can save €400 (approximately $430) when using an Ecreso FM 1000 W transmitter.

“To support our customers during this tough period, it means a lot to us to contribute in some way. Covid-19 is impacting all industries, worldwide, including FM radio,” said Co-President, Nicolas Boulay. “During these uncertain economic times, limiting costs becomes crucial and for this reason, we are offering SmartFM.”

Worldcast says clients should contact their regional sales managers or email the company at sales@worldcastsystems.com to activate SmartFM.

The post WorldCast Gives Ecreso Users Free Access to SmartFM appeared first on Radio World.

The author is chairman of Digital Radio Mondiale.

While our lives have been recently stripped to the minimum by a virus, our vocabulary has been suddenly enriched with new words, concepts and acronyms like lockdown, social distancing and work from home, for those who can.

Now work from home has become much more than the bonus it might have been occasionally in the past. The same is true about the current intense virtual socializing, conference calling and distance learning many experience.

When schools closed down hundreds of thousands of children and older students started to use the internet intensely to continue their education. But to do so these students need a computer and access to broadband and secure connections. In addition, we are already experiencing the limitations of WFH. The broadband is not infinite, and neither is spectrum, a rare commodity indeed.

Big players like Netflix and Amazon are already trimming their offerings to save some bits. Providers are also asking us to use this precious commodity with care. Broadband itself is also of different grades, better when glass fiber than copper etc.

And then there is the physical laptop. What if your mother is distance teaching, your father is conference calling, you are distance learning and your siblings are just skyping friends? How many laptops does a household need? Maybe not all these activities are simultaneous but the laptop (and the cell phone, too) are our gateway to a world blighted by an invisible enemy.

And this is where free-to-air radio broadcasting in its digital format can be of real help. Unlike analog radio, digital and certainly using DRM will allow you to use a receiver with a LED color screen, not smaller than what you have on a cell phone.

Photo Credit: Radu Obreja

This screen transforms radio into an aggregating platform that delivers quality audio, no matter which band is used.

In digital DRM, audio is accompanied by data. It offers the possibility of carrying up to two audio channels and one data channel just on one of the existing frequencies. This is different from analog, which delivers just one audio program on the same frequency and no data. Data can be anything: A geometry lesson with drawings, a quiz, a poem, any text or picture or diagram, etc.

And if you use Journaline, an open, internationally standardized data application for advanced text information in digital radio systems, you will get hierarchically structured information, giving users easy and immediate access to topics of interest and in the desired language.

Users can browse all received information — both audio program-related but also program-independent text information — and select what is of interest. Journaline is not DRM specific and works with virtually any broadcast platform (i.e. DAB/DAB+) due to its low transmission bandwidth consumption. It even delivers a “Hot Button” feature that allows broadcasters to trigger backchannel interactivity, such as linking to online websites, initiating phone calls or sending short text messages.

Recently the data carriage feature of DRM was demonstrated during the BES event in India. It provides an easy, cheap, wide-coverage way of delivering public signage. Think of the screens placed in public places. They could be fed from a DRM transmitter with data only (warnings, phone numbers, simple instructions, or stock market information, pictures of politicians, celebrities, heroes etc.). The system is being tested and used in China.

If this is news to you, then my point is made. Digital radio has been introduced over many years and decades patchily. I don’t believe its full potential has been presented in a compelling way, or that it’s been fully explored.

Digital terrestrial broadcasting is limitless in the number of users it can reach with audio but also extra data. The graphic color screen is the big public alert that can save lives or the small blackboard that is available “live” or where previously stored material can be displayed later. If this sounds like a clunky computer service, it probably is. But it is a resilient and cheap service, it does not consume a lot of bandwidth or electricity and it can reach everyone over large areas (when broadcast in DRM shortwave and medium wave) or locally (DRM in the FM band).

Not many people would have imagined three months ago that we can be in the rare and extreme situation many of us are experiencing now. We must soldier on working from home. Information keeps us connected and alive.

Digital radio reaches vast numbers of peoples at the same time without a lot of intervention, delivering so much more than audio. Having it as a backup to internet, in some places, or as a main source of information in others, allowing access when there is no laptop available, is now becoming a necessity. What’s more, DRM digital radio delivers emergency information or disaster warnings over large or local areas, a feature which seems to be rising in importance.

The virus will not be forever among us. But when we get back to  the new normality, we mustn’t forget this lesson about the great possibilities of digital radio. Full digital broadcasts and full-feature digital receivers are a necessity and not a cottage industry any longer.

We need this new and resilient platform called digital radio because in the invisible fight between viruses floating in the air and radio waves reaching us from a lonely transmitter far away, I will always bet on the radio waves.

The post The Unexplored Benefits of Digital Radio appeared first on Radio World.

Bringing together the sound of its 1035 main monitor with 96 kHz processing and integration with its GLM calibration software, Genelec has introduced the 1235A Smart Active Monitor, intended for music, film and post-production studios.

Launched in 1989, the original 1035 was a wall-mountable full-range monitor that was adopted in studios around the world, including Metropolis and Olympic in London and JVC and West Side in Japan.

According to Genelec, the new 1235A has similar frequency response both on and off-axis, and is said to have a wide and stable sweet spot. The 1235A also has a short-term SPL of 130 dB and low-frequency extension down to 29 Hz.

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The 12.36 cubic foot enclosure of the 1235A matches exactly the dimensions of the 1035, and features dual high-performance 15-inch drivers, dual 5-inch midrange drivers and a low distortion 1-inch throat compression driver. The midrange and tweeter drivers work in conjunction with DCW waveguide technology to produce directivity and consistent imaging.

The 1235A’s remote-mountable RAM XL electronics module contains power amplification, crossovers and processing, with Class D amplification delivering 2,000 W, 800 W and 250 W for the LF, MF and HF drivers respectively. Input connectivity is provided via both analog and AES/EBU digital formats — along with an AES/EBU digital output — and the updated design of the 1235 also delivers a flatter on-axis frequency response and improved noise performance than was possible with the original 1035, according to Genelec.

With GLM software, the 1235A can be configured, controlled and calibrated for the user’s acoustic environment, tailoring the frequency response, level, distance delay and more as needed. GLM allows users of any type of Genelec Smart Active Monitors to create systems to suit all types of stereo, multiple stereo, multichannel or 3D immersive audio formats.

For those who already own 1035A and B monitors, they can be upgraded with the new technology of the 1235A. The upgrade, which includes installation of the new RAM-XL module, brand new drivers and a complete system calibration, can be completed with no structural changes and little downtime.

Info: www.genelecusa.com

 

The post Genelec 1235A Smart Active Monitor and Upgrade Launch appeared first on Radio World.