Radio World

As the quality of smartphone cameras has improved over the years, many people are now using them to broadcast from their homes or facilities, especially during a time when our mobility is limited. The Video Call Center, a provider of video remotes and production automation for media companies, is among the most experienced in advancing remote production technologies using smartphones.

The company’s patented technology allows seamless connectivity for broadcasting over cellular connections with zero latency. No apps are involved; all that’s needed is a smartphone camera and cellular connection.

Larry Thaler, CEO for The Video Call Center and contributor to TV Technology, said the company was seeing steady growth well before the pandemic.

“We have watched our new, location-agnostic, smartphone- and IP-based production processes steadily gain traction over the past couple of years with sales up nearly 100%,” he said. “Even before the pandemic, our clients found that we offered creative flexibility, while making more effective use of their available budgets. Although we are concerned about the pandemic and our hearts go out to those affected, the VCC’s customer base has grown by an additional 30% and production hours are four times higher than this time last year.”

TV Technology recently spoke with VCC Producer Jonni-Lynn Galietti about her work in helping prepare clients for their live appearances on TV.

VCC call producer Jonni-Lynn Galietti manages production for a national news program from her home. (Photo: Video Call Center)

TVT: What’s the first thing you do to help prepare for broadcasts?

Jonni-Lynn Galietti: The first thing we do when we connect with the smartphone is we analyze the connection. Sometimes Wi-Fi is great, but sometimes it’s not, so we would have to switch to data — so there’s really only two options.

It’s really easy to analyze the connection — within the first 10–20 seconds of our conversation, we can see if it’s good or bad. After that, it’s all about propping up the device. We ask them to hold it full screen horizontal and then we really analyze the room. If the first thing I see is light behind the caller, I know that there’s some beautiful natural light coming into the room. But the last thing I want to do is to put it behind the caller.

So we utilize anything we can to have that caller move to use that light, so that the light is in front of them. Window sills are great, as they can prop the device so it’s at 90 degrees. But the real challenge is getting it eye level, so we’ll ask them to use ordinary household items to prop these devices to get them at eye level with the caller. We don’t want any tilts or look up somebody’s nose and we don’t want any ceiling in the shot, so there’s a lot of filters that we really have to go through to get that perfect ideal shot.

If I have my overhead light on in the room I’m using, it’s not really going to provide a balanced light on my face. What matters most is that the person you are speaking with, that their face is lit up. It’s not the overhead, the shoulders or behind them, you want to see their face clearly.

TVT: How far away should the smartphone be placed?

JG: That’s really at the client’s request. I’ve had clients connect with callers at campsites where they want the full body shot, tent and fire in the picture, but the majority of our clients want to match up the caller to the host that is interviewing them.

It’s usually the eyes, and the top part of their chest, maybe a little more headroom, but it’s really based on the client’s request.

TVT: Do clients ever want to use the camera vertically?

JG: We’ve had requests to do it vertically before but we really like to provide horizontal connections because we want the caller to see as much return as possible. I think it’s just as important for the full screen to be taken up in the control room so they can crop it accordingly.

TVT: How long does set-up take?

JG: This window varies. A lot of our clients put very strict time constrictions on us — we’ve had less than seven minutes to connect with the caller to put them on live TV. We’ve had callers in Israel with absolutely no connection and we needed to provide a clear HD signal and we spent hours connecting them to see what the best results were.

As a rule of thumb, we typically ask for 15 minutes just to get it perfect. We know everyone’s time is valuable but we feel confident that we can get a really good signal within 15 minutes.

TVT: Beyond the tech support, how would you describe your role?

JG: I am their cheerleader! There’s a lot of people who get nervous about how they look, but I’m only here to make sure your connection is good and your shot looks good. I’m also here to amp you up.

There’s different challenges every time. Everyone is unique.

 

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2wcom says its MoIN software solution provides all functionalities that traditional hardware AoIP codecs offer. The company also points out that it adds benefits such as scalability, usage-oriented pricing models, optimized rack space or flexibility in application.

The system features Icecast to DVB transport stream transcoding so web streams are available on DVB transport stream for distribution in cable networks or via satellite. In addition, its software can feed a streaming encoder or transcode an audio signal to adaptive bitrate protocols like HLS for further distribution via CDN.

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

As a studio-to-WAN bridge, the server allows for the transformation of AoIP protocols like AES67, Dante, WheatNet, Ravenna or Livewire+ to a format that is suitable for wide area networks.

SMPTE 2022 conform error protection or Secure Reliable Transport (SRT) ensure transmission robustness, even with imperfect network conditions.

On-demand transcoders in means of number and time enable users to flexibly handle alternative audio streams like audio description or additional audio streams of a video contribution, such as for example for social media platforms and radio.

MoIN software is also available as hardware if required.

Info: www.2wcom.com

 

The post 2wcom MoIN Links Production and Distribution appeared first on Radio World.

Robert Ferguson

The author is a support engineer for Wheatstone. He says that nearly every customer support call has been COVID-19-related since the middle of March.

How many of you have bought a virtual mixer, set it up initially, and forgot about it — until recently?

You’re not alone. I’ve talked to quite a few broadcasters who are discovering that they’re far more prepared for a pandemic like COVID-19 than they thought.

Many are grabbing mics from the studio, and Tielines or other codec units off the remote rack and sending them home with talent so they can remotely voicetrack or broadcast their shows.

Others are using SIP software codecs such as LinPhone or OnSIP that they’ve installed on tablets, PCs or phones. Still others are using a combination of both. One group, for example, is setting up WheatNet-IP VoIP-AoIP multichannel appliances at the studio headend with any combination of SIP software and hardware decoders at the home studio end. As a result, it was able to deploy multiple work at home studios at once.

Codec choices range from G.722 to Opus, any of which add some lag that can be a factor for live shows (the biggest problem being that hosts talk over each other). But at 256 kbps, Opus can provide a decent amount of dynamic range and it’s fairly robust — certainly not as robust as linear audio, but it’s cheaper to carry that encoded audio across the internet or across a WAN than straight linear audio.

If you have a USB mic or small mixer type application with a USB audio output, you can put that to good use as well. I’ve talked to several who are broadcasting with these or their mobile phones temporarily. The frequency response is limited, especially on those smart phones, and the quality isn’t as good as a professional mic with processing, but for doing live news, it’s a quick way to broadcast remotely in near real time.

MIXING REMOTELY

When it comes to mixing feeds, in almost all cases I recommend that this be done from the station studio where you have all the tools of the trade on hand.

Since you already have all that professional gear at your studio facility, why not remote into that facility and gain access to it? While there are ways to remote into an analog studio (more on that in a minute), it’s easier with an AoIP networked studio.

If you have an AoIP console surface, you can probably use remote control software to control it. Many of the broadcasters I talk to are setting up a gateway machine somewhere in the building to protect the main network, and then remoting in through a VPN to control the console. OpenVPN is a popular open-source VPN option for creating reliable tunnels into the studio. To get around internet speed issues and dropouts that can be a problem in more rural areas, WHIZ CE Kevin Buente in Zanesville, Ohio, configured OpenVPN to bond across multiple WAN connections into the TV/radio combo’s WheatNet-IP networked studio.

Remote control software for consoles and AoIP systems varies, from basic GUIs to virtual mixers like our Remote LXE client software that mirrors a physical LXE console surface. Talent is able to access and control the physical console in the facility from a Remote LXE client on a laptop or desktop at home, usually through a VPN into a gateway computer at the station studio.

We are seeing a huge increase in interest in our Remote LXE and other Glass remote client software for this purpose and for remote engineering access as well. Radio Operations Manager Tom Barclay with Georgia Public Broadcasting recently ordered a Glass E remote client for a LX-24 console mainly for remote engineering access, but he hasn’t ruled out the possibility of using it for remote mixing by producers that are currently on-premise. The pubcaster keeps a board operator on-premise in its talk studio for daily shows like its Political Rewind show, which is being hosted remotely by a host in a home studio using a codec with typically two or three guest call-ins on telephone.

Overall, the trend seems to be software apps as an alternative to physical home studio gear. Apps like our remote mixing app ReMIX can be installed on a gateway PC at the station or used over a VPN connection to the WheatNet-IP network, which can be used to control utility mixers in the WheatNet-IP Blades. This is useful for broadcasters who have Blades for I/O, but do not have a surface capable of remote control. (The utility mixer output(s) can be routed to the air-chain. Assignments to the utility mixer can be made using WheatNet IP Navigator or salvos fired from logic inputs for a predefined set of inputs to the utility mixer being controlled by ReMIX). Any source on the WheatNet-IP network can be assigned to utility mixer inputs; mics, codecs, and automation playouts are the most common. With the two available program busses on the utility mixer, a quick mix-minus could also be set up to send to a codec or phone hybrid.

CHALLENGES OF BACK FEEDS TO STATIONS

Next to remote access, setting up confidence monitoring and mix-minus or bus-minus feeds for home studios make up the majority of our support calls since the pandemic started. Most of these are a simple matter of setting bus-minus assigns (all of our IP surfaces have bus-minus sends from the fader and these provide an automatic mix-minus of program content minus the source, so in most cases it’s a simple fix of pairing faders to the codec.

It gets harder for some of the smaller plants that have a limited number of AoIP I/O units feeding a small console. The tricky part is how to route several home studio feeds and their respective bus-minus presets along with assigned codecs using shared hardware I/Os and faders. This can often be done in the software realm, using AoIP features like WheatNet-IP’s Associated Connections that let you build a set of rules to automate some of that routing in smaller plants that are short on faders or outputs.

FOR YOU ANALOG GUYS

Analog consoles can also be remotely controlled with a little ingenuity and using the GPI/O in most any program playout or automation system. GPI/Os can be programmed to fire closure contacts that remote control the console. I recommend that you set up a gateway computer for logging into the network from the outside, and then set up a remote utility such as TeamViewer to keep your playout system secure.

Another option is to add an IP I/O unit to the analog console and then routing control and audio through that for remote access of the console.

There are as many ways to “social distance” the broadcast studio as there are ways to build a studio. The building blocks are pretty much the same as you’d find in-house — codecs, client software, surface control — and it’s just a matter of putting it together with a little bit of ingenuity to get what you need.

Radio World welcomes suggestions for other articles about how radio companies and technology suppliers are solving problems during this current health and business climate. Email radioworld@futurenet.com.

The post Radio From Home: You May Be More Prepared Than You Realize appeared first on Radio World.

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

The coronavirus pandemic has had a tremendous impact on local media. You need only turn on commercial radio or television to catch rebroadcasts, Skype interviews and replacement programming. At many community radio stations, the situation is no different.

With worries about infection, plenty of community stations have opted to send volunteers home. In several cases, volunteers are encouraged produce their shows remotely. The catch? Stations are largely letting volunteers figure out this stuff on their own.

[Read: Community Broadcaster: Salute to Stations Fighting On]

So, if you are a community radio producer or DJ, how exactly do you create your weekly radio show without a studio and minimal technology?

These suggestions are by no means complete for everyone, but here is an overview for any community radio volunteer.

It cannot be overstated that where you record is literally more important what you record and what you record it with. As the National Federation of Community Broadcasters notes in its free guidance for stations, the two primary issues volunteers must be aware of are the areas they will record and then the microphones they use.

Your first task is selecting where you will record your voiceovers. Rooms with high ceilings, open floor plans, hard surfaces and rooms likely to pick up ambient/white noise should not be used to record a program. This means living rooms, dining rooms, bedrooms and garages are out. Veteran journalist Ron Gonyea presents extensive insights in Current on what to look out for as well. Vents, street noise and pillows are among the items on your checklist.

Now, test out your sound deadening tactics. If you are not satisfied, vocal booth boxes and microphone sound shields are available online for under $50 and will vastly improve sound. For an even more extensive dive into acoustics, NPR Training provides diagrams that help you think about your space.

Next, for the thing everyone focuses on first: your microphone.

Do not use your mobile phone’s or laptop’s built-in microphones to record a full program. You’ll likely not get the sound you aspire to have. Quality microphones are available for under $50 from music equipment stores and online. These include the Rode, Audio-Technica, Samson and Shure lines of USB microphones. YouTube features many products tests. If you can’t test a microphone out, skim those tests to choose the right device for your vocal delivery.

If you’re worried about a microphone working with your sound card and input, or that your desktop or laptop is too old to work with a USB microphone, there are many lines of handheld recorders available. With these, you can record your spots directly there, then move the recorded files for production. Affordable brands used for media production include Tascam and Zoom (not to be mistaken for the video platform).

And finally, there are a range of software audio editing packages that volunteers can use, including Audacity, which is free, and Adobe Audition, which is part of Adobe Creative Cloud. Again, YouTube is a go-to. You’ll find beginner to advanced techniques for your software of choice.

At-home production may ramp up the switch to digital, especially for music DJs dependent on records, compact discs or cassettes. Additionally, the remote production road is sure to be bumpy for those new to it. However, during COVID-19, such program creation is required. And it could be just the kind of learning experience you didn’t know you needed.

 

The post Community Broadcaster: Tips for Better Home Recordings appeared first on Radio World.

Sine Control Technology, maker of PowerClamp Surge Protective Devices, has introduced the new Series 200 PowerClamp models. It describes the AC power line surge suppressor as ideal for broadcast transmitter sites or any other installations that require clean and reliable AC power.

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

The new Series 200 PowerClamp units are rated at 200,000 amps-per-phase of surge suppression capacity, and will be available for single-/split-phase and three-phase WYE electrical service in all standard voltages. The Series 200 units will suppress short-term power line surges to within a few volts of the sine wave, thus protecting transmitters from AC spikes that cause serious damage and unreliable operation. This new design also features internal LEDs to indicate if a fuse needs replacement, and remote status monitoring that can be interfaced to any transmitter remote control system.

Solid-state transmitters with switching power supplies are especially vulnerable to power line spikes and surges. These AC power disturbances often cause irreparable damage to power supply components. The new Series 200 PowerClamp surge suppressors will greatly reduce the chances of damage and keep the transmitter reliably on the air.

Series 200 PowerClamp units are housed in a NEMA-rated enclosure with all critical components hermetically sealed to prevent degradation. They are installed in parallel with the transmitter electrical service. Load-matching is not required, and power to the transmitter is not interrupted even if a PowerClamp fuse opens.

Info: https://henryeng.com/powerclamp

 

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For on-air audio radio and television production with high-demand operational requirements and workflows. Its X-Core engine can manage up to 1,024 audio channels of local content or AoIP that can be controlled using one or several control surfaces. Each control surface can have more than 90 motorized faders with pages for snapshots or memories.

Atrium offers simplicity of operation through a set of touchscreens, encoders, indicators and keys, all of which can be preconfigured and dynamically adapt their function to the operational context. This avoids unnecessary steps in workflows, maintaining the precise information visible and simple operation.

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

Each Atrium control surface and its individual controls can be customized for most any operation. Thus, classic workflows can be implemented. Users can also configure mix or very special workflows with flexible programming of keys to act on the routing of the console, maybe controlling external equipment such as routers, audio codecs, telephony broadcasting systems, broadcast automation, or IP intercom systems.

Atrium’s simplicity of configuration and integration within a system is not only restricted to the local production center, but reaches outside. It allows connecting with external events and remote production centers, enabling the creation of a multichannel audio network as extensive as the user application may require.

X-Core is a broadcast IP audio mixing, processing and distributing matrix. It can work as an audio matrix, intercom matrix or a combination. X-Core also can work as the audio engine of an Atrium console or set of consoles. Native IP (Dante, Ravenna, AES67, SMPTE ST 2110-30, SMPTE ST 2110-31).

Info: www.aeqbroadcast.com

 

The post AEQ Enters the Atrium appeared first on Radio World.

The FCC has said it declined to reconsider the selection of HD Radio as the U.S. digital radio standard. But Alan Hughes, a broadcast technical writer in Australia, believes the industry should not convert to all-digital HD Radio on the AM band but should consider Digital Radio Mondiale in the 47–88 MHz band, which he notes has been “virtually vacated by TV.” He says available DRM channels are more than enough to cover existing AM and FM stations, plus new entrants. 

The following is from comments he filed to the FCC about proposal to allow the MA3 all-digital mode of HD Radio for AM stations in the United States. It has been lightly edited for style and clarity.

Currently, radio in the USA is in an interference-fueled mess. 

VHF Band 2 (FM band) — According to the FCC database, there are nearly 14,000 FM broadcasters with over 10,000 translators, causing this band to be overcrowded and getting worse, particularly with the addition of FM translators for AM broadcasters, and FM/digital HD Radio sharing half of the channels either side of them which are used by other broadcasters. Digital power is 4–10% of their FM power to prevent digital interference to their own signal and others. This substantially restricts the coverage area before the receiver goes back to FM or, if it is HD2–HD4, drops out altogether.

There are no pure digital HD broadcasters in VHF Band 2.

Medium Frequency (“AM band”) — In the FCC database there are 4,616 AM broadcasters in North America; 240 are authorized for HD operation but this does not include broadcasters who have switched off HD.

Interference from electrical disturbances is caused by electrical switch mode power supplies, which are in virtually everything electrically powered including LED lighting, and electric cars when charging and moving. Petrol-powered engines can cause interference. Electric power line insulators also can cause considerable interference. 

[Real-World Tests Make Business Case for MA3]

On AM this causes annoying static but also unreliable digital reception, particularly for AM/HD where the digital signal is only 1% of the carrier power.

Interference between broadcasters is caused by AM broadcasters sharing half of their channels used by other broadcasters; this also occurs with HD Radio and is worse in its mode AM/digital mode. This is why many AM broadcasters have stopped broadcasting digital at night.

There are no high-powered pure digital HD broadcasts in the MF band. There is only WWFD, a city-wide station, on air.

Vehicle manufacturers have stopped using long telescopic antennas, which gather more signal for this band than the “Shark Fin” type, which is just too short. The “Shark Fin” antenna contains an amplifier that overloads on strong interference and will then affect the reliability of reception.

The FCC needs to do an independent survey to determine what proportion of the population actually listen to HD Radio. Since the HD standard has existed for 19 years some radios will have died. One would have expected that analog AM and FM should have been superseded by now.

OPTIONS FOR IMPROVEMENT

Hybrid Digital (HD) Radio is not feasible because the digital signal has to be so weak and because listeners have to remember whether it is AM or FM, the frequency and if it is HD1–HD4. This approach seems to have not been able to produce a national conversion to digital.

Pure digital HD Radio in VHF Band 2 in this mode still requires 400 kHz (two FM channels) to transmit one broadcaster’s programs. Interference will continue when all broadcasts are pure digital in Band 2. In the medium-frequency band a signal can fit in a non-interfering channel but the sound quality is poor and it lacks the ability to carry data information, alternatively the wider channel will cause interference to broadcasters in the adjacent channels.

DAB+ is in widespread use outside of North America but cannot be used because TV is using nearly all the available DAB+ channels.

DRM in VHF low band (TV Channels 2–6) in this mode only requires 100 kHz. Thus four DRM transmitters can replace a pure digital HD signal in Band 2. Each of these DRM transmitters can carry three sound programs. DRM has not been trialled in North America. It does not use any of the existing bands used by broadcast radio. This means it can be broadcast in addition to any existing broadcasts without interference with existing services and also without power limitations caused by existing broadcasters. There is no sharing with adjacent channels.

See the accompanying graphic (Fig. 1).

66–72 MHz provides 59 channels that can be used around the locations of the above TV transmitters with the exception of TV Channel 4. Where radio broadcasters are near the seven medium-power TV transmitters they can use 47.1–49.9 and 76.1–77.9 MHz.

The FCC needs to allocate DRM frequencies to all broadcasters in groups of six consecutive channels, allowing broadcasters to share transmitters, antennas and towers. DRM can use the same frequency over the whole license area including repeaters in black spots. There are enough channels for both AM and FM broadcasters, leaving the medium-frequency band for low population density areas such as Alaska and Arizona.

Fig. 1: VHF band 1 uses from the FCC. High power is to cover a region, medium a district, low a city and LPX a village. CONCLUSION

In 1998, when Australia was selecting which system to use for digital television, our Communications Lab did a side-by-side performance tests (see http://tinyurl.com/rw-hughes) between DVB-T and the Advanced Television System Committee’s systems. 

As a result the only countries to take roll out ATSC were the USA, Canada, Mexico and South Korea. The rest of the world use DVB-T, its upgrade DVB-T2 and a later Japanese IDSB. 

The FCC should follow this example and do the same trials for radio. There are two United Nations’ International Telecommunications Union standards for digital radio, DRM and DAB+, which should be adopted in North America to make receivers cheap for all, just like AM/FM. This will enable a rapid rollout of an interference-free system.

I have no commercial interest in the outcome of your decision.

The author is a broadcast technical author from Australia and has spent a lifetime in training technicians. Radio World welcomes opinion and points of view on important radio broadcast industry issues.

The post A Better Way to Revitalize All U.S. Radio appeared first on Radio World.

Nominations will close April 17 for the Special Edition Best of Show Awards program, an initiative of our parent company Future plc to showcase new, innovative products introduced this spring for specialized technology users.

Companies can nominate products for awards presented by the following publications and sites: TV Technology, TVBEurope, Digital Video, Government Video, Video Edge, Radio World, Pro Sound News, Sound & Video Contractor, B+C and Next TV.

Companies seeking guidance about which brand to enter for can find guidance here.

Winners will be selected by panels of professional users, technical experts and editors based on descriptions provided by companies via the official nomination form.

Companies pay a fee to enter; not all products are selected as winners. All nominees and winners will be featured in a Program Guide sent to readers this spring.

For more information about the Special Edition of the Best of Show Awards visit the official Best of Show website.

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Could geo-targeted programming for over-the-air radio broadcasters be on the horizon?

The Federal Communications Commission is exploring that idea by requesting comments on a requested rule change that would permit radio broadcasters to air geo-targeted programming — such as emergency alerts, news and advertising — on a voluntary basis.

The request was formally made in March by GeoBroadcast Solutions, a Chicago-based technology company whose ZoneCasting technology uses FM boosters to distribute locally targeted content. According to the company, the rule change would be similar to the 2017 FCC decision that allowed TV broadcasters to use the next gen ATSC 3.0 standard to distribute geo-targeted programming.

[Read: Tech Company Asks FCC to Allow Geo-Targeted Radio Programming]

According to GeoBroadcast in its petition, “The commission could bring some of these same benefits to the radio industry by permitting radio broadcasters to use single-frequency network technology to provide one of the main consumer and broadcaster benefits inherent in ATSC 3.0: hyperlocal programming, emergency alerting and advertising.”

Specifically, the ZoneCasting model uses a single-frequency network to originate programming separately from the booster’s primary FM station. (This technology uses lower-power and lower-height FM transmitters operating on the same frequency and within the service contour as the primary FM station transmitter.) To achieve this, however, the FCC would need to amend part of the FM booster rule that currently requires an FM broadcast booster station to retransmit only the signals of its primary station.

According to GeoBroadcasting, this type of zoned broadcast coverage technology would allow radio broadcasters to provide hyperlocalized content, such as geo-targeted weather, targeted emergency alerts and hyperlocal news, the company said. Zoned broadcast coverage also would enable radio broadcasters to air geo-targeted traffic information, second language programming and local advertisements.

Zoned broadcast coverage could make the medium attractive to new kinds of advertisers, the company said, as it allows radio to reach their target audience much more efficiently. The company pointed to February 2020 BIA Advisory Services study that found that more than 90% of local retailers indicated that they would spend more on broadcast radio advertising if zoned advertising were available.

Comments on the issue can be left in the ECFS database using proceeding number RM-11854.

 

The post FCC Seeks Comment on Geo-Targeting for Radio Stations appeared first on Radio World.

Bob Triplett

Robert S. “Bob” Triplett died April 5 at age 97. He passed away at the VA Medical Center in Chillicothe, Ohio, just south of his birthplace of Kingston, and is survived by his wife, children, grandchildren and great-grandchildren.

Triplett “always had an interest in radio,” according to his son — who goes by his air name Ed Douglas and is senior vice president of affiliate relations for Tom Kent Radio Network. In fact, Douglas says Triplett had wanted to start a station in Chillicothe in the 1940s, but couldn’t raise the funds.

Instead, Triplett served in the U.S. Army Air Corps during World War II, training pilots to use radar during combat missions. After the war, Triplett had a variety of diverse careers, including Philco radio salesman, until he became a broadcast engineer in 1966 and went on to be general manager of Wellston, Ohio’s WKOV.   

[Jim Withers reminisces about his Philco radio]

Then, in 1972, Triplett cofounded Triplett Broadcasting Company with his brother Wendell. Together, they owned and built several radio stations in Ohio and Kentucky and one in Tennessee. The first Triplett stations were WOGM(FM) and WTOO(AM) in Bellefontaine, Ohio. The company later acquired TV station Channel 53 in Chillicothe.

At age 70, Bob Triplett retired from his full-time job and became a contract engineer. According to his son, Triplett worked on his last transmitter at 94 years old.According to his obituary, the family is planning a memorial service and will announce details when gatherings are again allowed.

The post Bob Triplett, 97, Has Died appeared first on Radio World.

Voicecorps Reading Service is a central Ohio organization that helps people with low-vision or other disabilities stay informed through a team of about 200 volunteers who read aloud newspapers, shopping flyers and periodicals.

Radio World caught up with Voicecorps Marketing and Development Director David Noble to learn about how Voicecorps is adapting to provide its services during the COVID-19 pandemic.

Radio World: What is the mission of Voicecorps?
David Noble: Voicecorps enriches lives by reading printed news and information to people who are blind, have low vision, or other conditions that prevent reading.

RW: How can people access this content?
Noble: Eligible persons can hear Voicecorps on FM-SCA radios loaned to them by Voicecorps, on the SAP channel of WOSU-TV 32-2, on select cable systems, and as of March 12, in the northwest corner of Ohio as the virtual channel of WBGU-PBS 37-9 and on the SAP of 37-2, which takes us into homes via cable systems.

Others, who have accessible PCs or smartphones, tune-in by going to our webpage www.voicecorps.org and listening to the live stream or choosing one of our on-demand audio files. The live stream is also available using Alexa over the Amazon system.

RW: How has the COVID-19 pandemic affected your organization?
Noble: We are heavily dependent on volunteers to perform the reading of print news and current information. They were almost exclusively coming to our studios to read live or record weekly programs.

In Ohio, the stay-at-home order meant we had to pivot to at-home recordings and telephones for live broadcasts. Not all our volunteers were geared up for that, so it’s been a scramble to coach volunteers remotely into producing readings that are of sufficient audio quality to broadcast — and maintain a normal schedule.

At the moment, we’re not dispensing SCA radios. Instead, we advise new listeners to tune in via TV-SAP, use a PC or hear our web stream using Amazon Alexa, if they have one.

[Bumblebee Brings the Buzz of Live Radio to People With Sight Loss]

RW: Have your goals changed in light of the stay at home order in Ohio?
Noble: Only in that we no longer ask volunteers to come to us. We still maintain the goal of keeping the blind and visually impaired public just as up-to-date as their sighted peers.

RW: What technological challenges have you and your volunteers faced?
Noble: Setting up a recording studio at home has been a challenge, as has been ensuring that the volunteers at home have access to the print news they previously picked up in our studio at the time of their broadcast.

We have to say that the volunteers are amazing. They have thrown themselves at this problem with as much or more dedication than we see on a normal basis. We have not missed a daily newspaper reading yet!

RW: What devices and software have you used to facilitate remote reading?
Noble: The volunteer lets us know what they have available in their home. We do our best to make that work. If they have Apple systems, they can record using that. If they use PCs, they can use that. If they can’t do those, we see if reading live over the phone works for their schedule and ours.

We just sent out an email suggesting they download Audacity’s free recording software because the interface is fairly intuitive, and we won’t lose too much time on software support issues.

RW: What else should readers know?
Noble: The ability to keep up with current print news has always been important to living an independent life. Now, access to current information is vital to surviving the pandemic. The news on personal safety is especially important to have when your means of interacting with the world relies largely on tactile input. Providing audio versions of the newspaper and other print is truly a lifeline.

The post Voicecorps Ensures Low-Vision Ohioans Stay Informed During Pandemic appeared first on Radio World.

A new category appearing in Techsurvey 2020 is “Hearables,” defined as wireless headphones and earbuds. Who uses “hearables,” and for how long?

The numbers Jacobs research found are almost evenly divided between male and female, but show a dramatic stratification by age. The silent generation trails with 20%, and Gen Z leads with 62%. No surprises there.

[Read: Techsurvey 2020 Says Home Stations Leads the Streaming Audio Pack]

Far more interesting is the TS 2020 breakdown of “hearables” use by ethnic groups. The Hispanic respondents lead with 52%, Asian is next with 50%, African American 47%, while Caucasian trails with 39%. What’s behind this trend?

Jacobs Media President Fred Jacobs doesn’t have any hard data to answer that question, but he shares his thoughts. “Wearables might be perceived by some groups as a fashion statement, in the same way as designer clothes. This is a new category for Techsurvey, so we’ll need to watch and see how it trends in future research.”

When you break the “hearables” numbers down by format, rhythmic urban, CHR and sports radio fans are the most likely to use these devices, all at around 50%. At the trailing edge are classic hits listeners with 33%.

Jacobs data suggests that more than one in five use headphones/earbuds for AM/FM radio listening at least half the time. Note that in this category “hearables” includes conventional wired headphones along with wireless devices.

TS 2020 also looked at music discovery. The research said that AM/FM is still the first place where listeners go to find new music and artists, although radio is slowly losing its lead. It was the place where 41% went in TS 2018, 39% for TS 2019 and 38% this year.

Trailing far behind AM/FM are friends/relatives, Spotify, SiriusXM, YouTube/YouTube Music and Pandora.

 

The post Four in Ten Techsurvey 2020 Respondents Own “Hearables” appeared first on 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.