Radio World

Roger Lanctot

The author is director, automotive connected mobility of the Global Automotive Practice of Strategy Analytics. 

As technology consumers we make tradeoffs.

We let Google peer into our online activity and email communications and we even accept annoying advertisements tied to our browsing activity in order to access free email and browsing. We tolerate smartphones with diminishing performance from Apple — even after Apple admits that the diminishing performance is deliberately-inflicted obsolescence to push us into our next iPhone upgrade. We accept Tesla’s privacy violations in exchange for an awe-inspiring driving experience and software updates.

Along the way we have surrendered our privacy and so much more. Now Tesla Motors may be asking us to surrender free over-the-air broadcast radio.

According to the notes describing the latest software update for owners of 2018-made Tesla’s and earlier (using MCU-1), the latest optional software update (which carries a $2,500 price tag but adds Netflix, Hulu, YouTube and Twitch) removes AM/FM radio and SiriusXM. 

This is the often-cited downside of software updates — the potential to obtain improved system performance while sacrificing previously desirable functionality.

While Tesla’s decision only impacts older Tesla’s, it nevertheless highlights the strangely tortured relationship between the broadcast radio industry and Silicon Valley. The issue is a common thread traceable to Apple’s refusal to activate the FM chips built into its phones — and Google’s decision to ignore “terrestrial” radio as part of either Android Auto or Google Automotive Services.

Google, Apple and Tesla have all turned their backs on the broadcast radio industry in spite of the wide reach of radio — a reach that exceeds that of television — and the fact that it is free, localized content ideally suited to consumption in a mobile environment. Tesla’s decision likely only affects a sliver of Tesla owners given the cost of the optional upgrade and the limited in-vehicle enhancements, but it has the ominous tinge of something more sinister.

The Tesla software update, focused as it is on adding streaming video and a $9.99/month subscription — for owners not already on the company’s premium service tier — points to a streaming-only approach to content delivery. Just as satellite broadcaster SiriusXM felt compelled to offer an IP version of its content, Tesla appears inclined to shift all content delivery to IP reception.

The strategy makes sense for a company delivering cars on multiple continents with varying local broadcast protocols and metadata. Shifting radio reception to IP delivery vastly simplifies the in-dash configuration and, in the long run, may enable some hardware content reduction in the form of deleted tuners and antennas. This is particularly relevant in the run up to 5G adoption — a technology upgrade that will require the additional of multiple antennas.

Tesla vehicles in North America have always come with TuneIn — so, now, TuneIn becomes the preferred radio IP broadcast point of aggregation. In fact, it is quite possible that Tesla has leveraged user data from its own vehicles to determine that radio listening in its vehicles was sufficiently minimal to be worth risking some minor resistance.

More importantly, the software update removing the radio experience is optional. Maybe the offer is a test to determine the customer reaction to a tradeoff of streaming video and improved user interface performance with the sacrifice of broadcast radio for $2,500? Is the offer a bit of a market research project? Anything is possible from Tesla, which has altered its pricing and discounts on multiple occasions in response to market conditions.

But the inclination to delete radio is a popular behavior pattern in Silicon Valley where Google and Apple have treated broadcasters with disdain. 

Is this approach sustainable? Is it tolerable? Where can an outraged consumer turn to protest?  Will there be consumer outrage? Should there be? Is it time for an in-vehicle radio mandate to ensure that emergency communications — at least — can be broadcast into cars?

I’m not going to cry wolf. And I’m not going to play Chicken Little. I will say that the radio industry offers   contextually relevant and reliable content delivery with a broad reach across a wide range of devices and listening environments. Deleting radio from cars — terrestrial or satellite-based — tears at the fabric of our social connectedness.

The marginal cost of preserving terrestrial broadcast connections — particularly in the context of radio’s ongoing global digital transition and the resilience of the medium during emergencies — ought to place this particular content reception experience in a non-delete category. Tesla doesn’t appear to share this view and Tesla is not alone. Once again, Silicon Valley is asking us to surrender one thing in exchange for another. Yesterday it was our privacy. Today it is the radio. Tomorrow it will be our freedom.

Roger Lanctot posted this to his blog in early March; it appears with permission.

The post Yesterday Our Privacy, Today Our Radio appeared first on Radio World.

Entercom Communications will eliminate or furlough a “significant” numbers of employees, the Philadelphia Inquirer reported.

“The nation’s No. 2 radio chain, which reaches 170 million listeners, also will temporarily cut employee pay by 10-20% for those earning more than $50,000,” the Inquirer said.

It said CEO David Field will cut his salary 30%, and that bonuses will be eliminated for the first half, as will its 401K match.

Entercom’s headquarters are in Philly, and it owns several radio stations in that market.

The radio industry is reacting to a decline in ad sales commitments in the face of the national health crisis. The paper quoted Field saying, “Better days lie ahead. With the tough but necessary actions we are now taking, we are doing what is required for us to preserve the health of the company and ensure that we are strong when we get to the other side.”

[Related: Beasley Cuts 67 Jobs, Furloughs Others]

The post Entercom Joins in Radio Industry Job Cuts appeared first on Radio World.

Streaming audio and video are relatively new players in the media ecosphere, but Techsurvey 2020 says AM/FM radio is holding its own against them very well.

Even though radio is not a steaming brand per se, it has been inserted in the Jacobs brand pyramid for comparison. It’s clearly a leader with 90%. Facebook is the next closest competitor with 72%.

It’s no surprise that everything in audio and video streaming is trending upwards, and skewing to a younger audience. The percent who watch streaming video weekly or more has jumped from a total of 62% in TS 2016 to 74% in TS 2020. In the lead is Gen Z with 96%, followed closely by millennials with 93%.

TS 2020 says that just under half of their respondents listen to streaming audio daily, with 50% of the silent generation, and climbing to 77% for Gen Z.

And more good news for radio, TS 2020 says nearly two-thirds of respondents listen to their home station’s stream. That’s way ahead of Pandora, YouTube, Spotify and iHeart Radio.

A key reason they give for listening to AM/FM radio is that it’s free. That is especially important at a time when the survey also suggests that six in ten feel that subscription fees for audio and video fees are a concern.

Fred Jacobs, president of Jacobs Media sees this as a golden opportunity for radio. “We see two forces combining here. First, the coronavirus has increased the already strong interest in local radio and its personalities at a time when most are forced to stay at home, and are probably listening more. Second, many have either lost their jobs, or been without income for some time. When their credit card bills begin to arrive, they may question whether they should, or can afford to pay for several streaming services every month. All of that can work to radio’s advantage.”

[Read: Techsurvey 2020 Tracks Smart Speaker Success]

He adds that some stations have not promoted their streams well in the past, either because they don’t understand how to monetize them, or because they believe it might detract from their ratings numbers. Here’s Jacobs’ to-do list: clean up your stream — in the home it’s the only way many can listen; if you can switch to TLR, do so, it’s a better experience for most stations; test drive your smart speaker commands then heavily promote them and finally think local, it’s the “secret sauce” that none of the other media platforms can provide.

 

The post Techsurvey 2020 Says Home Stations Leads the Streaming Audio Pack appeared first on Radio World.

Alex Roman

MediaCo Holding has named Alex Roman as the new chief technology officer for New York radio stations WBLS(FM) and “Hot97” WQHT(FM).

MediaCo Holding is a public company owned by investment firm Standard General and Emmis Communications.

[Learn more: Biggest Station Trading Deal in Q3 2019 Was MediaCo Creation]

Roman was named Emmis’ director of integrated technologies in New York in 2011. While working for Emmis, the company said, he led efforts to modernize WQHT, WBLS and WLIB, including creation of digital media production spaces and transitioning to AoIP. Roman was also in charge of the team that rebuilt the Empire State Building transmitter facility and added an auxiliary transmitter site on 4 Times Square.

During his career, Roman also served as chief engineer for WKTU(FM) and as director of engineering for Citadel Broadcasting. He began his engineering career 24 years ago in California.

In the announcement, Emmis Communications and MediaCo Holding President/Chief Operating Officer Patrick Walsh called Roman “invaluable” as the broadcaster moves ahead with the creation of “multichannel digital platforms for WBLS and Hot 97.”

The post Alex Roman Named CTO of MediaCo’s NYC Stations appeared first on Radio World.

Steven Lee Sheley died Monday after a lengthy battle with leukemia.

“Steve was a true icon in the southeastern Illinois and southwestern Indiana radio business,” said colleague Bill Shrode.

According to his obituary, for many years Sheley was the morning DJ for WAKO in Lawrenceville, Ill., after having worked an earlier stint there in the evenings. He also did a stint at WYER in the late 1980s.

Sheley started as a newsman for WNOI(FM) in Flora, Ill., in the early 1970s, and entered the broadcasting program at Wabash Valley College in Mt. Carmel, Ill. Among subsequent call letters on his resume were WVJC, WREY(AM) and WAKY.

Steve enjoyed radios, DXing, travel and assisting veterans. Affiliations included Moose, Eagles, and Sons of the American Legion.

A celebration of life will be announced at a later date. Memorial donations may be made to the Lawrence County Cancer Resource Center & Wig Shoppe. Emmons-Macey & Steffey Funeral Home in Lawrenceville, Ill., is in charge of arrangements.

 

The post Steve Sheley Dies, “a True Icon” in Illinois Radio appeared first on Radio World.

Working remotely has inspired Wheatstone to release ReMix, a remote mixing application.

ReMix is a Windows PC or tablet app that can access a WheatNet-IP audio network from afar.

According to Wheatstone, ReMix provides an affordable, quick alternative to a physical home studio for remote broadcasting and voicetracking by remotely accessing existing equipment at the station, such as codecs, hybrids, and playout systems.

Wheatstone Director of Sales Jay Tyler said, “ReMix is proving to be a great little application for all our broadcasters who need to get talent up and operating from home quickly and securely.”

The application can be installed on a Windows desktop, laptop or tablet in a home or remote studio or on a station PC that can be accessed by talent remotely through a secure VPN.

ReMix provides a direct user interface to the utility mixers found in the I/O Blades that make up the WheatNet-IP audio network. Each I/O Blade includes two built-in 8 x 2 stereo mixers, the inputs and output busses of which are available as resources on the network. The WheatNet-IP utility mixers are accessible anywhere in the audio network for simple functions such as summing, splitting, and level adjustment, performing crossfades and segues between sources, as well as creating custom mixes or intercom systems.

I/O Blades also include Wheatstone ACI (Automation Control Interface) for third-party control of automation systems and other Wheatstone partners’ gear and can be used for functions such as routing, ducking, panning, logic control, mixing and silence detection.

Info: www.wheatstone.com

The post Work From Afar With Wheatstone ReMix appeared first on Radio World.

Visual radio system developer Broadcast Pix calls its new RadioPix a voice-automated, integrated visual radio production solution.

The new system combines the company’s Media Aware macros with voice-automation to turn a radio station’s host into a video producer. The package includes two new RoboPix PTZ cameras with 20X zoom and plug-and-play operation. Users plug them into two of the included Lenovo Tiny PCes five NIC ports using Cat-5 cables, connect to the local audio network for automatic triggering and receiving station output and then onto the internet.

Jeff Adams, RadioPix product manager, said, “It’s the behavioral intelligence that makes RadioPix unique. Show hosts don’t usually have time to also produce the video content, so RadioPix automates the production process, keeping it visually appealing.”

He explained, “By detecting microphone activity through the Dante interface, Broadcast Pix’s visually aware macros can be triggered. For example, activity on all mics could trigger a wide shot. Then, there is the ‘boredom’ macro, useful when a guest is speaking for longer than a minute. The shot could pull back, bring up the lower third title graphic, go to a wide shot, and then go back to a close up to keep the output interesting.”

The host can override the behavioral intelligence from optional touch screen panels, MIDI interfaces or even footswitches.

On initial startup, the system is ready to go, but a period of user consultation is included to help create the station’s look and feel. For example, import and position the station ID, choose suitable video clips and graphics elements and finally program the behavioral intelligence.

Broadcast Pix is pegging the price at $15,000.

Info: https://broadcastpix.com.

The post Broadcast Pix Shows Visual Radio Package appeared first on Radio World.

As the radio broadcast ecosphere shifts towards streaming and digital delivery, the number of new products for the AM broadcaster seems to be on the decline. That’s why it was a delight when Inovonics unveiled their 674 AM Monitor Receiver in 2019. Part of the INOmini series, the 674 fills the niche for a versatile but inexpensive AM confidence monitor.

This software-defined DSP receiver has many cool features. 

As a global product, it can either tune in 10 kHz increments for the Americas, or 9 kHz increments for Europe. Audio outs are available in analog and digital, each with independent level adjustments. 

The multicolor, backlit LED display continuously shows received signal strength and audio levels. Combined with the jog wheel, this display also facilitates system setup. The 674’s programmable front-panel alarms with rear-panel tallies indicate low or no signal and audio program loss. 

Alarm conditions also cause the display to flash against a red background, a move guaranteed to get your attention. Tweaks and upgrades to the firmware are easily uploaded through the front-panel USB port.

Around back, there’s an F connector for the 50 ohm antenna input as well as terminals for the alarm tallies, including ground, +5 volts, low signal and audio loss. There’s also an AES digital audio output and analog line outputs labeled left and right. 

And no, analog AM stereo is not making a comeback, these are really dual monaural outputs that are adjustable from –15 dBu to +15 dBu. The logic behind the left/right nomenclature is that most studios are wired for stereo, whether the programming is or not. 

Finally, two paralleled coaxial power connectors can take the +12 VDC and daisy-chain it to two additional INOmini devices, useful if the 674 is rack mounted with two companion units.

The front-panel headphone jack will accommodate any stereo phones with a 3.5 mm plug. When the headphones are plugged in, the LCD menu will automatically switch to the headphone volume screen, and you can adjust volume with the knob. Press the knob again and you’re returned to the previous menu. 

Menu screen 6 gives a bargraph presentation of program audio level. The meters are peak-responding with a floating peak-hold function. One-hundred percentcarrier modulation corresponds to 0 dB. 

GETTING THE SIGNAL

As  a practical matter, the 674 can operate with just about any type of antenna. The 50 ohm antenna connector is insulated from the rear panel to create a quasi-balanced configuration. The instructions recommend connecting the shield to an external ground. 

Getting a strong, interference- and noise-free signal can be difficult in some locations, and Inovonics offers as an option the 637-01 passive AM loop antenna, with a figure 8 pattern, which can assist with some of the more challenging AM reception environments. 

Two menu screens determine how the 674 will sound. The standard NRSC truncated 75 µs de-emphasis may be switched in or out. The manual suggests making a decision based on which sounds best to you. A second screen enables selection of  IF bandwidth. Your options are 2, 3, 4 and 6 kHz. These settings mark the –6 dB points. 

Your selection is really a tradeoff between background noise and fidelity, with the 6 kHz setting being as close to high fidelity as you’re going to get. 

The days when you could troubleshoot broadcast equipment and make the repairs yourself are long gone. As with most modern gear, the Inovonics 674 is designed around surface-mount technology and chips with firmware, so the company recommends returning equipment to the factory for repairs. 

Nevertheless, curiosity dictates that it be taken apart just to see what it looks like inside. The board work, sheet metal and paint jobs are all up to Inovonics’ usual high standards.

Our evaluation 674 performed well with a long-wire outdoor antenna. The use of the traditional cold water pipe as an antenna ground turned out to be ill-advised. Smart meters dump large amounts of noise into the ground wiring. A stake driven into the ground outside the window worked much better. 

As expected, local stations could be set for NRSC off and 6 kHz with good fidelity and no noise. The AGC range of the 674 is broad enough to seamlessly handle day/night power reductions and antenna pattern changes. Although not intended for DXing, distant stations can easily be received, and are listenable with NRSC on and reduced bandwidth. Of course, noise from summer electrical storms is always a problem.

While the firmware in the 674 works as expected, other features could make it much better. As it stands, there is no way to store settings for multiple stations. That could make it inconvenient for users who work for a cluster. A preset function would also be useful if you want to do an A-B comparison between your station and the competition for the purpose of setting up audio processing

While the 674 is geared to a global market, the display is only offered in English. A menu selection of languages might make it more user-friendly outside the United States and other English-speaking countries.

Your happiness with the 674’s performance may depend to a large degree on how much thought and planning has been put into its antenna. Back in the day, a frightening number of stations used a short piece of wire and a clip lead as an AM antenna for EBS and EAS boxes, and even for mod monitors. It was never a good idea. 

Today, the proliferation of smart meters, LED and fluorescent lights, computers and switching power supplies all combine to create very high noise levels across the LW, MW and SW frequency bands. An outdoor antenna connected to the 674 via coax is almost mandatory for good reception. 

PRODUCT CAPSULE: Inovonics 674

Monitor Receiver

Thumbs Up

+ Independent audio level controls for analog and digital outputs

+ Programmable front alarms with rear-panel tallies for low signal and audio program loss

+ De-emphasis and IF bandwidth options for best audio quality

Thumbs Down

– English-only display

– No presets or easy to A-B compare stations

Price: MSRP $880

 

Contact: Gary Luhrman at Inovonics at 1-831-458-0552 or visit www.inovonicsbroadcast.com.

The post Exploring the Inovonics 674 AM Monitor Receiver appeared first on Radio World.

The author is president of WorldDAB.

Patrick Hannon

As people around the world are faced with a global pandemic, the full extent of which has yet to be determined, governments are increasingly looking for new ways to keep their citizens informed and out of harm’s way, while enforcing strict stay-at-home regulations.

As one of the oldest communication platforms available, radio has always played a significant role in times of crisis. Today, the role of DAB+ digital radio is more important than ever — keeping citizens informed, and providing some sense of belonging and togetherness to the most vulnerable people who are faced with a lengthy spell of uncertainty and isolation.

HELPING THE MOST VULNERABLE

In this time of crisis, we are seeing more and more ways by which DAB+ digital radio is helping broadcasters address issues such as loneliness, due to long period of social distancing and self-isolation.

A graph highlighting the number of national radio services on air (DAB/FM) in some European countries.

In the United Kingdom, BBC local radio has partnered with manufacturers, retailers and a loneliness charity to offer free DAB radios to the most vulnerable people aged over 70. The campaign has been a huge success, with local radio stations receiving more than 8,000 calls a day from members of the public.

NEW SERVICES

One of the key benefits of DAB+ is that it offers listeners a wider pool of content to choose from — both on a national level and in specific regions. In the U.K., a new DAB+ service broadcasting important information on the outbreak and spread of COVID-19 has just launched on a number of small-scale multiplexes across the country.

Named Health Info Radio, the DAB+ station broadcasts a mixture of updates on COVID-19 symptoms, myths and social isolation rules and guidelines, as well as interviews designed to help listeners through the national lockdown. Produced as a public service in London, the station is already available in a several major cities across the U.K.

Similarly, in Austria’s capital Vienna, DAB+ is being used to broadcast announcement loops with crucial information related to COVID-19. In addition to the announcements that run continuously in German, there are also several information stations on air in English, Turkish and Romanian, as well as an “Emergency Warning Functionality” (EWF) station broadcasting in Bosnian, Serbian and Croatian.

When on air, the EWF station — a special service dedicated to disasters and matters of the utmost importance — can break into the majority of receivers, including radios that are in sleep mode.

In Germany, the commercial radio station Schwarzwald Radio (Blackforest Radio), broadcast nationally on DAB+, has announced the launch of the first nationwide game night on DAB+. Schwarzwald Radio’s aim is to provide some distraction and boost the morale of German citizens who are currently confined to their homes.

CONGESTED NETWORKS

As millions of people remain confined to their homes, telecoms operators are struggling to cope with the surge in internet and mobile phone usage, and the network congestions that come hand in hand with them.

In Britain, the biggest telecoms companies have set aside their rivalries and launched a national campaign to tell the public how to manage this surge with the hope of reducing congestion. DAB+ does not require internet, and as such, helps alleviate some of the pressure building up on telecoms operators as internet usage continues to grow.

DAB+ allows broadcasters to combine classic content with digital diversity, without the need for internet connectivity, freeing up much needed internet bandwidth. More importantly in this time of crisis, it offers a wide range of news, safety guidelines, tailored information and distractions to the population — both nationally and on a regional level — all much needed at this time.

The post DAB+ Lends a Hand in a Time of Crisis appeared first on Radio World.

The home listening environment has become a hostile place for AM/FM radios. The proliferation of electronic devices such as computers, LED lighting, and especially smart power meters has combined to raise the noise level to the extent that reception is near impossible. That could be part of the reason smart speakers have experienced such explosive growth. Techsurvey 2020 fills in the details, including some opportunities for radio, but also implies there may be a dark cloud in the device’s future.

Their data suggests a close correlation between age and ownership of an AM/FM radio. The silent generation leads with 92%, and that number gradually decreases, ending with 67% for Gen Z. Overall ownership has fallen from 89% in TS 2016 to 81% for TS 2020.

These trends, according to Jacobs data, are almost the reverse for smart speaker ownership. The silent generation owns just 18% of the smart speakers, while millennials own 41%. Gen Z and Gen X are almost tied for second place, with 38 and 37% respectively. Overall ownership has skyrocketed from 11% with TS 2017 to 33% with TS 2020.

Listening to streamed music tops the list of frequent uses for smart speakers; AM/FM radio listening is essentially tied for second. Sadly for radio, data from TS 2020 also suggests that only 38% of smart speaker owners have heard stations promoting the devices.

This comes despite data from Jacobs Media which suggests that radio’s local orientation continues to grow in importance. Fred Jacobs, president of Jacobs Media adds, “While it’s always been true that localism matters, that’s never been more the case than with the coronavirus pandemic we’re facing now. Some broadcasters have really embraced smart speaker technology and promoted it well, while others have their work cut out for them.” He adds that stations who lean into their personalities and really embrace localism may come out ahead of the game when the current crisis has passed.

[Read: TechSurvey 2020 Looks at Podcast Growth]

Despite its meteoric growth, the future is not all bright for smart speakers. Jacobs survey also asked why respondents do not own a smart speaker. “No use for one” led the responses with 37%, and “privacy concerns” was second with 32%.

As Jacobs elaborates, “We started to hear more about privacy concerns with smart speakers in our focus groups, so we added the question in TS 2020. There’s no doubt that the voice activated internet is here to stay, but privacy issues are not going to go away. It’s something that Amazon, Google and the rest of the smart speaker manufacturers will need to come forward and address.”

 

The post TechSurvey 2020 Tracks Smart Speaker Success appeared first on Radio World.

Beasley Media Group is among the U.S. radio companies cutting jobs and reducing salaries in the face of the business downturn caused by the coronavirus health crisis.

Beasley made cuts Tuesday. Chief Communications Officer Heidi Raphael confirmed in an emailed statement: “Our company, like other broadcasters and our clients, is being directly impacted by the recent unanticipated economic downturn due to the coronavirus pandemic. Like so many others in our industry, we must adjust to the new and unforeseeable circumstances we now face.”

She said Beasley eliminated 67 positions, and furloughed 18 full-time employees and several part-timers. She did not identify the positions eliminated; RW believes they included about a half-dozen engineers.

The company also reduced salaries for full-time employees by 10% for the second quarter, unless prevented by contractual obligations. CEO Caroline Beasley is taking a 20% reduction. It reduced the hours for full-time hourly employees to 36 hours.

“We anticipate bringing back all furloughed employees at the end of the second quarter or sooner if circumstances permit,” Raphael said.

According to AllAccess and other trade publications, iHeartMedia this week also instituted furloughs and reductions in executive pay.

The post Beasley Cuts 67 Jobs, Furloughs Others appeared first on Radio World.

Fig. 1: A strategically-placed IP camera keeps watch on your transmitter site equipment.

Ernie Nearman is a veteran broadcast engineer who has been practicing in Honolulu for decades. Like any contract engineer, Ernie sometimes has to be in two places at once, and believe it or not, he’s figured a way to do just that.

Ernie uses strategically-placed IP cameras at his sites to give him “remote” eyes to see what’s going on. He acknowledges that these IP cameras are not cheap, but if you buy the style that provides pan, tilt and zoom features, the camera does a pretty good job of letting you know what’s going on before you arrive at the site. 

Fig. 2: By selecting a camera with pan and tilt functions, the camera can zoom in to a specific piece of equipment, like this transmitter fault panel.

At one site, the camera is mounted on conduit so it normally faces the door (Fig. 1). Anyone entering the site can be identified. However, with the built-in mechanical adjustments, Ernie can remotely turn the camera to view the faults on a transmitter, as seen in Fig. 2 or point the camera in another direction to check the room temperature and Nitrogen pressure gauges (Fig. 3).

Fig. 3: Pan in another direction to check the room temperature and N2 pressures.

After a storm, wouldn’t it be nice to know the surge suppressor took a hit before arriving at the transmitter site? Fig. 4 shows that information. These little snapshots may not seem important, but when you are handling a number of contract clients, IP cameras can help you perform triage.

Fig. 4: How about checking your Surge Suppression status, before arriving at the site?

If, for example, a station goes down and you see that the fault can be corrected remotely, your time can be spent on bigger issues. Ernie says this benefit is especially appreciated when a storm rolls through, taking several of his contract clients off the air at the same time. These IP cameras permit engineers to work smarter and more efficiently.

Fig. 5: The compact camera fits in the palm of your hand, making mounting a breeze.

Ernie chose the Amcrest IP Camera, Model IP4M, in Fig. 5. It’s not the cheapest but its features include Ultra-HD resolution, remote viewing, two-way audio and night vision. It uses power over the Ethernet.

Fig. 6: Compile a screen to show both inside and outside the transmitter site.

Yes, you can find less expensive versions, but buying cheap junk probably won’t give you the features you need. Consider this a diagnostic tool, so don’t fall for the $20 wonders — you’ll be disappointed. 

You can find out more by Googling “Amcrest IP cameras” or searching for them on Amazon.

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Have you signed up for the SBE Member Plus membership tier? When you do, you’ll have access to all of the SBE webinars. These broadcasting webinars provide online training in a variety of broadcast engineering topics. Head to www.sbe.org for more information.

***

April 1 is here. With that in mind, Newman-Kees’ Frank Hertel sent in some tips for using the latest release of Sonus Precarious Audio Software.

He writes that many engineers have yet to experience Sonus Precarious and its quirks. As an experienced user, Frank thought it would be useful to share some of the things that you need to be aware of when considering Sonus Precarious.

• If you download the free version, after three months, you will be required to purchase and install a dedicated Sonus Precarious hard drive to save your work.
• When deleting elements of your work, all mouse buttons and the scroll wheel must be used in reverse order. They provide this as an extra safety feature for jocks, to keep them from accidentally deleting elements of their work.
• All work is saved in the new Sonus Precarious file format. To distribute your recorded work to others, you must attach a document that has a ciphered phrase. That ciphered phrase must be decoded and entered to unlock the recording for playback.
• Sonus Precarious offers a user-selectable series of new bitrates, to enhance the sound of the recorded work. This gives you the sound quality that relates to the year of audio quality development. For example: one of the bitrates is called “64÷8,” and it actually enhances recordings to sound like 1941.  
• Be aware that the manual is written in 64-point “Baked Alaska Script” font. They did this because, they explain, “It’s pretty!”

Have a great April 1. 

John Bisset has spent over 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award.

The post Cameras Keep Watch at Your Transmitter Site  appeared first on Radio World.

The author is communications manager for Radiodays Europe.

COPENHAGEN — Have you seen the YouTube clip of two Glaswegians with strong Scottish accents trying to work the voice controls in a lift? Or the lady sitting in a mid-range car trying to find a radio station using the voice controls, her accent is very strong and she calls the stations by their abbreviated names.

Rosie Smith

Those are two, rather old, examples of where voice control doesn’t work. The problems of voice control are well known, but with the rise of the smart speaker the future is most surely voice-controlled so how does your station work with the voice? Can listeners find you? Or is your name and frequency too difficult to find on a voice-controlled device or in a device-controlled system in the car?

MORE WORK

Some stations are working on their smart speaker future and with the major smart speaker manufacturers to try and ensure that no matter the listener’s accent, the many ways the station is named (e.g. name/frequency/abbreviation), the speaker gets to the right place and you don’t lose listeners.

The sound of someone’s voice needs to be understood and, radio stations need to do more work to ensure they are the first on the list when “Alexa play…,” is uttered.

The revolution is happening or has happened depending on whom you talk to in terms of the sound of podcasting, “800,000 valid podcasts are now available in Apple Podcasts.”

In addition, the explosion of the podcast market continues with new players entering, new forms of production and a media truly open to all with a microphone and the ability to stand the heat of sitting under a duvet while recording their podcast (production method suggest by “Beef and Dairy Network Podcast” Ben Partridge, RDE Podcast Day 2019) — though apparently kids tents with a duvet over the top works just as well.

The sound of short, home produced podcasts though, like the early days of YouTube videos, are now moving on. With more production houses entering the market the sound of podcasts are becoming more professional, more stylized and may be losing some of the previously and joyously bad production which marked out podcasts in the early days.

That’s not to say that there still aren’t a lot of people out there desperate to know which microphone to use? What makes a podcast sound like a winner is becoming the Holy Grail: How do you make your podcast stand out in a market place where many new podcasts are launched daily?

The sound of the radio in terms of diversity and equality remains an area that needs to be tackled head on in all countries. More stations need more female voices and those from multicultural backgrounds. As local communities diversify so too must radio, bringing a wealth of opinions, experiences and familiarity to their listeners.

If the “woke” generation is the audience of tomorrow, then radio needs to appeal to them and bring the sound of their generation to radio. Podcasts in this respect cater to this demographic bringing with them the multisound world that should be the goal of all stations.

GATE-KEEPER PLATFORM

What is the next big thing for sound? In every space the sound you hear is a key part of the experience. But how do you deliver that sound? Will it be on 5G in the future? In the United Kingdom, mobile network operator and internet service provider, EE, has 5G coverage in over 50 towns at the end of 2019; in the United States Verizon 5G has gone live in parts of 31 cities; and in Australia Telestra covered 10 major cities by the end of 2019, according to TechRadar.com. A similar story in many other markets, 5G is coming to listeners and quickly.

Broadcasters are eagerly exploring how they can deliver more on the mobile networks but the issue of a “gate keeper” for your station’s sound is once again being discussed. Also, the question arises: Will listeners pay for radio streaming?

In a recent study by Imperial College London, researchers found “the evolution of modern culture, including pop music, is just as slow as biological evolution.” What do changing tastes mean for music stations? If smart speakers are outselling traditional radio devices what does that mean for radio? If the car of the future is autonomous what will radio sound like?

These are just some of the questions facing radio today. Making “sound” decisions for a station is the preoccupation for every CEO, head of radio and program director. Competition for the ear is growing, though radio still remains in a strong position, how do you navigate this new world of sound?

Sound ideas and sound decisions on all platforms, across all innovations in technology are paramount.  Radiodays Europe in Lisbon, now slated for December, will address these issues with examples from radio stations worldwide with a view to ensuring the sound of radio continues to hit the right note.

The post Sound Ideas. Sound Decisions. appeared first on Radio World.

This free resource is part of Radio World’s “Spring Show @ Home” initiative, helping equipment buyers and sellers keep in touch in an April without an NAB Show.

In the 21st century, radio is enduring, engaging and evolving. So too are the media companies that create all that great content. And so are the manufacturers that make the technologies that are the backbone of our great industry.

The guide is intended to give you a sampling of new offerings that you would have seen if you’d attended the show. It includes ads and Product Previews from our sponsors about technologies they are introducing or highlighting this spring. Also, you’ll find “Exhibitor” listings based on the material that companies had sent us shortly before the physical convention was cancelled.

Thank you for being part of this great industry and of the Radio World community.

Read the ebook here.

The post Spring Show @ Home appeared first on Radio World.

Wyoming Public Media is among the radio organizations building new pathways and processes for broadcasting from home during the COVID-19 pandemic.

Paul Montoya is director of engineering for WPM, which is part of the University of Wyoming and located in Laramie. It operates 45 transmission facilities; WPR channels covers 90% of the state.

Radio World: I’m told you’ve been doing some live shifts from home yourself. What technologies and products are you using and how do the pieces plug together?

Fig. 1: Control Room Zetta screen via secure VPN

Paul Montoya: This is something we have been working on for the last year, primarily for remote broadcasts. The goal has been to control the equipment back at the studio as if you were sitting in front of it. In the past, the most we could do is have someone bring up the remote location on the control room console, then fire “next event” closures when needed to play underwriters announcements, promos or other elements.

So to do this properly you really needed two screens at the remote location — one to remotely control the mixing console at the studio and the other to fully control the automation system. We use a Telos Axia Element console at the studio. For automation we use the RCS Zetta system. At our studios we use the Raritan Dominion KX III KVM to control workstations in all of our studios. This is an IP-based system so devices can be accessed via web browser.

So, to put everything together we first access the Control Room Zetta screen via secure VPN remotely on one screen. We now have a full-function version of the same screen an operator would be using in the studio (Fig. 1). Now we need some way to control the levels, inputs and channel on-off functions of the console.

Fig. 2: Telos SoftSurface

Telos Axia makes a piece of software called SoftSurface that accesses remote control of any LiveWire-based Fusion or Element console in a graphical format (Fig. 2). With this software on my second screen I can now control any function on the studio console from a computer on the LiveWire VLAN. Because I don’t want to extend my AoIP VLAN out of the studio, I run SoftSurface on another computer connected to the LiveWire VLAN. I can then access this computer through the secure VPN tunnel (or TeamViewer or GoToAssist).

Fig. 3: Comrex BRIC

The final element is a Comrex BRIC for getting my audio back to the studio console (Fig. 3). Now any audio at my remote location can be put on the air. In the case of the studio in my home this gives me access to a CD player and turntable. Now I can pretty well do anything that I could as if I was standing in the studio.

We always been prepared to use a setup like this for a campus emergency such as an “active shooter” situation. Never did we think it could also be used for a worldwide pandemic.

RW: What has the impact of the crisis been on air talent and other staff?

Montoya: We have four audio channels that we deliver. WPR Main (NPR, News and Information), Classical Wyoming, Wyoming Sounds (AAA Music) and Jazz Wyoming. Classical and Jazz have been no problem as they are satellite-delivered formats. Wyoming Sounds has gone 90% voice track with announcers being able to voice-track easily through the Zetta2Go interface that can be accessed through secure VPN. We have been able to do remote programming for live segments through the process I explained earlier.

The WPR Main Channel has been our biggest challenge because of the varied and ever-changing elements of the format, including White House press conferences that come at a variety of times and almost never seem to start on time. Between accessing the Zetta automation system remotely through our secure VPN and changing Axia Livewire audio routing remotely, we have been able to keep up with most functions remotely and safely. “Morning Edition” and “All Things Considered” in the afternoons are still being hosted live, however we have made plans to host these shows remotely and still have a live feel to the programs.

[Related: COVID-19: WAMU’s Game Plan]

Fortunately these two programs have fixed clocks and timed breaks so filling these elements remotely isn’t too terribly difficult. The host can record their local newscasts, weather and other timed show elements remotely. These can then be uploaded via secure VPN to an mapped ingest folder for our automation system. Then working in cooperation with our programming and traffic people these can be placed remotely into the proper location in the log. We have not had to try this yet, but it should work.

Reporters have been producing their stories remotely then dropping their stories into “Shared Audio” folders at the studio via secure VPN. Staff meetings are being conducted weekly using Zoom. We do “audio only” Zoom sessions as some people call in by phone. We haven’t found video to be necessary.  So far this has worked quite well.

RW: What is the strategy of the WPM technology team to react to the coronavirus, as far as its overall operational and technical processes are concerned? 

Montoya: We had a pretty good idea that COVID-19 virus could affect our operation about late February. We had received a copy of a plan put together by Northern California Public Radio that seemed to be similar to the plan we knew we would need. Working with our General Manager Christina Kuzmych, our program director and our news director, I was able to put together a plan that should hopefully get us through this crisis.

The plan consisted of three stages. Essentially Stage 1 was a readiness stage that took preventive measures to keep areas clean. Stage 2 included non-essential people working from home. The only people in studio would be live on-air personnel. Stage 3 would include all personnel working from home.

RW: How “virtual” can your operation get, and how?

Montoya: The plan is that by Stage 3 we would be 100% virtual with little knowledge by the general public that we were operating any less effectively. We have taken the attitude that we are an essential lifeline of information to the Wyoming public during a time of crisis. So far we have not had to operate at a Stage 3 level but I feel that we could.

RW: Any other specific technical obstacles have you encountered?

Montoya: Much of what we are doing, absolutely could not be done just a few years ago. A secure VPN was important. Access to our office VLAN for sharing and exchanging information was very important. Total remote control and access to our automation system was also important. The icing on the cake was remote control of the main mixing console. Access to these systems was very important, but we needed to accomplish this in a secure fashion.

RW: What lessons can other engineers and technical managers learn from what you’ve been doing?

Montoya: Preparing for any crisis is important to station operations. I’ve heard it said by other broadcast engineers that by simply looking around your plant (including transmitter sites) and just trying to imagine what can be done to stay on the air in a variety of emergencies is the first place to start. Just by stepping back and asking yourself, “If my studio was swallowed up by an earthquake, is there any way to stay on the air?”

Sharing your ideas with other station department leaders and general manager to make sure everyone is on board with any emergency is the final element in being prepared for any emergency. You also have to realize that it is almost impossible to plan for every situation and you may just have to “MacGyver” things in some situations.  They used to call this a “can do” attitude. Most engineers are quite skilled at this.

RW: Do you think these infrastructure changes will be permanent in any way?

Montoya: I would say that almost everything done during this crisis will stay in place. There is always another crisis looming on the horizon. We may collect up all the extra laptops we have distributed to staff members, but we will hang onto them to keep ready.

We’re looking to tell your story about solving radio technical challenges during the coronavirus crisis. Email us with your story idea at radioworld@futurenet.com.

The post In Wyoming, a Game Plan for COVID-19 appeared first on Radio World.

Digital audio workstation software developer Tracktion Software has launched Waveform Free, a new version of its professional flagship DAW that is free to all music creators.

The new DAW is released with no restrictions, offering unlimited track count, the ability to add as many plug-ins as the user wants, and a sizable feature set. The new DAW is suitable for all three major desktop operation systems; Windows, OSX and Linux as well as the Raspberry Pi.

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

It is compatible with current-day expressive instruments and also supports MPE. Waveform Free includes many of Tracktion’s recent offerings and features, such as the MIDI Pattern Generator to create synchronized melodies, chord progressions, bass lines and more, the 40SC Virtual Synthesizer and Micro Drum Sampler.

The DAW is supported with a dozens of tutorial videos as well numerous templates such as EDM production; band recording and mixing; location recording for churches, schools and others; and more.

Info: www.tracktion.com

 

The post Waveform Free DAW Debuts From Tracktion appeared first on Radio World.

Radial Engineering has introduced a new device, the USB-Mobile, a digital interface and direct box for mobile devices.

Usable with typical consumer mobile devices, including smartphones, tablets, and other media players, the Mobile-USB digital interface and direct box allows users to connect a device directly using a USB cable. The result is that users can provide high-quality playback, sending two channels of balanced analog outputs over XLR connectors to feed a PA system or a set of powered speakers.

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

The unit provides a USB-A input connector and stereo XLR outputs, as well as a level control to operate the DI in mic or line level. It also auto connects to most mobile devices.

The USB-Mobile is iOS compatible, and has the added benefit of charging the devices while they are used for audio playback. The unit is priced at $299.

Info: www.radialeng.com

 

The post Radial Debuts USB-Mobile Interface/DI appeared first on Radio World.

The business of managing radio facilities is more important than ever, while technology introductions roll on, even without a physical NAB Show. In this issue we bring you stories about trends that would normally have been discussed at the show, but with readers at home in mind — even including exhibitor listings so you can learn about their new product introductions. Also: Mark Lapidus explores the crucial role of apps for radio; Roger Lanctot comments about radio’s tenuous hold on the dashboard; and of course, there’s the coronavirus.

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

RADIO FUTURE
NAB Radio Technologists Look Ahead

We asked correspondent Davide Moro to report on David Layer’s presentation at the Digital Radio Summit 2020 in Geneva, which doubles as a kind of state-of-the-industry technical report for U.S. radio.

NAB SHOW 2021
Massive LVCC Expansion Is Underway

If we had gone to Vegas in April, we’d all be ogling dramatic changes at the convention center. Here’s what we can expect when we finally go back.

HISTORY SPECIAL:

• Broadcasters Get Behind All-Digital AM Option
• Health Crisis Challenges All of Radio
• Exploring the Inovonics 674 Monitor Receiver

The post Inside the March 31st Issue of Radio World appeared first on Radio World.

Podcast Radio is the United Kingdom’s first radio station devoted exclusively to podcasts. Launched in London, it broadcasts on DAB+ digital radio, showcasing podcast content from around the world. In this issue, we look at the station’s strategy and studios. In addition, we share tips to help you transition to AoIP; provide information on a new DRM shortwave service for Siberia; reveal the latest advances in transmitter technology, and more. Read the April issue of Radio World International here!

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

DIGITAL SHORTWAVE

Russia Returns to DRM on Shortwave

Radio Purga targets Chukotka, the country’s northeasternmost region

EBU DRS 2020

Radio Is More Than Linear

EBU’s annual meeting highlighted radio’s future with a feature-rich menu of podcasts, multiplatform content

ALSO IN THIS ISSUE

• How to Transition to AoIP in Five Steps
• Buyer’s Guide: Transmitters
• Barix and Digigram Asia Announce Partnership for APAC

The post Inside the April issue of Radio World International appeared first on Radio World.

The FCC has no plans to postpone its planned auction of C-Band spectrum.

That is according to senior FCC officials speaking on background Monday (March 30) about the impact of COVID-19 on FCC processes and actions.

The C-Band is the midband spectrum currently used by satellite operators to deliver network programming to broadcasters and cable operators.

[Read: C-Band Plan Aims to Limit Broadcast Disruption]

The officials said there was still plenty of “bandwidth and time,” even given the move of the 3.5 GHz (CBRS) auction. They said it was still important to transition the C-Band to 5G use, but that, of course, if there was a compelling reason to adjust that timeline they that is still on the table.

Currently, the FCC plans to auction 280 MHz of the spectrum for advanced wireless beginning in December.

It announced earlier that it had postponed the auction of those CBRS spectrum licenses, but that had been scheduled for June, and it has only been pushed back a month.

The officials said there were no plans for blanket extensions of waivers or comment deadlines due to the coronavirus, but that the FCC would continue to respond flexibly to individual requests for more time on a case-by-case basis.

 

The post FCC: C-Band Auction Still “Go” for December appeared first on Radio World.