Industry News

The National Association of Broadcasters has created an online Coronavirus Response Toolkit to help broadcasters cover COVID-19 developments accurately and effectively. 

NAB added new downloadable COVID-19 public service announcements Thursday. The PSAs are available in both English and Spanish, and scripts are available to stations who want their own talent to read the information. 

Additionally, the toolkit features editorial guidelines, including lists of trusted resources and social media accounts to ensure stations point listeners in the right direction for COVID-19 information. 

“As COVID-19 impacts everyday life, it is important for broadcasters to communicate credible news and information to keep people safe and informed,” NAB President/CEO Gordon Smith said in an announcement about the coronavirus toolkit. “I encourage all broadcasters to utilize resources in the toolkit to help their local communities during this critical time.”

The toolkit also includes information to help stations mitigate coronavirus–related staffing concerns and to create internal plans to cope with disruptions related to the pandemic. 

The NAB also aborted plans for the April NAB Show Wednesday due to the coronavirus spread. The association has not yet announced whether it will reschedule the event. Some groups who had planned colocated events, such as Nautel’s NUG@NAB and PBS’ TechCon have cancelled their events, while others are formulating their own responses and deciding whether or not to postpone.

Visit the Centers for Disease Control’s coronavirus page for more information and the latest updates on the U.S.’ mitigation strategy. Learn more about social distancing and how it can help stop and/or slow the spread of diseases, per CDC recommendations.

The post COVID-19 Response Toolkit Now Available From NAB appeared first on Radio World.

The author is sales and marketing manager at 2wcom.

The way people consume media content is changing significantly. Like the expansion of IP, this greatly influences the convergence of media production and distribution units for radio, video and the internet.

Anke Schneider

Broadcasters therefore have the chance to adapt to the transitioning media-consumption behavior and use it to their advantage.

• Target group orientation: Keep in mind that besides the attractive younger audience, it‘s crucial to offer each target group the content they want, whether mobile or stationary.
• Cost and time efficiency: By treating a contribution as a cross-media project, the video, radio and internet units are no longer separated.
• Expand the value chain and encourage interaction: Cross-media content production and distribution means all playout sources can refer to each other. This leads to significantly higher coverage. Moreover, by integration on social networks, the opportunities of interaction with the audience increase. Both aspects include the chance of deploying new marketing formats.

TECHNOLOGICAL ADVANCES

Results of these developments include international projects such as 3GPP and 5G-Xcast. The latter is designed to build a universal and multidirectional IP network for efficient large-scale media distribution via 5G-Xcast. The project focuses on the dynamic switching between unicast, multicast and broadcast and also enables spectrum-efficient distribution of program content to a large number of simultaneous users with only one stream.

End users can receive reliable live and linear high-quality content without burdening their mobile data contingent. With a view toward the future, 5G-Xcast will allow national and private broadcasters to launch new on-demand formats or offer interacting facilities, besides classical linear content.

The transformation to cross-media production can only be achieved with a solid technical foundation. It’s important to carefully consider which approach best meets system requirements and the associated applications. For example, the best-of-breed approach is focused on using only those components per device that best meet the technical requirements. This method can be expensive and each eligible solution must be evaluated in regards to e.g. compatibility aspects or its compliance with the IT security guidelines.

A diagram of a cross-medial studio setup. The audio description contribution, Facebook commentary and radio contribution are produced in parallel, but separated from the video. A multimedia over IP network server enables for hybrid distribution of audio/radio content. Credit: 2wcom Systems.

Here are a few significant points focusing on interoperability and flexibility:

• Choose standards and protocols that optimally support respective use cases. The SMPTE ST 2110 standard is designed for cross-media production. In its structure, audio, video and ancillary data are separated, which allows for the ability of handling each one individually depending on the playout source. This is very practical, as SMPTE ST 2110 can receive all AES67 streams at a 48 kHz sample rate. It is interoperable with all common standards supporting pure audio/radio productions, such as Ravenna (distribution networks), Livewire+ (studio) or Dante (concert halls, conferences or studio). A specific application could be, for example, the audio description in a video, which helps blind and visually handicapped people aurally better follow the story. For this purpose, it’s sufficient to produce the audio content with one of the previously mentioned standards. Due to the structure of SMPTE ST 2110, the respective audio can be added to the stream, already including the video signal and ancillary data. Besides the flexible handling of different stream sources, an uncomplicated negotiation and management of all connections is possible for unicast and multicast streams because all relevant protocols are supported (SIP for unicast and RTSP/SDP for multicast). Unicast, for instance, makes sense in case of permanent point-to-point connections between studios. In order to be able to deal with advertising and discovery, connection management and network control in environments based on SMPTE ST 2110 and AES67, the Advanced Media Workflow Association (AMWA) has published the NMOS standard. Recently launched, this standard is constantly being refined based on technical real live requirements.
• Compatibility of audio algorithms can’t be taken for granted. Especially AAC profiles and Opus are implemented in different ways, which leads to incompatibility in regards of frame sizes. It is therefore important to put every manufacturer through its paces to ensure all possible variants of an audio algorithm are supported.
• Conversion of audio formats, protocols and standards according to the use case. That is, considered in terms of bandwidth economy, it makes sense to convert an audio stream for publication on a website from the high-quality PCM format to the compressed AAC xHE format. Or, to provide a stream not only for audio over IP networks but also for DAB+, it must be possible to transform from Ravenna standard to AES67.
• An intelligent content management of streams is essential, amongst others because the number of audio streams for a production is significantly higher compared to the number of video streams. It enables the combination of the appropriate elementary streams into logical groups. For example, Facebook comments mostly differ, so the “normal audio comment stream” is replaced with the “Facebook comment stream.” Hence, for further processing, you can select the relevant ones.
• Virtualization counts on scalability and maintenance. Most broadcasters want to be able to expand their networks as easy as possible, add new services with just a mouse click or mirror the configuration of one device to another. Scalability can be notably improved by using virtualization strategies. The possibilities that have been introduced by Docker or VMware to copy instances, take snapshots or run them across multiple hardware devices is a great improvement for scaling and maintaining networks.
• That has also a major impact on needed rack space. Thanks to virtualization, applications can share the same hardware or even run as a swarm across multiple hardware units with different hardware configurations. That reduces the number of devices needed, because server hardware has, in most cases, a lot more processing power than the specialized hardware of codec manufacturers. Thanks to AES67 and other audio over IP standards the requirements for real hardware interfaces are slowly disappearing and that is opening the door for virtualized solutions that are depending on an all-IP infrastructure.  With high bandwidth and robust IP lines audio processing in the cloud becomes possible. In consequence manufacturers have to pick up the pace and offer their solutions as virtualized software.

ENSURING TRANSMISSION ROBUSTNESS

There are various ways to ensure transmission stability. By standard software feature and/or protocol the SMPTE ST 2202-7 standard ensures dual-streaming of a generated IP stream. In the case of packet losses of the first stream, the respective packets can be reconstructed from the second stream. Another method is to transmit the stream in up to four different audio qualities.

In case of failure, the decoder switches to the next quality available. If unicast streams are sufficient for certain scenarios, SRT [Secure Reliable Transport] can also be used. SRT was originally designed for video, but supports audio perfectly, too. It offers a much better protection against packet loss than other FECs with low latency. Moreover, SRT offers encryption of the content.

An example of KroneHit’s cross-media radio election reporting with analyses and graphics for the homepage. In addition to radio and video, the station also integrated an online editorial team. Source: KroneHit, Austria

By device, this requires a logical concept that defines exactly how encoders and decoders should be cross-connected and when to switch to the backup device. In principle, this structure is similarly adaptable for all parts of a system.

In addition, hybrid distribution comprises not only an alternative source as a backup but also to increase coverage by reaching regions still lacking of IP or certain end customer devices like DAB radios. The possibility of using several sources in parallel means the produced content can be distributed via IP, FM, satellite or DAB.

The IRT’s 5G-Xcast project allows end users to receive top-quality linear and non-linear content with their 4G/5G-capable devices. Source: IRT Institut für Rundfunktechnik

By bandwidth and stream management, it is obvious redundancy by software does not come with low bandwidth and especially video streams are real bandwidth drivers. By using a SDN [software-defined network] controller the optimal path through the network is chosen for the traffic. In addition, an orchestrator handles the high number of streams.

Finally, synchronization in IP networks, and particularly audio syncs to the video, can be achieved by PTPv2. With parallel hybrid distribution via satellite this takes place via GPS using the 1pps signal.

The post Cross-Media Adoption Unites Media Production, Distribution appeared first on Radio World.

“There’s sadness in this building today.”

NAB Executive Vice President of Communications Dennis Wharton told Radio World that the decision not to hold the NAB Show next month made for a “poignant moment” Wednesday. “It was a tough call but it was the right call.”

Whether the convention will be rescheduled or replaced with something else later this year is uncertain. NAB did not use the words cancel or postponement in its announcement, and Wharton confirmed that the association has been discussing various options.

But the sheer immensity of the annual spring event and the complexity of planning needed from exhibitors, speakers and attendees would certainly seem to limit the choices.

Some observers have speculated that NAB could hold an event in Las Vegas in the summer, or somehow modify its fall NAB Show New York. Wharton declined to comment and said it’s too early to discuss possible outcomes.

“The last few days [we] have been focused on rolling out this announcement responsibly and professionally, and assuaging some concerns of our members and exhibitor base,” he said.

He declined to estimate the potential cost to NAB of the decision or to discuss any insurance arrangements, other than saying “It’s obviously a financial hit.”

[Related: My Brief History of the NAB Show]

Wharton, who has attended every spring show for more than three decades, expressed sadness for others who have made the spring trek to Las Vegas part of their professional life.

The first of what became the NAB Show was held in 1923, in the earliest days of the modern radio industry. The only cancellation was in 1945.

 

The post Decision to Abort Makes for “Poignant Moment” at NAB appeared first on Radio World.

This is one in a series of articles about what the industry is telling the FCC about all-digital on the U.S. AM band.

A group of smaller-market AM owners want the FCC to allow voluntary all-digital transmissions; and they cautioned the commission against repeating the AM stereo situation of the 1980s.

The collection of broadcasters — in all 25 licensees — consists of groups such as East Texas Broadcasting and Georgia-Carolina Broadcasting that typically operate AM stations in smaller markets.

The comments were submitted to the FCC by their attorney John Garziglia of Womble Bond Dickinson LLP. They say broadcasters can control their own destiny by deciding whether to invest in all-digital AM technology. They cite the “significant” harm to AM listenership from interference and reception issues, and the availability of higher-fidelity alternatives.

[Related: The NAB Is All-In on All-Digital]

“The AM broadcasters believe that allowing for all-digital AM operations is one means by which this listener erosion may be stemmed in the future. The undersigned AM broadcasters ask the FCC to make the all-digital AM mode of broadcasting available to them to use at their option,” they wrote.

The group recognizes that listenership could potentially drop since people with analog radios will be unable to receive the new signals, but they argue that it is the broadcasters, not the FCC, that can best discern what mode of broadcasting is most likely to attract audiences now and in the future.

All-digital AM operation should be allowed “both day and night,” the broadcasters say. They also are asking the FCC for some flexibility to be built into the new rules: “That any decision by an AM station to operate in an all-digital mode is discretionary and reversible, so that no station is required to operate in an all-digital mode, nor is any station who chooses to do so locked into that mode of operation.”

[Related: Let “Mr. Market Decide” Best AM Digital System]

But the broadcasters said that mistakes made during the launch of AM stereo in the mid to late 1980s should be avoided this time.

“The undersigned well-remember the listener and broadcaster confusion that surrounded the failure to adopt a specific AM stereo standard some decades ago, and have no wish to foist that uncertainty once again on the public and broadcasters,” they wrote. “Therefore, the undersigned AM broadcasters fully support the FCC’s decision to reject in this proceeding any comments advocating for a different AM digital mode of broadcasting.”

Digital Radio Mondiale has asked the FCC to allow DRM to be considered for use in the United States. The FCC has stated in a footnote to the current NPRM that it declines to reconsider the choice of IBOC HD Radio

 

The post Small-Market Owners Caution Against “AM Stereo Situation” With Digital appeared first on Radio World.

The National Association of Broadcasters will not hold the NAB Show, at least in April, due to public health concerns about coronavirus.

NAB President/CEO Gordon Smith made the announcement. See the full text at bottom of this article.

“We are currently considering a number of potential alternatives to create the best possible experience for our community,” Smith said.

The show markets itself the world’s “largest and most comprehensive convention encompassing the convergence of media, entertainment and technology.” It drew approximately 91,400 people to Las Vegas in 2019, and featured some 1,600+ exhibitors.

International attendance is an important part of the event; last year about 26% of people came from abroad. Of those, about 30% were from Asia.

As of Wednesday afternoon the show’s website proclaimed “The show is on” and continued its message that organizers were “moving forward responsibly” while taking direction from the WHO and CDC. But the World Health Organization on Wednesday declared coronavirus a pandemic, and the NAB announcement followed quickly. The number of U.S. cases surpassed 1,000 this week, according to a dashboard published by the Center for Systems Science and Engineering at Johns Hopkins University.

“This was not an easy decision. Fortunately, we did not have to make this decision alone, and are grateful to our NAB Show community for engaging with us as we grappled with the rapidly-evolving situation,” Smith said.

Recent days had seen an increasing number of exhibitor cancellations including familiar video names like Ross Video, Avid and Adobe, and some separate conferences that had timed their events to the big show pulled out, such as PBS TechCon, as other event organizers watched and worried.

Beyond broadcasting, a number of major events in cities around the United States have been cancelled or postponed. In many cases their planners say they intend to conduct virtual events or to offer other platforms for dissemination of show content and product information.

Here is the NAB statement:

NAB President and CEO Gordon Smith Announces NAB Show Off for April, Reviewing Options for Event Later This Year

Washington, D.C. – NAB President and CEO Gordon Smith today issued the following letter to the NAB Show community regarding plans for NAB Show in light of coronavirus concerns:

Dear NAB Show community,

As you know, we have been carefully monitoring coronavirus developments both domestically and globally over the past few weeks.

In the interest of addressing the health and safety concerns of our stakeholders and in consultation with partners throughout the media and entertainment industry, we have decided not to move forward with NAB Show in April. We are currently considering a number of potential alternatives to create the best possible experience for our community.

We have decided not to move forward with NAB Show in April.

This was not an easy decision. Fortunately, we did not have to make this decision alone, and are grateful to our NAB Show community for engaging with us as we grappled with the rapidly-evolving situation. This Show is as much yours as it is ours, and it is important to us that we move forward together.

For nearly 100 years, NAB Show has provided superior value and the best possible experience for exhibitors and attendees. We knew that if we could not deliver on those expectations, we would not move forward. More importantly, keeping the community safe and healthy is NAB’s highest priority; therefore, we are deferring to the developing consensus from public health authorities on the challenges posed by coronavirus.

We are deferring to the developing consensus from public health authorities on the challenges posed by coronavirus.

We are still weighing the best potential path forward, and we ask you for your patience as we do so. We are committed to exploring all possible alternatives so that we can provide a productive setting where the industry can engage with the latest technology, hear from industry thought leaders and make the game-changing connections that drive our industry forward.

I want to stress that despite our disappointment at how this year’s Show has been impacted by global public health concerns, we are more excited than ever about the future of NAB Show and our relationship with you.

We are grateful for each and every member of our Show community. It is your passion for the industry that makes NAB Show a success year after year, and it is that same passion that will drive us into the future as we look ahead to new possibilities later this year and beyond.

The post Breaking: The NAB Show Is Off, at Least for April appeared first on Radio World.

One FCC commissioner is personally asking for the Senate to be mindful of one particular part of the newly requested Federal Communications Commission budget — and it involves the money the commission needs as it attempts to tackle pirate radio activity in new ways.

FCC Commissioner Michael O’Rielly sent a letter to Sen. John N. Kennedy (R-LA), chairman of the subcommittee on Financial Services and General Government, as the committee goes about reviewing the $339 million budget request of the commission. Specifically, O’Rielly asked Kennedy to give close consideration to the efforts the commission must now make to implement the new PIRATE Act.

[Read: It’s Official: PIRATE Act Signed Into Law]

Passage of the PIRATE act, short for Preventing Illegal Radio Abuse Through Enforcement Act, in January 2020 was a welcome change, O’Rielly said, since it gives the commission new tools to combat pirate radio operators.

But those new tools come with an additional price tag. The commission has its work cut out for it, O’Rielly said, as it attempts to address the estimated 300-plus pirate operators that exist across the nation.

“With passage of the PIRATE Act, Congress has demanded that increased attention be paid to radio pirates and that enforcement action by the commission against pirate radio be as aggressive as possible,” O’Rielly said in his letter.

The act gives the commission the authority to levy fines of up to $100,000 per violation and $2 million in total. The act also streamlines the enforcement process; requires the FCC to conduct mandatory pirate radio enforcement sweeps in cities with the highest concentration of pirate radio use; and seeks to ensure more coordination among federal, state and local law enforcement.

According to O’Rielly, now that the act is in place, the FCC needs the subcommittee to appropriately prioritize pirate radio enforcement, whether that be through new funding or a reallocation of existing resources.

“Thankfully, by substantially increasing allowable penalties and requiring annual sweeps … the act provides us with potential tools at our disposal to address this issue,” O’Rielly said.

 

The post O’Rielly Seeks Funding to Implement PIRATE Act appeared first on Radio World.

The spring NAB Show is approaching. Between now and then Radio World will conduct several short Q&As with manufacturers about their plans and offerings, to help you get the most out of the big annual trade show. Jochen Richter is head of sales, Radio, while Clark Novak handles radio marketing for Lawo AG.

Radio World: How has business been for the company since last year’s NAB Show?

Clark Novak: Business has been excellent. AoIP networks have been installed by the world’s largest broadcasters, and now medium- and even small-sized radio stations are either actively planning for or investigating IP adoption. Lawo has always been a vocal proponent of standards-based networking, so the latest studies showing how AES67 has helped accelerate the AoIP transition are very encouraging. Those studies also theorize that ST2110 standards (for interoperability between audio and video systems) will spur AoIP adoption even further, which is why Lawo’s newest radio products are ST2110-30-compliant.

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

RW: What are you hearing from your customers about their business outlook this year? In what areas should we expect growth or the most interesting projects?

Jochen Richter

Jochen Richter: We’ve seen more investment in AoIP technology for joint TV and radio facilities — the RadioFr MediaPARC project in Switzerland is one of the most visible, along with projects by large public broadcasters in the U.S. and Canada. Engineering managers are seeing with their own eyes the monetary benefits and economies of scale that IP networking and interoperability bring to their tables.

RW: The last year has proven rather rocky for much of the radio industry with the largest group owner making a big move to chart a new business/operational model. Stepping away from your particular segment, what is your feeling for the overall health of the radio industry?

Novak: It’s true that the landscape has been changing in the U.S.A., but Lawo’s presence in International broadcasting has shown us changes of a different nature in other countries. Mostly, it’s for the better. We believe that, from a global perspective, radio is very much alive and very healthy.

RW: You’ve been active in the radio broadcast equipment market for many years. What’s the biggest problem or challenge facing users in this segment right now?

Richter: The biggest challenge for users will be keeping and improving efficiency in daily workflows, as radio broadcasters are increasingly called on to serve multiple platforms for linear plus on-demand services. Top management expects high efficiency, and that means all workflows have to be streamlined. Lawo is a great fit for the radio part; our software applications, like VisTool, provide collaborative platforms that easily integrate with both third-party applications and the RƎLAY family of applications for IP-streaming and virtual radio scenarios.

RW: What new goodies will your company be showing? Why should attendees visit your booth, C3012?

Novak: Radio is always looking for ways to maximize budgets, so we think people will really want to see Power Core MAX. It’s a new version of our very popular Power Core AoIP mixing engine that can power two, three or even four mixing surfaces, depending on how you size them. Very powerful, and very cost-effective.

We’ll also be showing AoIP Stream Monitor, which is the first diagnostic tool expressly designed for radio plants using AES67-compliant IP networks. You can build monitor walls with information for up to 16 critical streams, and look at detailed statistics for each one. It can even be virtualized to allow multiple screen displays with real-time status on dozens of channels. It’s an indispensable tool for modern radio.

Clark Novak

RW: AoIP and touchscreens have been technology marvels that have dazzled at the NAB Show in the last few years. Any cool stuff we should know about this year?

Richter: I think we will continue to see more touch-based mixing interfaces. They’re intuitive, easy to customize, cost-effective, and younger broadcasters love them. They’re a natural fit for AoIP applications.

RW: What do you anticipate will be the most significant technology trend at the 2020 NAB Show?

Novak: The interest in virtualization, and moving applications to cloud-based servers continues to increase. I believe more vendors will showcase products aimed at serving this interest.

RW: Will you be attending any sessions or looking forward to any events?

Richter: Lawo has already gained a lot of experience with large cloud-based infrastructure projects, so we plan to focus on sessions that center around all cloud-based production and processing workflows. We are very interested to see and be a part of shaping the next trends in software orchestration and workflow optimization.

RW: You’re a show veteran, how has the show changed since your first visit?

Richter: Since the mid-’90s, NAB has very clearly decided not to concentrate only on technology, but has changed its focus to workflow and business needs as well. The attendance by top management has definitely increased and this means decision makers are attending, which is good for the whole industry, and definitely for the business of radio. Finally, the convergence of media and the focus on user experience, including streaming services, are central points now.

 

The post NAB Exhibitor Viewpoint: Jochen Richter, Head of Sales, Radio and Clark Novak, Radio Marketing; Lawo AG appeared first on Radio World.

This is one in a series of articles about what the industry is telling the FCC about all-digital on the U.S. AM band.

The National Association of Broadcasters says the FCC should allow individual radio stations on the AM band to convert to all-digital HD Radio transmissions if they wish to do so.

The FCC has proposed allowing AM stations voluntarily to broadcast in MA3 all-digital mode of the HD Radio in-band on-channel (IBOC) digital radio. Monday was the first comment deadline.

The NAB says experimental testing has demonstrated the viability of all-digital AM and that broadcaster interest in pursuing the technology is evident. “Allowing stations to voluntarily transition to all-digital AM service will benefit listeners with enhanced AM service and improve AM broadcasters’ ability to succeed in the increasingly competitive audio marketplace,” NAB wrote.

The carriers in an HD Radio MA3 signal are shown in a slide from the NAB Technology department.

The association believes digital for AM is the way forward and cites the propagation characteristics of the AM band as one of the reasons.

“Analog AM signals are vulnerable to RF interference from fluorescent and LED light bulbs, computer monitors, flatscreen TVs and other devices. NAB has noted that some automakers are choosing to exclude AM radio from their all-electric vehicle dashboard radios because of electromagnetic noise.”

Allowing a voluntary transition to all-digital AM operation “may help reduce or even reverse these trends since digital broadcasting is generally less vulnerable to interference and provides improved audio fidelity and a wider audio bandwidth,” NAB said.

In addition to better sound quality, all-digital will provide other benefits to listeners, NAB argues. MA3 digital mode allows AM broadcasters to provide auxiliary data such as song and artist information and emergency notifications that include text and images, according to NAB.

Existing analog-only AM receivers would not be able to receive all-digital signals. But NAB says there are nearly 70 million cars on the road equipped with HD Radio reception capability, with that number growing steadily. And any loss of listeners due to all-digital operation migration would likely be mitigated by the fact that so many AM stations now employ FM translators, NAB says.

“The commission points out that more than half of all AM stations now have FM translators, potentially softening the blow of any loss of listeners and serving as an important part of an analog to all-digital transition strategy for AM broadcasters,” the association says.

It said that field and lab tests by NAB Labs (now called PILOT) have illustrated successful operation of all-digital AM radio service. “These tests showed that all-digital AM provides audio quality on par with FM stereo, and acceptable daytime coverage even out to the 0.5 mV/m analog contour of most of the tested pathways.”

[Read a commentary about all-digital by Cris Alexander.]

NAB believes the chances of all-digital AM operations causing interference with analog AM stations “is a lesser concern compared to digital hybrid operations because the former produces fewer emissions at the outer limits of the occupied bandwidth.” But it concedes: “By its nature, the all-digital signal is a stronger interferer to co-channel analog signals than are legacy analog AM signals.”

NAB included in its comments a remedy to complaints against all-digital AM stations from neighboring analog signals. “For example, the station operating in all-digital mode may reduce power or reach some other arrangement with an aggrieved co-channel station.” It adds various technical and regulatory options already exist for reducing or eliminating unacceptable interference caused by hybrid digital stations that should similarly apply to all-digital service.

In addition, NAB supports the FCC’s proposal to incorporate the NRSC-5-D standard into the digital broadcasting rules.

[Learn about all-digital for AM in depth in Radio World’s recent webinar “Digital Sunrise for AM,” available on demand.]

 

The post NAB Is All-In on All-Digital AM appeared first on Radio World.

Codec manufacturer Tieline will unveil the new Gateway IP audio codec for the first time at the NAB Show. The Gateway is a compact and powerful multichannel IP audio transport solution for radio broadcasters and can stream up to 16 IP audio channels with support for AES67, AES3 and analog I/O as standard

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

The Gateway’s applications include STL, studio-to-studio and audio distribution missions, as well as managing multiple incoming remotes at the studio. It is interoperable with all Tieline IP codecs and compatible over SIP with all EBU N/ACIP Tech 3326- and 3368-compliant codecs and devices.

Tieline VP Sales, APAC/EMEA, Charlie Gawley said, “The new Gateway codec increases channel density with 16 bidirectional mono or eight bidirectional stereo streams of IP audio in 1RU to reduce rack space requirements.”

The Gateway also has Tieline SmartStream PLUS redundant streaming and Fuse-IP data aggregation technologies.

It is configurable through an embedded HTML5 Toolbox Web-GUI interface, the Gateway can also interface with the TieLink Traversal Server for simpler connections and is controllable using Tieline’s Cloud Codec Controller.

An optional WheatNet-IP card is also available.

NAB Show Booth: N6214
Info: www.tieline.com

 

The post NAB Sneak Peek: Tieline Opens the Gateway appeared first on Radio World.

The NAB says the 2020 NAB Show is still on, as of Tuesday, March 10.

A spokesperson told TV Technology that “the show is moving forward as planned.” The association updated its coronavirus update page on Tuesday, announcing that it is “continuing to evaluate the national and international situation carefully.”

The NAB says it is taking its direction from global, federal and local health officials, like the WHO and CDC, which at this time have put no travel notices or restrictions on public gatherings for the U.S.

[Read: 2020 NAB Show: Schedule, Exhibitor Info, Updates]

Concerns over the impact of coronavirus (COVID-19) on large gatherings has prompted a number of cancellations, including SXSW, which was expected to attract several hundred thousand to Austin, Texas, this month. PBS TechCon, which holds its annual gathering in Las Vegas just prior to the NAB Show, also cancelled its event last Friday.

Several high profile exhibitors backed out of the show on Monday, including Ross and Adobe. NAB says that 96% of its exhibitors are still planning to attend, and of the 4% no longer attending, the association claims more than 80% would be coming from China, which has implemented travel restrictions.

“Ross has been at every NAB since 1974 and this has not been an easy decision to take, but we have a clear duty to our employees, our customers and families,” the company announced, adding that is was looking for alternative “virtual” ways to get its NAB Show news out to its customers and attendees.

Adobe said in a blog post: “Over the past few weeks, we have been closely monitoring and evaluating the situation around COVID-19 and have made the difficult but important decision to cancel our presence at the show this year.” Adobe had previously cancelled its summit that was also scheduled to be held in Las Vegas.

NAB is working on ways to both minimize the risk of transmission on the show floor — including implementing a “no handshake” policy — and to add value to in-person attendees remotely.

For the latest updates on how the coronavirus is impacting the NAB Show, please visit the NAB Show’s dedicated page, as well as TV Technology’s coronavirus updates.

 

The post NAB: “The Show Is Moving Forward as Planned” appeared first on Radio World.