Now in its fourth year, NAB’s Pilot Innovation Challenge, part of the association’s business incubator, Pilot, is now accepting proposals and has announced a new component for this year’s program. For the first time, Pilot will provide support to a pair of winners so they can develop a prototype to be presented at the 2020 NAB Show.
The prompt for this year’s Pilot Innovation Challenge is to build an AI character that can have conversations with individual viewers, listeners or consumers, with character traits that can be defined and trained by the broadcaster.
Individuals, teams, companies, academic institutions and nonprofit organizations are eligible to submit proposals, with up to five finalists selected by a panel of judges by the end of November. Of those five, two winners will be granted as much as $150,000, relevant mentorship and feedback during the development of their prototype. They will also be invited to the 2020 NAB Show, April 18–22, in Las Vegas to demonstrate the prototype.
The deadline to apply for the Innovation Challenge is Oct. 18. Interested applicants can review the judging criteria and apply here.
The post NAB’s Pilot Seeking Proposals For AI-Inspired Innovation Challenge appeared first on Radio World.
Community radio attracts so many talented individuals who devote time managing and shepherding stations through many adventures. Virtually all of these people do what they do for the love of their local stations. So, at a time of the year when many community media organizations are nearing the end of the fiscal year, this is a gentle encouragement to think about these selfless individuals and their futures.
To be sure, no one is getting rich off running a community radio station. But that isn’t an excuse for keeping them destitute either.
My timeline the last few months has been dotted with stories of talented community radio general managers, journalists and other leaders leaving for greener pastures. The departures all have a similar ring: opportunities you can’t pass up and offers that are too good, among other reasons. Less in the public eye are issues stations can improve upon.
Not every station has the resources currently to afford staff. But if your community radio station does have staff, attracting gifted people and keeping them happy means more than promising them a fulfilling role. It means valuing their contributions by treating them like professionals who care about your organization.
Not enough of us give thought to drawing in and retaining the best people. Moreover, having limited resources is used not as a challenge to do better, but a rationalization to do nothing. Thus the backchannel stories are troubling: staff who had to take extra jobs to support their families on a station salary; stations that asked for 60-hour work weeks and little appreciation; stations that would not offer health insurance; unions that failed to advocate for even a cost of living increase in a decade or more. The most problematic boards and senior leadership in these scenarios suggest a community radio job as a privilege and other audacious proclamations directly opposed to labor fairness, diversity and equity.
And we wonder why stations struggle. Look not much further than turnover and a lack of investment in people who care.
I speak about these matters from a place of compassion for stations, but also direct experience with station myopia. I worked for a community radio station for years without a penny extra in wages. Like many station staffers, I accepted such because the organization was meaningful to me. However, I suspect a lot of station staffers make similar excuses. In the end, this acceptance does not make for forward-thinking dynamics. It may contribute to dissatisfaction instead. And the people who should act to make these situations better are only emboldened to advocate for quasi-austerity or, worse still, inaction.
As many nonprofits get ready to kick off the new fiscal year, don’t be that station. Don’t treat the people who love your organization and give so much of their time and ideas to its betterment like people whose lives you should not care about. And don’t fall back on the collective shoulder shrug to address the needs of community radio.
Different community radio stations are faced with different local conditions, so it is impossible to be prescriptive about how organizations should remedy these matters. However, a commitment to change is a start. From staff evaluations to studying area pay trends to investigating healthcare options, there is a lot boards and senior leaders can do. Equity and fairness starts at home.
The new edition has AoIP tips, emergency operations kits for public radio stations, the transmitter remote controls of yore, battle lines in the translator interference debate, our preview of the Radio Show in Dallas and much more.
“Tech Tuesday” and Lessons From the Cowboys
Read about the convention’s fresh new feel, its day devoted to technology, and highlights of the three-day event including business ideas from Dallas Cowboys’ Chief Brand Officer Charlotte Jones Anderson.
Stitcher’s Flexible New Facility in Manhattan
The company moved into new headquarters and built studios for creating podcasts; find out what’s in them.
ALSO IN THIS ISSUE:
- Smart Speakers Grow Even More Important
- Jay Tyler’s Top AoIP Trends
- About the EBU Media Technology Pyramid
The Wisconsin Broadcasters Clinic, Oct. 15–17, is a highly anticipated annual event for radio broadcasters. Like a miniature NAB Show it offers a wealth of information from a show floor along with useful sessions. Radio World is previewing several of those upcoming sessions.
Tim Wright is a senior engineer for the Cumulus Radio Station Group in Chicago. He’s taking a look at the using the Raspberry Pi computer system in a broadcast environment in “Nuts and Bolts: Building the Perfect Pi,” Oct. 15, 7 p.m.
Radio World: The Raspberry Pi is still unknown to a lot of radio broadcast engineers. What is it and how can it be of use in a radio broadcast environment?
Tim Wright: The Raspberry Pi is a single board SOC (system on a chip) computer that is about the size of a deck of cards. It runs a ARMCore version of Debian Linux in a standard configuration but can also run Ubuntu Linux, several other more obscure OSes, and Windows 10 IOT (If you like the Microsoft [non]security model). The basic Raspberry Pi model lists at $35 US so it is a very cost effective solution for those broadcast applications that would normally require a full blown PC to just loaf along and do one thing.
RW: What is a good and useful studio project?
Wright: I have implemented several applications for the Raspberry Pi for our studios and transmitters for Cumulus Chicago. We will be showing, hands-on, several of these applications at the “Nuts and Bolts” session of the Wisconsin Broadcasters fall show. My first application was porting Anthony Eden’s Livewire Simple Delegation Switcher to the Pi. At that point it only ran on Windows in a windowed configuration. I needed a border-less configuration with large buttons to use as a monitor routing panel to select which audio went to overhead speakers in Sales, Promotions, and common areas. Since the code is open source, I modified it to fit my needs. Since that time, Anthony has posted Raspberry Pi configuration instructions on his GIT repository web site.The Raspberry Pi version of the Livewire switcher that Tim Wright has developed.
My second project was for the transmitter sites. I developed a temperature sensor (thermometer) that outputs SNMP data for ingestion into my icinga2/Grafana-based “Heads Up Display” in the TOC. I have also developed several types of multistream monitors for web streams, and a studio clock that interfaces with Livewire right now, and WheatNet is in the works.
Additional applications that are possible but not necessarily practical, include an IP-based STL/TSL, decoding HD Radio using a Pi and an SDR dongle, DHCP server, multimedia displays, KODI home theater, etc.
Use your imagination, or as they say, “Imagine the Possibilities.”
RW: Can it be used in networking?
Wright: The Raspberry Pi family, with the exception of the $5 Pi Zero, support networking. The currently available versions 3B and 4 support both wired and wireless networking, with the 3 at 100 Mbps and the 4 at gigabit speed.
In addition there are third-party hardware additions that allow POE (Power over Ethernet) of the Pi. Since it is a full-blown Linux system, you can do anything that Linux is capable of.
RW: Its simplicity, small footprint and low power consumption would seem to make it a natural for backup uses. Tell us about that.
Wright: Not just backup uses. I have a web server that has been running on a Pi original model for years quite happily.
I did an analysis of PC vs Pi, since any of the projects discussed in the session can and will run on PC hardware as well. In bottom line terms, what can be done for $900 with a PC can be done for $130 with a Pi and is a tiny fraction of the space. A typical PC consumes 150 W of power and the Pi is 5 W. Do the math — total cost of ownership.Tim Wright’s Raspberry Pis at work.
RW: Have you worked with the new Raspberry Pi 4 yet?
Wright: I just purchased a half dozen of the Raspberry Pi Version 4 in all the various models (1 GB, 2 GB and 4 GB RAM versions) specifically to use at the WBA for hands-on demonstrations. It took four trips to Micro Center to get them all, because they cannot keep them in stock. Needless to say they are a popular commodity. Be warned, the Version 4 Pi requires a different HDMI cable, power adapter and case, since, following the Apple mantra, why would we want to be backwards hardware-compatible. The larger memory footprint is really only necessary in the minority of applications since Linux runs quite fine with the standard 1 GB. I can imagine that with the dual HDMI ports on the Version 4, the increased CPU speed and cores, and the gigabit networking capability, the Pi could even be used as a digital audio workstation. I have successfully run, as an experiment, a 24-track editor on the Pi 3, so the 4 is even better.
I am setting up all the demo systems with VNC access and Webmin access via HTML, so attendees can use their laptops to play with the systems as if it were a local PC.
The post Wisconsin Broadcasters Clinic Preview: Raspberry Pi appeared first on Radio World.
Radio World’s new ebook “AoIP for 2020” is our biggest to date; find it at radioworld.com/ebooks. This article is one in a series exploring that topic. Author Dee McVicker handles marketing and communications at Wheatstone.
There is far more to AoIP than routing and connecting things. It is because of AoIP that we can pan studio cameras at exactly the right moment or load an entire studio of controls onto a tablet, for example.
Where is this all going?Jay Tyler
Here are the top five AoIP trends, according to Jay Tyler, Wheatstone’s director of sales, who has been involved in hundreds of studio projects.
Native AoIP across distances. There’s a lot of sharing going on these days, from sharing VOs and bumpers between sister stations and sports venues to putting everything into one main operating center for several stations scattered across a region. Being able to move native IP audio and control across distances is why. The cost savings are significant in terms of staff, infrastructure and workflows, and disaster recovery doesn’t get much better than having your essential operation up in a cloud or in another Zip code while dealing with a disaster situation in the studio.
“We don’t care where music lives,” Tyler said. “We can pull it in or we can control it remotely. We can mix it remotely, send it to your transmitter site, bypass the studios, whatever you want us to do, we can now do it using a combination of AoIP logic controls, codecs and connectivity.”
Native IP for phone-ins, too. Connecting VoIP phones directly into the AoIP network without hybrids or stepping through analog-digital conversions means you can do so much more than just route one or two mic feeds down the phone line. You can split feeds, set up multiple sends, customize talkbacks, routing and conference feeds — all possible now that VoIP phones can connect directly into the native IP audio environment.
SNMP everything. “Everyone wants to know what everything is doing, and they’re doing it with SNMP,” he said. SNMP is a set of standards used for monitoring and managing data from servers, printers, hubs and switches. AoIP networks and devices that are SNMP-enabled have MIB files that define relevant data points for monitoring bitrates, temperatures, signal flow and other network details.
For example, WheatNet-IP BLADE I/O units have MIB files with data points for monitoring as well as alerting if a particular port is dropping packets or if a device is heating up and about to fail. In addition to devices containing MIB files, an SNMP browser or management tool is needed for managing networks.
Virtual interfaces into the network. UIs into the IP audio network are taking many forms today, from signal monitoring and switching control panels to news desks complete with talkback button, metering and weather, sports and stock market feeds. Meanwhile, according to Tyler, standalone virtual mixing consoles such as Wheatstone’s Glass LXE are popular in mid-market production rooms because they’re affordable to set up and use, and extremely serviceable for today’s production needs. With native audio IP able to cross distances as mentioned earlier, we can now tap into and control signal streams inside or outside a facility from any user interface available, whether it’s a multi-touch flatscreen or a mobile phone.
AES67 Everywhere. AES67 is no longer an afterthought. This audio transport standard is becoming an important part of the AoIP landscape as we move more and more audio between network systems. Also up and coming are complementary standards based on NMOS and AES70, which promise to add discovery, control and connection management to the interoperability mix.
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AMSTERDAM — The WorldDAB conference “Radio Distribution Strategies for a Connect World” focused on new and innovative ways to reach and attract audiences in a connected world.The speakers’ panel at the WorldDAB session during IBC2019. (L to R) Patrick Hannon, Graham Dixon, Michael McEwen, Jørn Jensen, Simon Mason, Andrew Murphy, Jordi Gimenez and Jacqueline Bierhorst.
During the event, Jørn Jensen, senior adviser at NRK, highlighted how the advent of digital radio reversed the trend of radio listening figures in Norway. For years the overall listening values had been slightly decreasing, similar to what was happening in the rest of Europe.
In 2019, after the completion of the FM switchoff, the listening figures began to rise again, he explained. Clearly, the need to replace a legacy radio receiver with a new, digital-capable one did not scare Norwegians, driving them to leave radio behind and massively embrace alternative audio platforms.
“DAB gave Norwegian listeners a much wider choice,” said Jensen. “Apart from moving from three to 15 national radio channels, 35% of all radio listening is now to ‘digital only’ stations, which previously did not exist.”
Norwegian broadcasters were able to design new stations for smaller target groups outside the mainstream market. The NRK station P1+ (targeting listeners over 55), for example, rose to 6th position during its first week on air.Jørn Jensen said listeners figures rose in Norway after the FM switch-off.
Also, radio commercial revenues can benefit from the digital radio adoption. Even if the United Kingdom experienced a false start with DAB, after 2010 digital radio definitely had a stable comeback there, and now the U.K. is a leading market for DAB.
Overall radio commercial revenue (including FM) followed the rising trend of digital radio popularity. Patrick Hannon, WorldDAB president, emphasized that overall commercial revenues climbed up by 24% from 2014 to 2018.
NATIONAL BRANDSPatrick Hannon, WorldDAB president, gives a keynote speech and wraps up the session.
“Commercial broadcasters usually see more competition and more costs in the
DAB market,” Hannon said. “But DAB gave them the opportunity to establish national brands, which are transforming the perception of commercial radio in the U.K.” In his opinion, national brands are at the heart of the revenue growth.
The WorldDAB session also focused on the need for broadcast digital radio to secure its place through a fluid distribution mix of the advanced markets are now experiencing all around the world.
The session’s speaker panel also included Graham Dixon, head of radio at the EBU); Michael McEwen, director general for NABA; Simon Mason, head of broadcast radio technology at Arqiva, Andrew Murphy, lead research engineer at BBC R&D; Jordi Gimenez, project leader 5G at Institut für Rundfunktechnik; and Jacqueline Bierhorst, on behalf of Radioplayer Worldwide.
All the speakers agreed that a multiplatform digital radio strategy is necessary to preserve the value proposition of radio in a connected and evolving world.
“We have to maintain trustability and relevance — our content has no value, unless people are using it,” Jørn Jensen concluded.
The post Using Digital Radio to Boost Listening Figures and Revenues appeared first on Radio World.
The author is CEO of SSR Communications, owner of WYAB(FM) in central Mississippi.
A proceeding currently before the Federal Communications Commission to provide eligible Zone II Class A commercial FM broadcasters an opportunity to upgrade from 6 kilowatts to 12 kilowatts has not attracted a great number of headlines this year, but that has not prevented the FM Class C4 proposal from making some significant strides as of late.
Most noteworthy, the Class C4 FM idea has attracted some powerful allies. In January, the proposal won the backing of the Sen. Roger Wicker of Mississippi, sitting chairman of the U.S. Senate Committee on Commerce, Science, and Transportation, the Congressional body that maintains direct oversight over the FCC. Sen. Wicker noted that the power increase could be of particular benefit to “small and rural radio stations” in a letter to FCC Chairman Ajit Pai. In his February, 2019 reply, Chairman Pai agreed by saying that the FM Class C4 option “could be especially important for small, minority-owned stations that currently cannot serve their entire communities.”
Sen. Wicker now joins the list of approximately 130 small broadcasters who filed comments in full support during the FM Class C4 Notice of Inquiry (MB 18-184, FCC 18-69) filing windows in September, 2018. Several years prior, FCC Chairman Ajit Pai first advocated for the new station class in September, 2016 at the NAB/RAB Radio Show in Nashville, Tenn., and going back further, the Multicultural Media, Telecom and Internet Council (MMTC) supported the effort in 2013 when it helped author the original proposal.
Predictably, a turf war has erupted between the small broadcasters that the FM Class C4 proposal would benefit, and larger license holders who generally control the biggest signals in any given market. The National Association of Broadcasters did not support the introduction of a new station class, which is unsurprising, as that same organization vehemently opposed the creation of the FM Class C0 allotment type some 20 years earlier. Although larger companies stopped short of endorsing the idea fully, some nationwide broadcasters did come out in support of the FM Class C4 concept, including Educational Media Foundation, while iHeartMedia did not oppose the new station class in its comments.
The current sticking point in the FM Class C4 proceeding appears to stem from a component of the proposal that would give certain underbuilt Section 73.207-licensed stations a Section 73.215 designation, provided that the affected station has operated under its maximum antenna height, power level, or equivalent thereof, for a period of ten years or more. Under the current FCC rules, a neighboring station looking to upgrade that is adjacent to an underbuilt Section 73.207-licensed station must treat that station as if it were fully built out, whereas a Section 73.215 station can be protected assuming its actual antenna height and power level.
The practice of treating underbuilt stations as if they were fully constructed can have large implications for smaller adjacent stations wanting to upgrade in power or situate their antenna sites more favorably. For example, a full FM Class C1 station is able to broadcast with 100 kilowatts of power from an antenna height above average terrain of 299 meters. If that station were to have an antenna height of only 200 meters above average terrain, then its primary service contour would be about 5 miles short of what a fully built FM Class C1 facility could reach. Any competing neighboring station looking to upgrade is compelled to protect that underbuilt station for five extra miles of coverage that it does not (or if underbuilt for more than 10 years, likely will not ever) serve.
In August, 2019, SSR Communications Inc., which co-authored the FM Class C4 petition with MMTC, presented a revised version of the Section 73.215 aspect of the proposal to the FCC’s Audio Division. The amended plan would still call for redesignation of certain underbuilt Section 73.207 licensed stations as Section 73.215 authorizations, but would also provide a 3 dB protective “buffer zone” to allow the affected stations an opportunity to relocate or build out more fully in the future. The buffer zone would create a protective bubble around underbuilt stations, usually amounting to anywhere from 3 to7 miles, depending on how severely underpowered or under-height the affected station may be.
This 3 dB buffer zone “compromise” would resolve the controversial aspects of the FM Class C4 proposal and should allow the proposal to advance. The buffer eliminates almost all scenarios in which an affected reclassified Section 73.215 facility could be hemmed in and blocked from making future service improvements or tower relocations. It would also disincentivize the Section 73.215 conference procedure for stations seeking such towards neighboring underbuilt Section 73.207 facilities in almost all cases, except for those involving Section 73.207 stations that are the most decidedly underbuilt with respect to their class. Indirectly, the buffer prevents almost any scenario in which a secondary service could be affected by the Section 73.215 component of the FM Class C4 idea.
Meanwhile, an alternative waiver-based path towards a FM Class C4 equivalent facility may also soon exist. In July, 2018, WRTM(FM) 100.5 MHz asked the Federal Communications Commission to consider allowing the station to double in power from 6 kilowatts to 12 kilowatts. If granted, the WRTM waiver application would establish new precedent and provide certain Class A FM stations an opportunity to enjoy an improvement in coverage.
Unlike the FM Class C4 proposal, the WRTM application (BPH-20180716AAC) suggests that, in order to double in power, a Class A FM licensee should guarantee that its upgraded signal would not impact vital LPFM and FM translator services. Also departing from the Class C4 FM proceeding is the idea that a neighboring Section 73.207-licensed station could still be reclassified as a Section 73.215 facility if it is not built out fully, but only if that station has been operating below its antenna height or maximum power level for a period of 30 years (the FM Class C4 proposal states that a 10-year window is appropriate). The WRTM filing backs this argument by saying, “No zoning problem, FAA issue, or cost consideration could not be resolved within 30 years if the desire is truly there to build out fully.”
Whether moving forward “as is,” as an amended proposal with a 3 dB buffer zone consideration, as a waiver-based procedure for eligible stations, or something else altogether, what will happen next in the FM Class C4 proceeding is anyone’s guess. What is clear is, however, is that hundreds of FM Class A stations would be able to double in power and would gladly do so if given such an opportunity. With support in high places, it seems as if a breakthrough is just around the corner, and it could be sooner than later that the FM Class C4 idea moves from concept to reality.
A recent visit to the small agricultural town of Hughson, Calif., led Enforcement Bureau staff to note that one Spanish-language station was in alleged violation when it came to lighting and painting its tower/antenna and noting on-air proper station identification.
The agent noted that on more than one occasion, there was no station identification announcement at the hour for KLOC(AM) 1390 kHz, which is licensed by La Favorita Radio Network. FCC rules say that broadcast station identification announcements shall be made hourly and as close to the hour as feasible.
The agent also noted several alleged tower and antenna issues, including irregular painting on an antenna installation, inadequate lighting, failure to notify the commission about inoperable lighting and faded painting.
The FCC Rules lay out specific requirements when it comes to painting and lighting towers and antennas — even relying on a paint tolerance chart created by the Federal Aviation Administration and given the heavy name of an In-Service Aviation Orange Tolerance Chart. FCC Rules also say that antenna structures should be cleaned and repainted as often as necessary to maintain good visibility.
So, too, are the FCC rules clear on tower lighting. A tower must be painted for visibility during daytime; during the night, a series of top flashing red obstruction lights and midpoint sidelights must be lit and operational. When those lights are not operating for some reason, the owner of the antenna structure has to report the problem to the FAA unless the lights are corrected within a 30-minute time frame. That notice — called an FAA Notice to Airmen — hadn’t yet been filed by the station, the Enforcement Bureau said.
The FCC has given La Favorita 20 days to submit a written statement explaining the violations and to clarify what action will be taken from here. The commission said it may take further action if warranted, including issuing a Notice of Apparent Liability for Forfeiture.
The post Small AM Station Hit With Violation Notice Over Tower and Station ID appeared first on Radio World.
When it comes to requesting a reimbursement for repack-related expenses, the clock starts now.
Low-power TV, translator and FM radio stations have a pool of $150 million from which to request funds after the Federal Communications Commission voted in March to allocate additional funding for those adversely impacted by the post-incentive auction TV station repack. The FCC Incentive Auction Task Force and the Media Bureau have since outlined procedures for reimbursing those left out of the first round of funding from the TV Broadcaster Relocation Fund.
The first step, according to a webinar hosted by Hillary DeNigro, deputy chair of the FCC’s Incentive Auction Task Force, is to get a reimbursement form filed in the LMS database (known as FCC Form 2100, Schedule 300). The deadline for that filing is Oct. 15. That form includes an eligibility section as well as a broadcaster relocation reimbursement estimates section.
Next up: file a banking form (Form 1876) in the CORES incentive action financial module database to clarify where funds should be sent.
In the webinar, attorneys and specialists from the FCC walked listeners through the eligibility requirements charts for this process, noting that are unique and separate rules for LPTVs, translators and FM stations when it comes to eligibility.
See the charts for eligibility requirements for both LPTV/TV translator stations and FM stations.
But DeNigro stressed stations should not wait to receive feedback on whether or not they are eligible for stations to start submitting expenses. “You should not wait to receive feedback on eligibility,” she said. “We encourage you to not wait but to [go ahead and] submit the forms because we are reviewing materials as we receive them.”
How much can a station expect to receive? That will be dependent a number of factors, DeNigro said, including the number of stations that file, the aggregate dollar value of verified estimates received by the commission, and the amount available for reimbursement based on that category of stations.
Payments will be made on a rolling basis; so get your invoices in, she said. “You don’t need to until you have everything together before you submit payment.”
Once a station’s move is finalized and all expenses have been accounted for, a final form 399 is needed to let the commission know that you’re closing out your account. The deadline for those forms is July 3, 2023.
The post FCC: The Time to Request Repack Reimbursements Starts Now appeared first on Radio World.
“The early bird gets the worm, but the second mouse gets the cheese.”
Component old age is not the only cause of equipment failures. Another, more disgusting, one is vermin infestation, which will become common again now that cooler weather is upon much of the nation.
If you haven’t taken steps to place bait traps and moth balls around your remote transmitter site, now is the time. All sorts of animals are attracted to the warmth of your transmitter building; and they will quickly set up home, sometimes in or on your equipment. See Fig. 1.Fig. 1: DA parameters out? No, the antenna monitor was being used as a mouse outhouse. The top vents on the monitor served to channel liquid inside, destroying printed circuit boards.
Stop the problem before it begins. Rodents like to travel along walls; place your glue or bait traps there to snag them before they get into your equipment racks.
Little black mouse droppings on the floor of the building or enclosure are a signal for action. If you find that your site has been infested, protect yourself while removing nest and droppings. Wear gloves, a gown and above all a mask to avoid breathing hazardous airborne pathogens.Fig. 2: A useful resource can be found at www.bestwaytogetridofmouseinhouse.com/mouse-infestation/#risks.
John Wells has written a useful tutorial on illnesses spread by rodents and offers useful tips to ensure their removal. The URL is in the caption for Fig. 2. YouTube also has a number of videos; search “removing mouse infestation” for tips.
Broadcast engineer Tom Norman read with interest our discussion about Frank Hertel’s experience with electrolytic capacitors in an FM exciter. It brought back memories that may be useful for other readers.
Tom remembered an instance in which a remote control system failed. His tests couldn’t produce a reason, but its operation remained horribly intermittent. Tom decided to station himself at the transmitter site until he could figure out what was wrong.
He started with the usual, checking power supply voltages using a VOM. No issues. He checked the same power supply rails with the ’scope. Still nothing wrong.
At one point in the circuit, one of the power supply voltages was further regulated using a three-terminal regulator. Scoping the output of that regulator, he hit the regulator with freeze mist. The tiny amount of ripple disappeared. Tom is not sure what possessed him to check the input terminal of the regulator, but when he did he saw significant ripple. Why was there more ripple on the input of this chip than was present at the output of the regulated power supply feeding it? He froze the chip again and it calmed down.
Tom replaced the chip. No difference. That’s when he considered what was attached to the input and output terminals of the chip. You guessed it: There was a small electrolytic on the input. Tom replaced it. The power supply calmed down, but he still had erratic behavior from the remote control unit.
Tom’s next step was to freeze mist all the active components. He was about to freeze a 741 Op Amp but inadvertently touched it with the little straw from the nozzle of the can of mist. The remote control unit went from erratic to totally dead. He poked the Op Amp again, no difference. He froze it. Back to erratic operation. Tom replaced the Op Amp. Operation was still erratic. Checking the schematic, he noted power supply bypass electrolytic capacitors on the power supply pins. Tom replaced those capacitors. Still erratic.
Pulling out what little was left of hair, he removed the Op Amp and stuffed in a fresh one. Problem solved.
This all took place shortly after a huge electrical storm during which Tom had witnessed multiple direct strikes to the tower.
Although not certain, Tom sees two issues here. One is that lightning can affect components deep inside a circuit, where normally you’d expect them to be safe and sound. His guess is that the electrolytics, being old, failed due to the exacerbating influence of the lightning. Then, for reasons he cannot fathom, one or the other of the Op Amp’s power supply bypass capacitors became inductive and caused oscillations whose peak voltages exceeded the limits of the 741 Op Amp, thus frying it. Although this is speculation, it reminds us that electrolytics should be replaced every seven years or so.
Tom also recalls that as a station engineer, when he found Mallory-brand electrolytic capacitors in a piece of equipment, he would shotgun all of them. He said he’d had so much difficulty with Mallory electrolytic capacitors that he specified that new equipment must not contain any electrolytic capacitors of that manufacture.
Tom writes that he still carries this prejudice, even while acknowledging that things may have changed since then. He doesn’t do much bench work now, but from time to time he will design little circuits for use in his home environment, and when he orders capacitors, he selects another manufacturer — which is funny, because Tom has never had a Mallory Sonalert fail.
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John Bisset has spent 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.
At IBC2019, Tieline unveiled the new Gateway IP audio codec, which the company says, is a compact and powerful multichannel IP audio transport solution for radio broadcasters. The Gateway streams up to 16 IP audio channels with support for AES67, AES3 and analog I/O as standard.
Featuring Tieline’s SmartStream PLUS redundant streaming and Fuse-IP data aggregation technologies, Tieline promises the Gateway will “herald a new era in multichannel IP codec streaming.”
Tieline Gateway is suitable for STL, SSL and audio distribution applications, as well as managing multiple incoming remotes at the studio. The compact unit is interoperable with all Tieline IP codecs and compatible over SIP with all EBU N/ACIP Tech 3326 and 3368 compliant codecs and devices.
“The new Gateway codec delivers up to 16 mono channels or eight stereo streams of IP audio in 1RU to increase efficiency and reduce rack space requirements,” said Charlie Gawley, Tieline’s VP Sales APAC/EMEA. “The Tieline Gateway interfaces with legacy analog and AES/EBU sources, as well as newer broadcast plants with AES67 IP audio infrastructure. An optional WheatNet-IP interface will also be also available.”
Configurable through an embedded HTML5 Toolbox Web-GUI interface, the Gateway can also interface with the TieLink Traversal Server for simpler connections and is fully controllable using Tieline’s Cloud Codec Controller.
The post From IBC: Tieline Unveils Gateway Multichannel IP Codec appeared first on Radio World.
Joe D’Angelo, senior vice president of broadcast radio at Xperi, announced during the Xperi HD Radio market update held on the Nautel booth at IBC that HD Radio tests for FM will begin in New Delhi shortly.Joe D’Angelo announced plans for HD Radio tests in India during a speech on the Nautel booth at IBC.
“We worked with Nautel to get the authorization required to install a test station in Delhi,” D’Angelo said. “We expect to start on-air trialing within a couple of weeks and continue into next year.”
The FM station will broadcast an HD Radio multicast hosting up to four HD signals. According to D’Angelo, in India there is a remarkable interest in second- and third-language programming, mainly due to the large number of languages spoken throughout the country.
The HD Radio test will demonstrate the entire feature set of the digital radio standard, such as dynamic visual content, station logos and emergency alerts services.
“We will run the trial using standard broadcast equipment from Nautel with the same configuration adopted in the United States, as well as with standard commercial receivers, including the first HD Radio-capable cellphone, named BeatBoy,” D’Angelo explained.
He added that many of the vehicles shipped to India are equipped with the same HD Radio receiver they feature in the U.S. So, even if it’s disabled by default, local dealers can easily activate it. This means thousands of vehicles will potentially be able to receive India’s first HD radio broadcasts once the service begins.
KRK’s popular and affordable Rokit line of near-field studio monitors has now reached its fourth generation, replacing the G3 models and ushering in a significant redesign. The new lineup includes three two-way models, the Rokit 5 G4 (5-inch woofer), Rokit 7 G4 (7-inch woofer), Rokit 8 G4 (8-inch woofer), and the three-way Rokit 10-3 G4 (10-inch woofer). The 4-inch and 6-inch models in previous lineups have been dropped from the line, while the company has added the 7-inch version.The Rokit 8 G4, like the other monitors in the series, has matching Kevlar woofers and tweeters.
For this review, KRK sent me a pair of both the Rokit 8 G4 and Rokit 5 G4, so we’ll focus on those.
The G4 models are physically similar to their G3 predecessors. The black composite cabinets are close in height, width and depth to the models they’re replacing. The monitors themselves are lighter, however, thanks in part to redesigned Class D power amps that are smaller and lighter. The total weight of a Rokit 5 G4 monitor is about one pound less than the Rokit 5 G3. The Rokit 8 G4 is about four pounds less than the Rokit 8 G3.
Another significant difference is the composition of the woofers, which are now made of Kevlar instead of the glass Aramid composite of the G3 Series. The G4 tweeters are also Kevlar. According to KRK, the Kevlar not only reduces distortion but offers superior damping capabilities and is more resistant to resonances and ringing.
Like the G3, the G4 monitors are front-ported. However, KRK enlarged the ports and made them wider and taller. The company describes the new ports as being “scientifically tuned.” I had to chuckle when I read that, because what else would you use besides science to tune a speaker port? All kidding aside, the point they’re trying to make is that they used their expertise in speaker development to design the port and other physical characteristics of the monitors to work harmoniously and create the best-sounding result.
The G4 monitors feature isoacoustic pads on the bottom panel, just like on the G3 line. These are designed to help decouple the monitors by reducing the transfer of vibrations from the cabinet into your desk or monitor stands. Though not as thick as dedicated third-party monitor pads, they definitely help and are a nice extra.
DISPLAY OF PLENTY
Other than the larger ports and tweeters now in the familiar KRK yellow (the tweeters on the G3s were black), the G4 monitors don’t look all that different from the front compared to their predecessors. On the back panel, however, you’ll find some pretty significant differences.
For one thing, instead of separate 1/4-inch balanced and XLR inputs, you now get a combo input. What’s more, KRK no longer includes the third input option from the G3s, an unbalanced RCA input. From my point of view, that’s no great loss. If you want to connect the monitors to the line out of your stereo system, you can always get adapters.
More importantly, the EQ and volume knobs that were on the back of the G3s have been replaced with an LCD display and an encoder knob. The G4s are equipped with DSP Room Tuning EQ, which can be accessed with the encoder, with a visual assist from the display. You also get a range of setup features, which make the G4s more customizable than previous versions.
Pressing the encoder turns on the LCD, and shows a home screen, which features a volume control along a frequency graph that will show any EQ settings you’ve already made. Turning the encoder adjusts the volume, which is represented in the LCD by a slider and a numerical readout making it easy to set precisely (a much better solution than some monitors on the market, which sport analog volume knobs that aren’t detented). Pressing the encoder lets you select the EQ or setup categories.
The EQ section offers five different filter types for customizing the frequency response to your room acoustics. You get four presets plus flat in both the low EQ and high EQ categories. This arrangement makes dialing in adjustments easy, but doesn’t allow you to customize the boosts and cuts or the corner frequencies.
Low Shelf is designed for situations where you have a bass boost due to placing the monitors close to a wall or corner. Its presets include a –3 dB or –2 dB cut at 60 Hz. You also get a low-shelf option that boosts by +2 dB at 60 Hz.
Low Peak is a peak filter that cuts –2 dB at 200 Hz with a wide bandwidth. KRK refers to it as a “desk filter,” because it’s meant to reduce muddiness caused by reflections off of a console or table. There’s also a setting that combines the Low Shelf and Low Peak filters in one.
For cutting or boosting highs, you get both shelving and peak EQs. These include High Shelf, which cuts by –2 dB at 10 kHz. Another combines a high-peak filter cutting –1 dB at 3.5 kHz and high-shelf filter cutting –1 dB at 10 kHz. On the boost side, you get a similar shelf/peak combination, which boosts +1 dB at those same frequencies, plus a high-shelf filter that boosts 2 dB at 10 kHz. The LCD shows a frequency graph for each setting, which gives you a visual representation of the effect of the selected filter.
The setup menu offers adjustment for backlight brightness and contrast for the LCD. You can also choose whether to light the logo on the front of the monitors, factory reset and settings, lock options and the standby function. With standby on, which is the default, the monitors will sleep when they’ve seen no signal for 30 minutes. They wake up automatically when a signal is detected, but it takes several seconds. (When I first encountered a wake-up situation with the monitors, I thought something was wrong with my system, because I hit play and no sound came out. Then it popped on, and I realized that the monitors had been in standby.)
I have been using the Rokit 8 G4 and Rokit 5 G4 monitors in my studio for the last couple of weeks. Because my studio acoustics tend to reduce bass, I ended up setting the EQ to the low shelf +2 dB boost at 60 Hz.
I started just by listening to a lot of different types of musical styles, switching back and forth between the 8-inch and 5-inch — everything from bass-heavy styles like hip-hop and EDM to midrange-heavy rock music to genres with wide frequencies and dynamic ranges such as jazz and orchestral music.
On the 8-inch monitors, the bass sounded full but not flabby. Mids were vibrant, and the highs were plenty bright. They were almost bright enough that I considered cutting them with the EQ, but I decided against that.
The 5-inch models impressed me right off the bat with their bass response. Although they obviously don’t go as deep as the 8-inchers, the bass was present and didn’t feel like it was dropping off the table when I switched to them from the Rokit 8 G4s. They are quite punchy-sounding, too. For example, kick drums cut through nicely. Overall, their frequency response was surprisingly full for 5-inch speakers.
KRK says that the matching Kevlar drivers provide a consistency in imaging, which I found to be the case. The speakers have a wide sweet spot.
The company also claims that new models create less ear fatigue. That’s a harder one to judge, and I didn’t come away with an opinion one way or the other about it.
I monitored with the 8-inch and 5-inch G4s exclusively on a couple of mixes I was working on. One was a rock song with guitars, bass, drums, keyboards and vocals, and the other a country-influenced instrumental track with pedal steel, banjo, acoustic guitar, electric guitar, bass and drums.The back of the G4 speakers have been redesigned and feature an encoder-and-LCD user interface for dialing in EQ and setup changes.
After I mixed the songs, I gave them the old “car test” and also listened on my living room speakers. I was pleased to discover that both mixes translated well. The balances remained accurate from one system to the next, and nothing jumped out as sounding out of whack. The KRKs were clearly performing as designed.
I was definitely impressed with the 5-inch and 8-inch Rokit G4 monitors and would have no problem using either in my studio on a regular basis. I like the sound of the new drivers and the redesigned power amps and cabinets. The LCD/encoder interface and the DSP-based EQ are easy to use and let you precisely match settings between the left and right speakers.
Although I didn’t try out the 7-inch model, it features the same design, so I’m guessing that it will offer similar, accurate sound reproduction. I can’t speak definitively to the Rokit 10-3 G4, because it’s a three-way monitor and therefore a somewhat different animal. That said, based on the upgrades to the two-way models, I have a feeling it, too, will surpass its G3 predecessor in performance.
KRK has raised the prices a little on each model in the series, but the speakers are still quite reasonable and are one of the better monitor values on the market.
Rokit 5 G4 and Rokit 8 G4
+ Accurate and consistent sound quality
+ Tight-sounding bass
+ Rokit 5 G4 offers good bass response for its size
+ DSP-based EQ offers plenty of room-tuning options
+ Encoder/LCD interface allows for precise L/R matching
+ Acoustic pads on bottom help with decoupling
+ Good value for the money
– Slightly higher prices compared to G3 monitors
– EQs offer preset values only
Prices: Rokit 5 G4 ($179 each);
Rokit 8 G4 ($299 each)
Contact: KRK Systems/Gibson at 1-800-444-2766 or visit www.krksys.com
AMSTERDAM — As IBC2019 draws to a close, the giant conference and exhibition once again showed why it describes itself as “the world’s most influential media, entertainment and technology show”.Amsterdam’s RAI Convention Center is home to IBC.
Across 15 halls of the RAI Convention Center in Amsterdam, almost 60,000 broadcast professionals gathered from around the world to see new products launched and to debate key media topics.
This year’s exhibition saw a focus on AoIP products and cloud-based “radio-as-a-service” solutions. The Telos Alliance used IBC to launch the Axia Quasar sixth-generation AoIP console. Available in sizes from four to 28 faders per frame, with support for up to 64 faders in multiple linked frames, the console is powered by a new native AoIP Quasar Engine.Ruxandra Obreja, DRM Chairman, speaking on the Gospell stand.
Meanwhile, Broadcast Pix launched RadioPix, an integrated production system for visual radio applications. “We felt it was time to produce a dedicated product for visual radio featuring a complete toolset and a streamlined user experience,” said Tony Mastantuono, product manager for Broadcast Pix. Multiple macros can be assigned to each microphone, which allows the system to select between camera shots to create more dynamic productions.
Elsewhere at the exhibition, Netherlands-based Broadcast Partners showed SmartRadio, a web and cloud-based, radio-as-a-service platform, consisting of newly-developed micro services, running in the cloud. The system comes in modular form, allowing users to scale up or down on a monthly basis.
Finland’s Jutel demonstrated RadioMan 6 Live, which it describes as “a virtual browser-based radio production, editing and playout system, where the audio processing is done in the cloud, so that no specific hardware is needed.” The latest version adds new cloud-based tasks: audio contribution streaming, on-air playout and production mixing in the cloud, along with web-based audio editing without the need for browser add-ons.Luca La Rosa on the Telos Alliance stand with the new Axia Quasar console.
Xperi’s stand offered a preview of how the new over-the-air in-vehicle Hybrid Radio experience will look with DTS Connected Radio. The system, which is set to launch in 2020 supporting analog, DAB+ and HD Radio, includes real-time broadcast metadata for all programming types, and can also gather new data on how listeners are engaging with broadcast content in the vehicle.
Two events focussed on the development of Digital Radio Mondiale. On Friday, Gospell unveiled five new products that all include DRM technology, including a portable receiver, car adaptor, and a high performance active HF antenna. Then on Saturday, on the Nautel stand, Fraunhofer IIS launched the latest R7 edition of its ContentServer head-end technology for DRM and DAB+.
At the IBC conference running alongside the exhibition, Monday morning saw a WorldDAB session on “Radio Distribution Strategies for a Connected World,” led by Patrick Hannon, the organisation’s president. It explored broadcast digital radio’s place in the distribution mix, including a case study of Norway’s multi-platform strategy, and reports from recent broadcast 5G trials in the U.K. and Germany.
IBC also saw Rise, the advocate group for gender diversity within the broadcast manufacturing and services sector, announce the winners of its new Rise Awards. Woman of The Year was Morwen Williams, Head of UK Operations for BBC News, and recently also appointed chair of the World Broadcasting Unions’ International Media Connectivity Group.
Listen up when it comes to smart speakers. Because that’s the way a growing number of U.S. consumers are now getting their music and news.
A new study released by the media marketing company NuVoodoo Media Service found that not only are smart speakers continuing to gain a foothold in the market but are now found in a majority of U.S. households — including future iterations that will make their way to the car.
The study (called NuVoodo Ratings Prospects Study 14) found that as of June 2019, 51% of surveyed consumers aged 14–54 across all PPM markets reported at least one smart speaker in their homes, an 8% increase in smart speaker penetration since January 2019.
The survey asked respondents to describe how they listen to their smart speakers and found that 42% of respondents said they use the speakers to listen to FM radio, up 3% over a six-month period from January to June 2019. FM radio was listened as the most-listened-to medium of the bunch.
Following close behind was Spotify — 36% of respondents said they have used their smart speaker to listen to that streaming service — followed by Amazon Music (32%), Pandora (28%), audio books (27%), AM radio (19%) and podcasts (16%). In in all seven of those categories, the survey found an increase in consumption from January 2019 to June 2019.Source: NuVoodo Ratings Prospects Study 14
While there are lots of things you can use smart speakers to do — from ordering online to checking the weather — “They’re called smart speakers, so lots of people use them to listen to things,” said Leigh Jacobs, executive vice president of research insights for NuVoodoo Media Services, noting that percentages are up for every listening category.
“And now smart speaker technology is coming to the car,” she said, alluding to the introduction of the Echo Auto, an aftermarket solution designed to bring the Alexa smart speaker to automobiles. The solution is only being sold to consumers on an invitation-only basis. But automakers are paying attention. Several auto brands tracked by the research and advisory company Gartner in a 2018 auto report noted that they planned to integrate an Amazon smart speaker system into future cars.
“With Alexa in the car, the barrier to selecting FM/AM vs. Spotify vs. podcasts and/or audiobooks is gone,” said Carolyn Gilbert, president and chief executive officer of NuVoodoo Media Services. “If you think of it, it’s usually an easy matter to get Alexa to play what you want. That dynamic presents radio with a real challenge or an incredible opportunity, depending upon what stations choose to do about it.“
The issue will be up for further discussion as part of a NuVoodoo Fall webinar series based on the company’s most recent ratings prospect survey. The NuVoodoo Fall 2019 Contesting and Marketing Guide will look at issues surrounding contests, promotions and marketing. The next webinar will be Tuesday, Sept. 17 at 1 p.m. ET. Radio professionals can reserve a spot at www.nuvoodoo.com/webinars.
The new study was fielded in June and represents the opinions of more than 3,000 respondents ages 14-54 from across all PPM markets.
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A day devoted to technology-oriented sessions is a new feature of the Radio Show coming up in Dallas. That’s one of the efforts by the National Association of Broadcasters and Radio Advertising Bureau to freshen and reimagine their annual event.Exhibits will be open Wednesday and Thursday of show week.
Show planners announced during the spring NAB Show that the fall show would get a new look and a more casual feel. The conference also puts a more visible emphasis on voice, podcasting, streaming and other technologies in the modern consumer audio ecosystem. Organizers are aiming for “a convergence of all who thrive in the audio and media space.”
Among highlights, veteran broadcaster Mary Quass will be honored. And the broadcast financial community will discuss implications for radio of the current deregulatory environment in Washington.
Tech Tuesday is free for NAB and RAB members; others pay $199 pre-show, slightly more on site. The day’s content is aimed at engineers, technology professionals and managers involved in radio station operations.
Topics promised include audio-over-IP, RF transmission, visual radio, streaming audio, remote backhaul, audio production and processing, data acquisition and protection, and hybrid radio applications. Tech Tuesday registration includes access to show exhibits, which are open the ensuing two days; there were about 70 registered exhibitors as of late August.
Here are highlights of Tech Tuesday:
Opening and Keynote: 10 a.m. — NAB Radio Engineering Achievement Award recipient Gary Cavell will speak about the importance of technology and of continuing education for engineers. He’ll be introduced by NAB EVP/CTO Sam Matheny.Edison Research has been doing interviews with younger consumers to learn their attitudes toward radio and audio, with an eye toward improving time spent listening for those demos.
Vender Breakouts: 10:35 a.m. — Attendees can hear from RCS President/CEO Phillippe Generali about the company’s Zetta Cloud Disaster Recovery offering, which the firm calls a “cutting edge safety net” for radio operations; and from Comrex veteran Chris Crump about ensuring reliable transmission of IP audio using the internet.
AM Radio’s All-Digital Future?: 11:20 a.m. — Radio World readers know about the tests and early deployment of digital-only signals on the U.S. AM band. This session brings together several experts including NAB VP of Advanced Engineering David Layer; Hubbard Broadcasting Senior Broadcast Engineer Dave Kolesar, who switched off the analog on WFED(AM) in Frederick, Md.; and Xperi Senior Manager of Broadcast Engineering Russ Mundschenk, recipient of the most recent Radio World Excellence in Engineering Award.
Lunch: 12 noon
Vendor Breakouts: 1:30 to 4:10 p.m. — There are several sets of concurrent presentations during the afternoon hours. They include Dielectric Senior RF Engineer Derek Small exploring the “black magic of filter tuning”; Nautel Sales Manager (Central) Jeff Welton discussing ways to optimize an installation with HD Radio; a presentation by ENCO Systems; GatesAir Product Line Manager Kevin Haider providing a “walkthrough” to understand the differences between Generations 3 and 4 of HD Radio technology; and Telos Alliance Senior Solutions Consultant Kirk Harnack highlighting the latest implementations of IP technology for networked audio and control.
Networking Break: 3 p.m.
“What’s Next in Radio Tech?”: 4:15 p.m. — A panel of industry veterans share insights into where our industry is going. Moderated by Radio World Editor in Chief Paul McLane, the group includes iHeartMedia Strategic Partnerships Group President Michele Laven; New York Public Radio CTO Steve Shultis; RadioDNS Project Director Nick Piggott; Xperi SVP of Radio Joe D’Angelo; and Goldman Engineering Management President Bert Goldman.
Closing Remarks, 5 p.m. — Wrapup by NAB VP of Technology Education and Outreach Skip Pizzi.
Reception, 5 to 6 p.m. — Hosted by NAB’s Sam Matheny and Skip Pizzi.
MORE SHOW HIGHLIGHTS
Here’s a sampler of other notable events.
Pillsbury holds its annual Broadcast Finance event on Tuesday. The theme: “Radio Unleashed: Preparing for a New Regulatory World.” Firm partner Scott Flick moderates a discussion of the opportunities for broadcasters presented by deregulation, like the elimination of the main studio requirement and the FCC’s potential relaxation of local ownership rules.
Flick was quoted by organizers saying, “That the FCC is recognizing radio’s challenges where listeners’ audio alternatives — and the competition for ears and advertisers — have grown exponentially may be as big a game-changer as the new competition itself.”
The panel includes Bill Hendrich, EVP of radio for Cox Media Group; Garret Komjathy, SVP of media and communications for U.S. Bank; Beth Neuhoff, president/CEO of Neuhoff Communications; Susan Patrick, managing partner of Patrick Communications and co-owner of Legend Communications; and David Santrella, president of broadcast media for Salem Media Group. …
Plenty has been said and written about the explosive growth in podcasting; but how does podcasting really fit into the business goals of Radio Show attendees? A Wednesday session “The Podcast Revolution” will include Carter Brokaw, president of iHeartMedia’s digital revenue strategy; Neal Carruth, NPR’s general manager of podcasts; and Oren Rosenbaum, emerging platforms and podcasting agent at United Talent Agency. The moderator is Conal Byrne, president of the iHeartPodcast Network. …
NRG Media Chairman/CEO Mary Quass will receive the National Radio Award during the Wednesday luncheon “2020 and Beyond: Insights from the Top.” Quass formed New Radio Group in 2001, later named NRG Media, which has 45 stations in the Midwest. Her career began in the late 1970s when she worked as an account exec. She purchased her first radio station in 1998, forming Quass Broadcasting Co., which became part of Capstar Broadcasting and, in turn, Clear Channel.Charlotte Jones Anderson knows something about building a brand as an executive with the Dallas Cowboys.
The luncheon program features a conversation with broadcast leaders Mary Berner of Cumulus Media, David Field of Entercom and Bob Pittman of iHeartMedia about strategies for a constantly shifting audio landscape.
Fred and Paul Jacobs will lead a Wednesday session, “You’re Not Just in the Radio Business Anymore,” to learn from people who have made successful career transformations. Fred launched Jacobs Media in 1983 and is credited with creating the classic rock format. Paul is president of jacapps and VP/GM of Jacobs Media. …Author Gary Vee says, “Attention is the new currency.”
Charlotte Jones Anderson is executive vice president and chief brand officer of the Dallas Cowboys, and the Radio Show convention is happening in her backyard; she’s a logical speaker to share strategies for “building a world-class brand around the customer experience.” She speaks on Thursday. …
Author Gary Vaynerchuk, aka Gary Vee, will talk Thursday on the topic “Attention Is the New Currency.” He is chairman of communication firm VaynerX and CEO/co-founder of VaynerMedia. …
Thursday also brings a session led by David Fisher on the art of storytelling, for which the media industry has gained fresh appreciation in an era of podcasting, smartphones and smart speakers. Fisher, who began his career writing for Joan Rivers, is the author of more than 80 books and is an accomplished ghostwriter. The session is called “Sound. Voice. Story. Success.” …
Also on Thursday, Edison Research will present research on driving audience engagement and leveraging audio trends. “The Secret to Longer TSL” will be led by Vice President Megan Lazovick and deal with attracting and retaining listeners and best practices to optimize advertising. “Lazovick will also provide exclusive analysis of audio listening trends and content preferences and offer insight on how radio can effectively compete with and embrace other platforms,” organizers said.
They noted that while radio’s reach remains strong across all ages, time spent listening to radio has fallen much faster among younger listeners than older ones, according to Edison. The company has done interviews with young listeners about their attitudes about commercials, audio platforms and radio programs. …
This year marks the 30th anniversary of the Marconi Radio Awards. Organizers invited several previous honorees back as emcees and presenters. Delilah, Rickey Smiley and Tom and Kristi of “The Bob and Tom Show” will do the honors.The show will be held at the Hilton Anatole in Dallas.
IF YOU GO
Where: Hilton Anatole, Dallas
When: Sept. 24–26
How Much: $499 pre-show rate for NAB/RAB members, up to $949 for non-members onsite. See site for packages for groups, students, young professionals, spouses.
Exhibits are open Wednesday Sept. 25, 10 a.m. to 6 p.m., and Thursday Sept. 26, 9 a.m. to 5 p.m. Listings are as of late August. Check onsite resources for complete list.
ABC Radio 211
Adder Technology 224
Bob and Tom Radio Network 144
Bonneville Distribution 216
Broadcast Depot 232
Broadcast Software International 229
Broadcasters General Store 100
Burli Software, Inc. 248
Calrec Audio Ltd. 234
Cool Radio Streaming 146
DJB Software Inc dba DJBRadio 213
Elenos Group 112
ENCO Systems, Inc. 133
ERI-Electronics Research, Inc. 200
FirstCom Music 247
Jutel Oy 219
Logitek Electronic Systems 225
Matrix Solutions 246
Miller Kaplan 217
Moseley Associates, Inc. 135
NAB Member Services 155
NAB Public Service 156
Podcast Studio 159
Powergold Music Scheduling 244
Premiere Networks 150
Radio Advertising Bureau 154
RF Specialties Group 227
Rohde & Schwarz 226
Second Street 145
Shively Labs 132
Sierra Automated Systems & Eng. Corp. 223
Specialty Data Systems Inc. (SDS) 245
Streann Media 152
SuiteLife Systems/NFB Consulting 202
Sun & Fun Media 209
Tieline Technology 102
Veritone, Inc. 243
WAVSTAR, LLC 228
Weather Metrics, Inc. 222
Wedel Software 230
Wheatstone Corp. 204
Win-OMT Software 249
WorldCast Systems 203
Worldwide Communications Consultants, Inc. 218
XPERI/HD Radio/DTS 113, 138
YEA Networks 147
The recipients of the Best of Show Awards at IBC2019 have been announced.
The following products won for Radio World International. Watch for the “Best of Show” Program Guide, including pictures and text about all the nominees, which covers products nominated to Radio World International, TVB Europe and PSN Europe.
Radio World International Best of Show Awards at IBC2019:
- Broadcast Partners SmartRadio
- DEVA Broadcast DB4005 FM Modulation Analyzer and Monitoring Receiver
- GatesAir Intraplex Ascent AoIP Transport Platform
- Jutel RadioMan 6 Live
- NeoGroupe NeoWinners Portal
- The Telos Alliance Axia Quasar AoIP Console
- Tieline Gateway Multichannel IP Audio Codec
- Wheatstone StreamBlade
- WorldCast Systems Audemat DAB Probe
- Xperi DTS Connected Radio
The post Radio World Announces “Best of Show” Awards at IBC2019 appeared first on Radio World.
Wheatstone is expanding its Blade offerings with the StreamBlade, a WheatNet-IP appliance that accepts up to eight input steams of native WheatNet-IP audio directly from a soundcard or AoIP driver as well as RTP sources and can output each in four streams; providing up to 32 total streams per device.
Output choices include Opus, AAC and MP3 encoders. The company says it is cloud-ready and compatible with standard CDN and streaming platforms, including Icecast, Wowza and RTP.
The StreamBlade has onboard processing with a six-band parametric EQ, a five-band AGC, a two-band final limiter and a stereo width control.
Wheatstone says that the AGC is designed for streaming. Jeff Keith, senior product development engineer for Wheatstone’s audio processing line explains, “Fast time constants (compression) can add intermod sidebands around a sustained note or bass note, which the codec has to spend bits on instead of the signals that are actually part of the program. That can be bad for any stream, but it’s especially bad for low bit-rate streams that don’t have a lot of data bits to begin with.”
StreamBlade can be configured and managed from a laptop and web browser using WheatNet-IP Navigator software. The box has two Ethernet ports, one for direct connectivity into the WheatNet-IP audio network on one end and another for connectivity into a WAN for streaming to a CDN or other service provider.
IBC Stand: 8.C91
Fraunhofer IIS’ newest available product is the latest version of its ContentServer head-end technology for DAB+ and DRM digital radio, the ContentServer R7. The recently released R7 is designed to assist with getting audio content and data services on air, while also utilizing the latest standard upgrades and new productivity features.
Some of the new features available via the ContentServer R7 include the automatic Audio Loudness Normalization and Monitoring and additional IP-based Audio Streaming Source Interfaces. This loudness normalization feature is based on Fraunhofer Sonamic technology and is supported by the unit’s internal audio encoders or attenuates the incoming audio to obtain and maintain the target loudness level per Loudness Units relative to Full Scale.
Of the additional IP-based audio sources, the inputs now comprise Livewire/Ravenna/AES67-based raw audio streams and consumer-type Icecast/SHOUTcast streams. The ContentServer can also be used as an end point for RTP-based audio bridges to accept uncompressed or compressed audio streams without external devices. There’s also support for audio level monitoring, audio source remote listening through HTML5 browsers and silence/clipping detection.
Additional functionalities for the ContentServer R7 include an interactive graphical system status overview; EWF with CAP import; JSON/XML RPC management and data interfaces; audio cross-redundancy; EDI Switch for DAB; localized multiplex output; automatic creation of playlists as Journaline pages; DAB V2.1.1 compliance; and stream monitoring.
ContentServer R7 is available as part of Fraunhofer’s OEM partners products.
The post Fraunhofer IIS Releases ContentServer R7 for DAB+, DRM appeared first on Radio World.
Tieline is highlighting the Cloud Codec Controller software tool at IBC2019. The solution lets engineers configure, connect and monitor an entire fleet of remote Tieline codecs from the studio.
Able to immediately detect the presence of a Tieline codec or device running the Report-IT Enterprise, Tieline says the Cloud Codec Controller delivers real-time online/offline status of supported codecs and users logged into Report-IT Enterprise. It also monitors connection status, link quality and audio levels, manages remote adjustments of audio levels, and can remotely dial and hang-up remote codec connections from the studio.
The Cloud Codec Controller also permits station staff to monitor and control their entire network of IP codecs, select and load programs and view and manage alarms. In addition, the solution lets operators launch the HTML Toolbox web-GUI to access all codec controls, mixer and router settings, program editing and creation.
The company offers two versions of licensing for the Cloud Codec Controller:
- A Private Network License for the monitoring and management of an unlimited number of codecs over a private network for a one-time fee.
- A Public Internet License for the monitoring and management of codecs over the public internet using Codec Client Licenses available as an annual subscription in packs of 10. This license also includes the features of a Private Network License.
Tieline adds that the new Controller also offers users control of Report-IT. In the studio the system can remotely connect and disconnect the Tieline Report-IT Enterprise app, start and stop recordings, monitor and adjust input and record levels, lock and unlock controls, as well as observe link quality.
IBC Stand: 8.E74
The post From IBC: Tieline Highlights Cloud Codec Controller appeared first on Radio World.