The author is owner of Kline Consulting and former corporate director of engineering and broadcast IT for several radio companies.
The large choice of codecs available on the market can be overwhelming. Here are some important points managers should take into consideration when defining their audio transport strategy and shopping for new gear.
- In today’s terms, does everyone on the team understand what a codec is and how it is used?
This might seem like a basic question that anyone can answer; but often, depending on the person you ask, the definition will vary. Years ago, we thought of a codec as a simple singular compression and decompression scheme or device. But the term “codec” has taken on a more general definition, which can sometimes be interchanged with STL, microwave, transmission path, etc. So before you go down the path of integrating new codec technology into your facility, make sure everyone on the team is familiar with the current models and configurations of the codecs on the market. Codecs today comprise many technologies and come in various sizes, shapes and price tags.
- Is this a simple codec replacement project or something bigger in scope?
In my consulting practice, I meet many managers who start off by asking about a simple codec recommendation. By the time we finish talking, we both realize that there is a bigger picture to consider involving several codec brands and models. By asking the right questions and walking through the technical workflow of the building, we learn that there are pending, among other things, STL, remote broadcast and even on-air telephone system needs, all of which could involve codec purchases. So before the codec selection and quoting process begins, ask yourself whether this is a limited scope project or something broader. You may save money and increase efficiency on your capital spend by reviewing the larger picture up front.
- If this is a broader physical plant codec review, have you defined your goals and requirements?
Defining your requirements goes together with the above question. Without specific goals, how can you determine whether a codec makes sense for a particular situation?
Obviously, a simple remote broadcast codec solution is easy to determine. But a larger, sophisticated codec upgrade and replacement project does require you to identify your goals and requirements.
Some requirements might include:
- cost savings over telecom fees
- audio quality
- increased density so that multiple audio channels can be accommodated with lower cost
- improved workflow
- redundancy against existing legacy audio transport, metadata and control
- integration into AES67/AoIP/Dante infrastructure
- cost savings over non-codec/IP solutions
- reduced maintenance requirements
- interoperability/interconnectivity within the plant or third-party studios
- portability in the field
- integration (or replacement) of on-air phone systems
- additional methods for listener interaction (using mobile apps, etc.)
Those are just a few examples. Any of these requirements can be combined into a matrix to help determine if or when a codec purchase should be made.
- I don’t trust my audio to the public internet for delivery. Is that a valid concern?
Ten years ago, many engineers had their doubts about the reliability of using IP codecs for critical audio applications over the public internet. At the time, they might have considered using the public internet as a backup path only. This was due to internet speed, reliability, cost and a lack of availability at rural locations, such as transmitter sites.
One could have ordered dedicated point-to-point IP circuits, but 10 years ago those costs were much higher than they are today. Also, some codec models didn’t have a redundant second carrier or aggregation option which meant everything had to rely on a single internet provider.
Today, however, public internet generally is reliable and can be ordered as a business class service with higher speeds. It is usually inexpensive and is available in more places including rural transmitter sites.
Most codec units on the market now — including single remote broadcast units — have options for integrating and aggregating multiple carriers, which make using the public internet safe and reliable. A number of codec installs using the public internet have been installed with few problems. In some very high-profile mission critical situations, I have ordered a point-to-point Ethernet circuit to be used as the primary carrier with a public internet line as the second carrier. Dedicated Ethernet circuits guaranteeing increased supervision by the carrier are a lot less expensive today. So if having a dedicated circuit is a mandate for you, like a traditional T1, this is absolutely possible.
Broadcasters use a combination of public internet, point-to-point Ethernet, MPLS and RF to connect their codecs.
- Can a codec operate using RF?
Yes. Typically, a data radio is used at each end, which provides a private Ethernet path for the station between two points (typically between the studio and the transmitter site). This allows for audio transport, metadata, Ethernet and remote monitoring.
The RF data radios are usually bidirectional, as are the codecs, so return audio can be passed back to the studio for confidence monitoring, etc. The RF path physical distance can be short or go for several miles.
There are different radio models with different costs depending how much bandwidth is needed and how far the transmission path is. For shorter distances, these radios utilize smaller dishes. If a proper path is designed and the appropriate radio/antenna combination is selected, the RF system will be very reliable. Some systems can be installed without a license from the spectrum regulatory body and in other cases may require one.
The cost to implement an RF link for codec usage is very competitive compared to traditional analog microwave gear, in some cases much less expensive.
- Are there any new practical codec technologies?
Yes. Here are some of the features you’ll find in codecs today: AES67 and Dante compatibility, AoIP compatibility with console manufacturers, transport of FM MPX composite over IP, higher-density transport containing multiple audio channels using the same piece of hardware, smaller physical sizes, carrier aggregation for redundancy and improved connection reliability, improved usage of cellular including 4G LTE and easy-to-understand GUIs.
In addition, most units now feature integration with on-air phone systems for improved caller audio, iOS and Android apps for remotes and news gathering as well as enhanced listener and VIP participation, reduction in cost per audio channel, and cloud-based switchboard servers to make connecting codecs even easier by eliminating certain firewall or router issues.
The FM MPX over IP feature is very helpful to those who wish to move their audio processing back to the studio or for those who want one audio processor to feed multiple locations. MPX over IP may also be interesting to those who employ SFNs.
Apps for the smartphone or laptop make remotes, newsgathering and listener call-ins sound better and are easy to implement. Cellular bonding makes broadcasting from rural areas and large events (concerts, sports) more reliable because it helps mitigate network congestion.
- Are there advantages to having an AoIP plant as it relates to codecs?
Yes. There are several codec boxes today that are compatible with AoIP consoles and audio routing systems. This allows for high-density audio paths without all the extra wiring.
A well-designed AoIP plant will incorporate seamless integration into the switching and control aspect of all installed codecs. For example, a large complex with many studios can use just a handful of codecs by utilizing dynamic allocation and switching available within an AoIP system. This saves on the expense of purchasing more codecs than otherwise might be needed.
AoIP also allows for the automatic control and manipulation of codecs for linking remote studios together or to send programs from one city to another. The macros and automation available in a typical AoIP infrastructure can tie together the features of your automation playout system, console routing and codec allocation to facilitate very powerful audio transport within your plant or to the outside world. Modern radio distribution networks are being built around this concept. IP codecs are increasingly being used for program backhaul, satellite replacement, and regular program distribution at great cost savings and efficiencies.
- Besides the purchase of the codec equipment, what other technical matters should be considered?
There are a few key ones.
One is your firewall. Codecs that talk to other devices in the outside world need a way to get through your firewall. Each codec has its own set of ports and special routing requirements so they can connect reliably to the far end. The requirements are not complicated, but someone with knowledge of firewalls and routers will need to manage this. The use of cloud-based switchboard/transversal servers can eliminate some or all of this, so they are a good option.
You should also consider redundancy for mission-critical paths. This is good practice whether you are using a codec or any other type of transport device. One method is adding additional carriers for what is known as “carrier redundancy.” The other is physical hardware redundancy, which means you will have a second physical codec or legacy device in place to backup the primary codec.
Another key consideration is your internet provider. You should allow for enough bandwidth inside your facility to handle all the requirements not related to codec usage plus your total possible codec utilization.
Do not ignore your upload speeds; this is particularly important for codecs that are sending IFB audio to the field. Some facilities have installed a separate internet line solely for their codecs or to be used as a backup, although this is not absolutely required.
Every situation is unique, so it’s impossible to cover them all here. These are just a few of the more common approaches. The bottom line: Redundancy is good engineering practice in addition to having a well-designed IT infrastructure.
- Do I need to be a scientist (or hire one) to install and program codecs?
No. The GUIs and setup screens in codecs today are easy enough to understand and navigate.
In addition, because IP codecs have been around for several years, there is a lot of institutional knowledge out there. It is easy to find someone on staff or locally who can assist with the programming and setup of any popular codec device.
There are also excellent online resources in the public user groups and on manufacturer websites. Most program directors and on-air talent regularly broadcast from the field using an IP codec without any technical assistance. Some codecs even allow for remote control so that someone back at the studio can diagnose minor issues in the field for an added measure of support.
- I have a codec; which audio algorithm should I use?
Use the highest quality (least compressed) algorithm that will reliably work given your particular speed, network congestion and program material. In other words, choose for the best audio quality without risking dropouts or glitches.
Most codecs have settings to buffer and lock in a solid connection even under challenging situations, so don’t be afraid to start at the top and work your way down. Using more than one carrier simultaneously (aggregation) can improve robustness. Music programming usually requires higher quality while speech can get away with lower bandwidth in many cases.
Your codec manufacturer can walk you through the steps necessary to activate carrier aggregation.
The Georgia Association of Broadcasters is in the midst of the GAB 85th Anniversary Tour. Each stop features a presentation from GAB President Bob Houghton about the history and future of broadcasting in Georgia, and will also include GAB ABIP Inspector and engineer John George, who will address radio license renewals.
Radio World reached out to learn more about the tour and GAB’s goals from Houghton in an emailed Q&A, shared here.
Radio World: Why is the Georgia Association of Broadcasters doing an 85th anniversary tour?
Bob Houghton: The GAB decided to do this statewide tour of outreach with eight different media regions in the state.
RW: Who thought it up?
Houghton: We are always looking for reasons to get out and meet with our members, and this seemed like the perfect opportunity to do that. The 85th anniversary allowed us to have one consistent theme and agenda throughout the state.
RW: Why GAB is including engineering so prominently in this event?
Houghton: Every eight years, stations have to renew their license with the FCC. This year, radio license renewals are due and next year, TV license renewals will be due. We want to ensure that our members are fully prepared for this.
Engineers are the cornerstone of every TV and radio station, but they don’t always get the recognition they deserve. So for our convention this year, we have also created a full day of engineering-only sessions just for them. We are using this tour to promote and encourage them to attend.[Broadcast Finds Itself in a Natural State]
RW: How is this tour different than others?
Houghton: It’s been an honor for the GAB to have served the broadcasters of Georgia for 85 years. Our last stop on this tour will be July 23 in Savannah. This stop is especially significant because we’ll be holding the event at the same hotel where the GAB was founded 85 years ago.
This tour is also different because it allows broadcasters to network with one another. We are excited about this opportunity to get out and meet with our members while celebrating this milestone.
RW: What do you hope to accomplish/how will you define success?
Houghton: The tour has already exceeded our expectations. We hope to reach nearly 500 broadcasters by the end of this tour! Even if we only make a difference at just one of our member stations, we’ll call it a success.
RW: Anything else you think readers should know?
Houghton: In the world of broadcasting today, we just don’t have the time to get out and network with each other. This tour has brought an unexpected comradery that we are so thankful for. The GAB is proud of our industry’s past and the success of our association. We are and looking forward to what the future holds.
The post RW Gabs With Bob Houghton About 85th Anniversary Tour appeared first on Radio World.
“We’ve come a long way from being that crazy ‘Tiger Radio’ back in the 1960s and ’70s playing top 40, to being a more responsible station that talks about today’s news,” says Program Director John Quincy. “WTMA(AM) is still here and thriving.”
Our story begins 80 years earlier.
On June 15, 1939, WTMA, Charleston, S.C., signed on the air, the second station in the market to do so. WCSC(AM) was the first (signing on in 1930), but while that station still exists, it has changed call letters several times, something WTMA has never done. Coincidentally, the two stations now share a tower site.Bill Edwards in 1965
WTMA originally broadcast at 1210 on the dial and had its early studios on 10th Street in Wagener Terrace, with its first broadcast originating from the Dock Street Theater. In those years, WTMA operated at 250 watts, but because there was little interference from power lines, that signal was enough to blanket Charleston and beyond.[Remembering Radio Times]
The original owners were insurance men Y. Wilcox Scarborough and Jesse W. Orvin, but they owned the station for only a few months before selling it to the local newspapers. And what did the call letters stand for? Stay tuned to find out, as the early announcers might have said.
Today, WTMA is 5,000 watts non-directional during the day, and 1,000 watts directional at night with two towers. The station moved its dial position to 1250 in 1941 and has had multiple owners over the past eight decades including a brief stint with Ted Turner. Today, WTMA runs a news/talk format and is part of a five-station cluster owned by Cumulus Media, with studios in north Charleston.John Quincy at the mic
Quincy has been with the station since 2002. Having come to appreciate WTMA’s rich history, Quincy took it upon himself in 2003 to establish a website devoted to celebrating its personalities and community service: www.wtmamemories.com.
“After years of carrying NBC soap operas and other network fare, WTMA adopted a top 40 format in the early 1960s that was very successful,” said Quincy. “In fact one of the ‘Mighty TMA’ DJs back then had a 70 share in the Arbitron survey! As FM became more popular with music listeners in the late 1970s, WTMA switched formats a couple of times before adopting the current news/talk format on June 1, 1989.”STORM’S SILVER LINING
Hurricane Hugo arrived just three months after that format switch, and while it was a disaster of immense proportions, Quincy said it was the event that put the “new” WTMA on the map.
“The station was off the air for a day, as everyone in the city was evacuated,” he said. “Our engineer, Bruce Roberts, was first to return, and he used a generator-powered hair dryer to help drain the transmitter after the flap on the vent opened during the storm.
“For weeks until Charleston residents all returned home and power was restored in the region, WTMA carried all the news, and then at 7 p.m. the program manager, Dan Moon, would go on and open up the phones. The people called in and talked, and Moon stayed on the air every night until that evening’s calls dropped off,” he said.
“The other Charleston stations were playing music and commercials, but WTMA provided information and kept people company throughout the evening. Eventually, this led to Moon becoming the morning show host, a job he held until 2003.”REMEMBERING THE FUNNY, TOO
But in the course of 80 years of broadcasting there had to be some funny station stories, right?
“At one point WTMA and its sister WSSX(FM), formerly WTMA(FM), were in the same building,” said Quincy. “But there was an RF problem that caused the AM signal to get into the FM studio’s board. According to then-DJ Moon, the FM staff would surreptitiously reduce the AM daytime power from 5,000 to 1,000 watts, which alleviated the RF problem in the FM control room but caused other issues.”
And according to Quincy, former top 40 personality Bob “Booby” Nash performed some of those wonderful stunts that made the format so much fun in the ’60s.Booby Nash in 1966
“He allowed himself to be ‘buried alive’ at a local drive-in, and he broadcast one show underwater from a tank at a mall. Nash had buttons made and distributed to listeners that said ‘I’m a Booby Lover.’”[Love Radio Finds Niche in Shanghai]
The previously mentioned website, WTMA Memories, is a great source of other station trivia. For example: When broadcast personality Connie Neal McPhaul (air name “Big Mack”) was a 14-year-old radio enthusiast growing up in Charleston, he put a pirate station on the air. Unwisely, he used a 75-foot tower and pumped out 250 illegal watts, knocking off any station within a half mile of his house. An FCC field rep busted him and seized his equipment, but suggested the lad enter radio legitimately when he was a little older.
Eighty years after the station signed on, WTMA still serves Charleston. On June 15, 2019, South Carolina Gov. Henry McMaster declared its 80th anniversary as “WTMA Day” statewide.
But what do the call letters “WTMA” stand for? Nothing at all — they were randomly assigned by the Federal Communications Commission.
Ken Deutsch describes himself as a former disc jockey, program director and master of ceremonies at local animal moltings.
MAROLLES EN BRIE, France — Software developer NeoGroupe has released a new version of its NBSSmart application.
NBSSmart, which works with NeoGroup’s asset tracking system, allows radio stations to easily
carry out an inventory check. It also lets staff scan an item and immediately access its historical information, including details about the vendor as well as scanned documents including invoices, a picture of the item and more.
With NBS, technical teams and administrative staff can easily communicate with each other regarding assets. In addition, the company says, keeping information current is “effortless.”
The application runs on smartphones and tablets and is available for iOS and Android.
For information, contact NeoGroupe in France at +33-9-72-23-62-00 or visit
Community media advocates are working overtime to call attention to potential Federal Communications Commission efforts that could impact local media forever.
The latest FCC endeavors affect public, educational and governmental access, or PEG, media and have been the subject of protests, petitions and editorials. However, with the commission considering regulations set forth through the Cable Communications Policy Act of 1984, the ongoing pressure from PEG leaders and advocates remains persistent these days week, and into the future.
At issue is the aforementioned Cable Communications Act and what cable providers are bound by law to give back. Title VI, Section 622 of the act sets a ceiling on the fees cities can charge cable companies at five percent of companies’ gross revenue from that cable service. Last year, the FCC set off a firestorm of criticism when it announced a move to allow cable companies to deduct nonmonetary requirements they are compelled to adhere to by the act. This would include providing PEG channels’ capacity and associated costs.
The casual observer might not even know where his or her local PEG channel is among the dizzying list of networks a cable operator offers. When one does look, a cornucopia of critical local content awaits. Whether it is televised city council and school board meetings, college courses or local public-affairs programming, PEG channels are a vital part of a city’s media choices. PEG channels are even more indispensable for working families, the elderly, those with limited transportation or other mobility issues, for whom PEG outlets give a window into our democratic procedures. In addition, because so many PEG channels also offer training in media and equipment, they may be the first place someone can go for an education in media that is more affordable than a big-city college. This learning as well as educational programming is doubled in a scattering of cities where PEG outlets offer both television and radio broadcasts.
In the end, the changes mean less funds available to PEG channels and less for the public, at a moment when money is already scarce.
While cord-cutting and the emergence of streaming — thus far excluded from franchise agreements, even if they’re offered by the same cable companies — is already eating into the monies cities once got, the pressure these changes put on PEG channels is enormous. As Jen Ramsey of Easthampton Media recently told the Daily Hampshire Gazette, “In the past five years, there’s been a 20% drop in cable subscriptions in the two towns that we service. So that translates to a 20% drop in our budget. Our budget is dwindling already.”
Moreover, an affected channel leaves many satellite communities reeling. “Going from having franchise fees to not having them, typically what happens in that case is the public access goes away,” Amanda Mountain of Rocky Mountain PBS told the Colorado Sun. “And eliminating that will leave a huge void where some will feel it more than others.”
Maryland’s Montgomery Community Media is among many PEG channels to produce videos explaining PEG stations’ importance and how the existing rules are beneficial. Groups like the Alliance for Community Media, hosting its national conference in Portland this week, have been out in front the last few months to demand accountability from FCC Chair Ajit Pai and commissioners.
We live in an era where the public’s access to information is challenged as never before. Newspapers are closing. Social media is awash in misinformation and detritus. Virtually every media outlet has a spin of some kind on the news of the day. States are even changing laws to restrict access to proceedings. PEG channels are our last outpost for an unfiltered glimpse at city hall and our community. Even if there may be a valuable conversation to be had about fee structures for cable companies, yanking the rug out from cities and towns simply is not the answer.
With the financial support PEG outlets get from fees, this remixing of generations’-old rules could be lethal to community access. PEG channels quietly uplift local economies, providing skills and nourishing the arts, business and many other fields. PEG channels’ funding should not only be held firm, but expanded, given their service to community media and Americans everywhere.
Northeastern Educational Television of Ohio, Inc. d/b/a Western Reserve Public Media; Station WNEO, Alliance, OH; Station WEAO, Akron, OH
A familiar face at many an NAB engineering session, Nautel’s Philipp Schmid will be taking on a new, expanded role at the transmitter maker.
As chief technology officer he’ll “lead research teams in the development of new technologies for broadcast, navigation, sonar and high-power RF applications,” an announcement says. In addition, “Schmid will remain active in select engineering projects and will also continue his industry role as a passionate voice for the advancement of digital transmission technologies.”
Nautel CEO Kevin Rodgers said, “Philipp has been instrumental in the development of Nautel’s industry-leading HD and DRM+ technologies. … This new role both recognizes his contribution to Nautel and positions Nautel and Philipp to continue to lead the industry in digital radio technologies as they are adopted globally.”
He was recognized in 2017 by the National Association of Broadcasters for Best Paper” at the BEITC (Broadcast Engineering and Information Technology Conference). The award-winning presentation covered research on single-frequency networks for HD Radio.
Schmid has also garnered multiple industry awards for Nautel in digital broadcast technologies over the past 10 years. The announcement says that he was the first to investigate peak to average power reduction for hybrid HD Radio transmission which led to Nautel’s patented HD PowerBoost technology. Some recent projects have included research and testing of all-digital AM (DRM & HD Radio); extended HD Radio FM service modes; Nautel HD Multiplex, with up to 15 HD channels on one transmitter; and the development of IP STL technologies for HD Radio.
NAB’s Executive Vice President of Communications Dennis Wharton has announced that Zamir Ahmed is being promoted from his current position of NAB director, media relations, to vice president, media relations.
In his new role, Ahmed will be tasked with shaping the messaging for NAB Communications in the public policy arena and occasionally serve as a spokesman with trade and consumer press. He will work with Senior Vice President, Communications Ann Marie Cumming, and report to Wharton.
Ahmed has worked for NAB since 2011, when he joined the organization as manager, media relations. He was later promoted within the organization to senior manager and then director, media relations. Prior to joining NAB, Ahmed was an intern in the office of Sen. Dianne Feinstein (D-Calif.) and then worked two years as deputy press secretary for the House Committee on Small Business.
“We’re pleased to reward Zamir for his loyalty to NAB, his intellect and strong work ethic, and his excellent writing skills,” said Wharton. “He’s a terrific asset to our organization and to free and local broadcasting.”
Industry engineers had spotted an announcement on the company’s website that states “Stay Tuned for New Radio Systems Products and Services Coming Soon,” and they speculated about its meaning in discussions on social media and listservs.
Radio World reached out to its president, Dan Braverman.
He said Radio Systems has begun a new relationship as Lawo’s exclusive sales representative to the radio broadcast industry in the United States. Meanwhile his company has discontinued manufacturing its existing product line due to the termination of a licensing agreement with its tech developer. He declined to provide details.
Lawo AG, based in Germany, makes networking, audio, video and control technologies for several markets including broadcast. Radio Systems is based in New Jersey near Philadelphia; its offerings are led by the StudioHub+ Cat-5 wiring product line and Millenium studio consoles.
Lawo Radio Product Manager Mike Dosch confirmed the outline of the relationship and said that the company was pleased to have Braverman representing it. He said Lawo’s products seem a good fit as a new anchor around which Radio Systems would become a reseller again and build in a new direction.
Radio Systems over the decades has made several console lines and shipped approximately 6,000 units. Other products have included distribution amplifiers and preamps, clocks and timers, cart and DAT machines, low-power AM transmitters and studio accessories. The company also has been involved in a number of major industry facility projects and turnkey installations.
Braverman said most Radio Systems dealers continue to have its products in stock. A dealer list is found on the website. He said the company will continue to support its legacy products with service and parts, and that most employees will remain on staff in its new iteration.
He added that Radio Systems had made its first Lawo package sale, to Connoisseur Media in Connecticut.
It’s new equipment season!
This annual feature is all about new gear that has come onto the market in recent months, especially during spring convention season.
Check out this installment of products.Neumann NDH 20 Headphones
Microphone maker Neumann has finally released a pair of headphones that the company feels are worthy of the Neumann name.
The NDH 20 is a closed-back circumaural design with large memory foam earpads aimed at making long listening sessions comfortable.
The Duofol drivers are 1.5-inch with high-gauss neodymium magnets. The company says that frequency response is 5 Hz–30 kHz.Neumann NDH-20
The adjustable headband is made of flexible steel while the ear cup covers are machined from lightweight aluminum. The headphone is foldable and can be placed into the supplied soft cloth bag for transportation.
It ships with two detachable 10-foot cables (one straight, one coiled) and a 1/8-inch to 1/4-inch adapter is also included.
Info: www.neumann.comShively Labs 2930 Branched Combiner
Shively Labs says that its 2930 low-power branched combiner is the best solution for multiple stations.
The company can custom-engineer a client’s system using either 2914 or 2916 bandpass filtering that will provide higher spectral purity, flat in-band frequency response and typical isolation values of 50 dB or higher — even for frequencies 0.8 MHz apart.Shively 2930
Each combined system is designed to provide high performance in the smallest space possible and are fully IBOC compliant, Shively says.
Info: www.shively.comOn-Hertz Lumo Virtual Radio Studio
A new name for many, On-Hertz has introduced its virtual radio studio: Lumo.
Running on standard IT infrastructure, offering a web-based UI and optimized for touch interfaces, Lumo integrates a playout solution into one unit. It also comprises a 10-channel mixing console and AoIP features, including a phone hybrid and a transmission codec.
The Lumo radio studio, On-Hertz says, “boosts radio broadcasters’ production capabilities with mobility and enhanced workflows at a fraction of the cost of traditional equipment.”On-Hertz LUMO
The Lumo platform features a scalable pricing structure, a redesigned user interface, a gain-sharing auto-mixer and enhanced DSP. Thanks to its modern APIs and various integration possibilities, Lumo can be integrated within an existing ecosystem of professional broadcasters.
From the show host’s couch at home to the basket of a hot-air balloon a thousand feet above the ground, or simply to create a more relaxed atmosphere in the main facility, On-Hertz points out that Lumo lets users focus on producing quality radio content.
[Read more about new products here.]