Wheatstone’s new Strata 32 audio console features 64 channels and IP technology in a 40-inch frame. The compact IP audio console has dedicated faders for eight subgroups and two masters along with 32 physical faders that can be layered for 64 channels.
The company says Strata 32 integrates with all the major production automation systems and comes with IP audio mix engine and optional stagebox.
It is the latest in a family of consoles powered by Wheatstone’s WheatNet-IP audio network, an AES67 compatible IP audio ecosystem with online mixing, audio processing and virtual development tools as well as SIP/VoIP and codec appliances.
Strata 32 provides access to all resources in the network through a touchscreen interface with a menu for adjusting EQ dynamics, setting talkback, configuring mix-minus feeds and bus matrices, muting mic groups and managing sources and destinations. Per-channel OLEDs display all relevant editing and operating functions at a glance.
In addition, Strata 32 has access to all sources in the network and any channel can connect to any audio source or destination, using any preferred audio format at any time, whether it’s HD/SDI, AES, MADI, AoIP, Analog or TDM.
The console’s Gibraltar IP Mix Engine is capable of 1,024 channels of simultaneous digital signal processing and provides features, such as a new automixer with four separate automix groups and onscreen weight control.
The optional 4RU StageBox One extends console I/O, providing 32 mic/line inputs, 16 analog line outputs and eight AES3 inputs and eight AES3 outputs as well as 12 logic ports and two Ethernet ports. StageBox One works with all WheatNet-IP audio-networked consoles.
IBC Stand: 8.C91
IBC2019 is almost here. Between now and then Radio World will conduct several short Q&As with manufacturers about their plans and offerings, to help you get the most out of the big annual trade show. Christophe Poulain is co-president at WorldCast Systems.
Radio World: How has business been for the company since IBC2018?
Christophe Poulain: 2018 has been a successful year and the best ever year for our Ecreso FM transmitter line with many new projects and tenders worldwide. Our main achievement was with network operator, UpLink Network in Germany for the supply of around 800 FM transmitters, including high power. Germany has the reputation of being a very demanding market when it comes to performance, quality, and reliability. We are obviously very proud.
Radio World: What are you hearing from your customers about their business outlook this year? In what areas should we expect growth or the most interesting projects?
Poulain: Our clients still aim to deliver the best audio quality to their listeners but with less resources and budget. Therefore, our focus is to develop high quality and innovative products easy to use and operate, which can help lowering operating expenses.
Radio World: You’ve been active in the broadcast market for over 60 years. What’s the biggest problem or challenge facing users in this segment right now?
Poulain: I would say the competition of non-linear media and advertising revenue. Our company offers some solutions to help radio stations stay live and local while providing the best user experience for their listeners. This is the case with our APT Mobile SureStreamer, a mobile network access point bringing zero packet loss and very low latency for outside broadcast. One of our main focuses is also the reduction of operating expenses. Our new Smart FM technology aims to address this topic by significantly lowering power consumption of Ecreso FM transmitters.
Radio World: What new goodies will your company be showing? Why should attendees visit your booth?
Poulain: At our stand 8.C58, visitors will discover a range of advanced and innovative radio and TV broadcast solutions and will benefit from our team’s expertise across the entire broadcast chain.
We have been on the market for decades delivering codecs, FM transmission, RDS encoding, QoS/QoE measurement, monitoring and telemetry solutions. At IBC2019, our highlights include SmartFM, the only worldwide patented AI for FM radio, the Ecreso FM 3 kW transmitter delivering the best total cost of ownership through 76% efficiency and a host of onboard functions, the APT Mobile SureStreamer, a mobile network access solution for high quality remote broadcasting, the Audemat RDS Encoder with its MPX/Composite over AES capability and RDS2-readiness, and the new Audemat DAB Probe.
Radio World: What do you anticipate will be the most significant technology trend at IBC2019?
Poulain: Virtualization, more and more IP centric solutions. More software and less hardware…nothing really new per say.
Radio World: How do your international sales and marketing efforts differ from your U.S. efforts?
Poulain: We opened our United States subsidiary in 1999. It’s been 20 years already! And it is true we have a dedicated and great team focusing on the U.S. That’s probably the main difference with other areas. So far, they are being taken care of from France and our headquarters. However, we are planning to open an office in Taiwan this year to be closer to our clients in Asia. Otherwise, same recipe, lots of visits and tours to help our local distributors and meet with prospects.
Radio World: You’re a show veteran, how has the show changed since your first visit?
Poulain: Not sure if the show has really changed. It’s still pretty busy with lots of visitors, excitement about new products, a good atmosphere, and usually wet weather.
Radio World: What’s your favorite thing about this show?
Poulain: Cycling in the morning and in the evening and meeting with our distributors, partners and clients. Being busy!
The post IBC Exhibitor Viewpoint: Christophe Poulain, WorldCast Systems appeared first on Radio World.
As the industry continues to clarify importance of C-band satellite delivery to radio and TV broadcasters, one alternative proposal in particular is drawing a great deal of ire.
In July 2019 the ACA Connects Coalition submitted a proposal to the Federal Communications Commission proposing to change some users of the C-band spectrum to a terrestrial fiber video delivery network. That proposal would clear 370 MHz of C-band spectrum and transition broadcasters and earth station users from C-band delivery to fiber.
While there has been support in some corners for the ACA proposal, a far greater number of organizations have called on the FCC to flatly reject any such proposal. The National Association of Broadcasters has weighed in as have key U.S. broadcasting networks and two large radio broadcasters.
The joint broadcast commenters, which include ABC, CBS, NBC and Fox, called the ACA proposal “ill-conceived and untenable” because it would force content providers to give up the precision and reliability that are hallmarks of fixed satellite service usage in C-band in exchange for what they say is complex, expensive and less-reliable fiber distribution. The ACA proposal risks breaking a ubiquitous video delivery system that does not need fixing, the broadcasters said.
Radio broadcasters have expressed their concerns as well. On Aug. 5, National Public Radio met with FCC staff to clarify the importance of C-band satellite spectrum to distribute public radio programming and emergency alerting information. “C-band satellite service is essential for public radio because of its availability across the country, including in rural and extremely remote areas; its reliability for live radio programming; and its affordability for reaching hundreds of local communities across the continent and beyond,” NPR said in a filing with the commission.
Other radio organizations, like Cumulus Media and Westwood One, have weighed in to express concerns about the ACA proposal both from a timing and reliability standpoint. The groups say that the 18-month time frame that the ACA proposal for installing a reliable fiber optional is unrealistic. A second issue: fiber cannot replicate the 99.99% reliability rating that C-band uplinks provide. “Fiber does not have the same combination of efficiency and reliability as the C-band for content delivery,” said Cumulus and Westwood in their FCC filing. “In order to ensure the necessary degree of reliability, redundancy of fiber lines would be required in most instances, which would multiply the expense.”
Other media organizations, like the North American Broadcasters Association, have called on the FCC to reject the proposal by the ACA Connects Coalition, calling it inapposite to the preservation of cross-border trade in North America. The NABA tracks technical, operational and regulatory issues affecting broadcasters in the U.S., Canada and Mexico.
The NABA said that not only is C-band the most important mechanism for distribution of programming to MPVDs in those three countries, but the spectrum is necessary for daily cross-border content delivery to individual broadcast stations when those countries’ broadcasters purchase rights for content. The organization said the “deeply flawed” ACA proposal to redirect that distribution to fiber will be highly diminutive to U.S. studios who will bear unnecessary cost and lose flexibility in product delivery to foreign customers, the organization said.
Beyond radio and TV media companies, the importance of C-band is being echoed by houses of worship and internet companies.
Alaska Communications Internet called the proposal from ACA Connects Coalition “simply unworkable in Alaska, as the proponents themselves acknowledge.” Alaska lacks terrestrial alternatives to the C-band satellite communications platform to connect Alaska’s rural and remote communities, the organization said. Of one concern is the cost. The other is the vast distances between some of Alaska’s rural villages.
Religious organizations have also weighed in. The Church of Jesus Christ of Latter-Day Saints filed comments with the FCC to say that it uses C-band extensively as part of its religious mission. The church uses its more than 3,000 C-band downlinks to broadcast live meetings, conferences, worship services and trainings around the country.
However the ACA is not alone in its support to migrate operators from C-band to fiber. NTCA – The Rural Broadband Association said it is generally supportive of the ACA proposal to gradually transition the operators from C-band to fiber video delivery, though the organization said the transition should occur cautiously to ensure no disruption of video programming to consumers. Others, like the broadband wireless equipment supplier Airspan Networks, told the FCC that it too encourages thoughtful approaches that provide incentives to transition multichannel video programming distributors to fiber distribution.
The post Media Companies and Others Argue Loudly Against Fiber Replacement for C-Band appeared first on Radio World.
NOTICE OF EXPARTE filed in 19-3 : Reexamination of the Comparative Standards and Procedures for Licensing Noncommercial Educational Broadcast Stations and Low Power FM Stations,19-193 : Amendments of Parts 73 and 74 to Improve the Low Power FM Radio...
Filers(s): Michael Starling,Cambridge Community Radio, Inc.
Comment Type: NOTICE OF EXPARTE
Date Received: 8/22/2019
Date Posted: 8/22/2019
Address: 516 Race St, Cambridge, MD, 21613
If you have an interesting insight into some of the major technology trends in the radio, TV or general broadcast industry, then the NAB wants to hear them as the organization has announced that it is now accepting technical paper proposals for the 2020 NAB Show’s Broadcast Engineering and Information Technology Conference.
The BEIT Conference, which is designed for all involved in the development, manufacture or implementation of broadcast technology, will feature many technical papers that address the latest opportunities and challenges facing broadcast engineering and media industry IT professionals.
Topics of interest that the NAB is eyeing focus on trends and technologies that will help drive the future of broadcast. Possible topics could include all-digital AM and FM HD radio; audio over IP; podcasting; Next Gen TV technologies; OTT technologies; content and signal security; 5G effects on broadcast; C-band satellite issues; smart speaker applications in broadcasting; and others.
All proposals will be subject to peer review. All content proposed should be presented in a tutorial, non-promotional form.
The deadline for proposals is going to be Nov. 1. Selected papers will be announced in December.
The 2020 NAB Show will take place in Las Vegas from April 18–22.
For more information, click here.
The post NAB Show 2020 BEIT Conference Accepting Paper Proposals appeared first on Radio World.
Radio Survivor is pleased to share an announcement from the Radio Preservation Task Force (RPTF) of the Library of Congress about a call for papers for its forthcoming conference, “A Century of Broadcasting: Preservation and Renewal.” The event will be held October 22-24, 2020 at the Library of Congress in Washington, D.C. Presentation proposals are due by December 1, 2019. Read on for the full details from the RPTF:A Century of Broadcasting: Preservation and Renewal
Conference Dates: Oct 22-24, 2020
Library of Congress, Washington, D.C.
Proposal Deadline: Dec. 1, 2019Call for Papers
The Radio Preservation Task Force (RPTF) of the Library of Congress invites applications for papers, panels, moderated discussions and workshops for a conference marking the centenary of broadcasting in the United States.
We seek presentations by archivists, radio and television historians, artists, information scientists, journalists, sound studies scholars, broadcasters and others highlighting how preservation can help us complicate and rethink our understandings of the history of mass media at community, local, national and international levels. We particularly welcome participants who put archival resources to work today to enrich radio, television, podcasting, music, literature, journalism, public history, installation art and other creative practices.
The conference will take place Oct. 22nd to 24th, 2020, at the Library of Congress on Capitol Hill, in Washington D.C. Registration is free for all presenters, moderators and respondents.
Celebrating One Hundred Years of Broadcasting
In the United States, the radio industry began primarily as a form of wireless telegraphy used for point-to-point communication. After World War I, government licensing began for stations that were changing the medium by airing point-to-mass broadcast transmissions of music and voice. From the celebrated Election Day broadcasts of Westinghouse station KDKA on November 2, 1920 to similar services offered by hundreds of other stations from coast to coast, the industry paradigm shifted. The broadcasting model endures to the present, characterizing media systems from large commercial networks to public broadcasting, satellite radio and online streaming services, and RSS-based podcasting.
This conference marks the centenary of that paradigm shift and investigates radio’s century of constant renewal and rebirth over the course of the intervening century, during which various radio and radio-like practices have been invented and reinvented, forgotten and remembered, in settings across the United States. We want to highlight a century dotted with “new” sound practices in this restless medium, from the first non-English programs to the first broadcasts aimed at communities of color, from the first international shortwave transmissions to the first true crime podcasts, the first educational shows to the first radio-based art. Our conference underscores the role of preservation in documenting (and even driving) the process of renewing radio from generation to generation and from community to community.
Renewing Radio Heritage
This meeting also takes place at a moment in which media history is itself changing, thanks to a renaissance in radio and television preservation, which has created an archive that is more diverse and richer than ever before, conveying a sharper sense of how broadcast media helped Americans articulate understanding of nation, region, class, gender, race, sexuality and ability. That is thanks in part to the work of the Radio Preservation Task Force, which for five years has been pursuing projects and partnerships to change the very archive itself in a way that necessitates fresh thinking about many firsts—and seconds, and thirds— in conventional national and international narratives of radio history.
Created in 2014 in fulfillment of a radio preservation mandate in the Library of Congress’s National Recording Preservation Plan, the RPTF is charged with fostering collaborations between researchers and archivists to facilitate work on radio preservation, developing an online inventory of extant collections, promoting preservation of endangered radio collections, encouraging use of radio and sound archives in educational settings, and cultivating academic study of archival radio materials. It currently boasts a network of hundreds of scholars and archivists who share materials, fundraising, and best practices. The RPTF has also constructed a national database aggregating information on over 2,500 radio collections from coast to coast, and has encouraged and overseen several special issues and anthologies on radio history and preservation. It is currently developing pedagogical guides for classroom use and resources to assist with preservation of endangered radio materials. To advance its goals, the RPTF partners with over 40 local, national, and international academic, archiving, and media organizations. A full list of partner institutions is available on our conference site.
This conference will focus on preservation’s historic and ongoing role in documenting and shaping new research from policy studies to sound studies, and new media practices from journalism to art. To that end, we seek panels, presentations and workshops whose ambit could include, but is not limited to:
- Highlighting a specific archive based on historic recordings that challenge assumptions about mass media history, the invention or reinvention of formats, or show outreach to new audiences.
- Offering best practices based on experience in preservation, from digitization and metadata to fair reuse, either on air or in arts settings.
- Exploring techniques for researching, processing or reusing the changing radio archive, such as how to use specialized methods from machine learning to deep listening.
- Examining communities whose stories have been lost but can now come to light as a result of the RPTF’s various initiatives and caucuses, especially communities of color, native communities, women’s radio history, LGBTQ histories, as well as among differently abled communities.
- Examining how preservation can highlight radio’s historic and ongoing role in activism, especially at the regional, local and community level.
- Looking at international histories of radio, and at preservation practices outside the United States, particularly in Latin America and Europe, from which U.S. archivists might learn.
- Focusing on long-arc narratives of radio history—the history of crime reporting, for instance, or civil rights radio—that stretch across the entirety of the “broadcast century” and whose history isn’t limited to one “tier” of radio, but rather can be studied in contexts from large networks to local radio and podcasts, and everywhere in between.
- Studying how preservation methods might be adapted for emerging forms of radio beyond traditional broadcasting platforms, particularly podcasting, as well as the study of broadcast platform elements themselves, from radio tower systems to RSS.
- Focusing on preserving recordings from arts and freeform stations, as well as exploring how the materials that RPTF projects have uncovered can be reused in contemporary art, journalism and research in the new golden era of podcasting and sound art more broadly.
- Providing practical advice for independent archivists, particularly when it comes to public history outreach, identifying possible funding and grant writing.
Proposal options include papers, pre-constituted panels, moderated discussions, and workshops. To submit a proposal, email abstracts and other materials specified below in a single document to firstname.lastname@example.org by December 1, 2019. For questions, please contact email@example.com.
Papers. Individual archivists, scholars or artists are invited to submit an abstract for a paper of about 20 to 30 minutes in length on our conference themes. Successful applications will be organized into panels by the steering committee. Applications should include: A brief biography; contact information for the applicant including any institutional affiliation; a 400-word abstract with a title; and five keywords.
Pre-constituted Panels. Pre-constituted panels should have 3-4 participants, plus a moderator and/or respondent. These panels will be based on the presentation of papers, with each speaker given 20 to 30 minutes to speak. Applications should include: A brief biography for each applicant; contact information for each applicant including any institutional affiliations; a 400-word abstract with a title for each paper; five keywords for each paper; a 400-word abstract explaining the goal and ambit of the panel.
Moderated Discussions. These events will differ from pre-constituted panels in that they do not require formal prepared remarks and will instead focus on discussion and exchange. Groups of 4-6 participants may apply, with each participant expected to speak for 5-10 minutes about a current project, archival recording, or issue. Applications should include: A brief biography for each applicant; contact information for each applicant including any institutional affiliations; a 400-word abstract explaining the goal and ambit of the panel; five keywords for the panel as a whole.
Workshops. For workshops on specific issues (e.g., digitization, grant writing, analysis tools, recording workshops), a single presenter or team leads discussion and has an open forum to field questions. Applications should include: A brief biography for the workshop leader(s); contact information including any institutional affiliations; a 400-word abstract explaining the goal and ambit of the workshop including any technical equipment that would be needed.
The Library of Congress RPTF Conference Steering Committee
RPTF 2020 Conference Chair:
Neil Verma, Northwestern University
Christopher Sterling, George Washington University
Library of Congress:
Steve Leggett (NRPB)
Cary O’Dell (NRPB)
Josh Shepperd, Catholic University and Penn State University
RPTF Assistant Director:
Shawn VanCour, University of California, Los Angeles
Conference Committee Members:
Matt Barton, Library of Congress
Claudia Calhoun, Fairfield University
Inés Casillas, University of California, Santa Barbara
Susan Douglas, University of Michigan, Ann Arbor
Christine Ehrick, University of Louisville
Anna Friz, University of California, Santa Cruz
Kathryn Fuller-Seeley, University of Texas, Austin
Michele Hilmes, University of Wisconsin, Madison
Bob Horton, Smithsonian National Museum of American History
Tom McEnaney, University of California, Berkeley
Julie-Beth Napolin, The New School
Stephanie Sapienza, University of Maryland
Jacob Smith, Northwestern University
Michael Socolow, University of Maine
Dave Walker, Smithsonian Center for Folklife and Cultural Heritage
The post Call for Papers – ‘Century of Broadcasting: Preservation and Renewal’ Conference appeared first on Radio Survivor.
Lawo says it’ll introduce an essential new tool for broadcasters with AoIP facilities at IBC2019: AES67 Stream Monitor, a software solution for monitoring and inspecting standard AES67 audio streams.
According to the company, AES67 Stream Monitor gives engineers complete status information for 16 user-definable AES67 streams (each of which can contain multiple audio channels).
The software adheres to the ST2022-7 standard and can monitor two dual-redundant NICs simultaneously. Information displays include LUFS metering to help ensure compliance with loudness standards, a Stream Health monitor that keeps track of jitter and packet loss over time, user-definable per-stream over- or under-level alerts, and an SDP interrogator with stream addressing information.
AES67 Stream Monitor runs on standard Windows 10 PCs, and is VMWare compatible, allowing multi-instance deployment on virtual machines.
IBC Stand: 8.B50
The post IBC Sneak Peek: Lawo Introduces AES67 Stream Monitor appeared first on Radio World.
One of the magical things about radio is its “100% live” nature. Radio is in sync with its listeners all day long and transmits news and information as it happens. Not just global news but also, depending on where you are tuned into, hyperlocal updates about what’s going on in your village.A chart showing the performance comparison of different coding formats. Source: https://opus-codec.org/comparison
Radio doesn’t ask you to pause what you are doing. It accompanies you during your daily routine. No other communication medium can succeed in fitting around your neck like a comfortable cushion, delivering you feelings and emotions from your unique world, like radio can.
RADIO IS DEMOCRACY
The ability to broadcast live from any location at any time is key to this magic, no matter whether you are covering a scheduled sporting event from a major venue or unexpected breaking news.
As Graham Dixon, the European Broadcasting Union’s head of radio, says: “Radio is democracy.” Live reporting on breaking news has always been a clear example of that, being able to bring all broadcasters to the same level. When something unexpected happens in a rural location, there typically is no way to have a radio link van and crew in place and ready to immediately cover the event. Under these conditions, all broadcasters are on equal terms.
In the analog era, a phone box was the common hardware reporters could rely on. Today, also thanks to the availability of wideband connectivity, codecs are a brick of this democracy. They are also able to unleash the creative potential of a radio station.
Manufacturers are continuously improving the performance and the versatility of their solutions for high-quality nomadic broadcasting. Vibrant sound quality is now achievable from virtually anywhere, and the market offers a range of solutions to fit almost any application.
The increasing availability of coding formats like Opus is one of the latest steps toward being able to high-quality music and speech, even when only tiny bitrates are available, preserving the low latency required to run real-time interactive shows.
THE OPUS FORMAT
Opus requires few computational resources, so it is now included in a wide range of codec products, including the AEQ Phoenix Alio, Comrex Access NX, Tieline ViA, as well as the pocket-sized Barix MA400 SIP Opus.Radio reporter Alexis af Enehjelm interviews a man fixing a car in the 1930s. Credit: Yle
Opus encoding is also common in studio-based equipment like AEQ Venus 3 and 2Wcom MM04C, and in STLs, ranging from the no-compromise 2Wcom IP-4c, Tieline Genie STL and Intraplex IP Link Series to budget-wise models like Tieline Bridge-IT and Comrex Bric Link II.
When available, a wired LAN connection is by far the preferred choice [see last year’s Radio World ebook of technologists for remote broadcasting solutions. Robustness to RF interference as well as to potential traffic overloads or jamming attacks in crowded locations are key advantages of wired connections, so no surprise all the mentioned, OB-specialized models [AEQ Phoenix Alio, Comrex Access NX, Tieline ViA, and the Barix MA400 SIP Opus include at least an Ethernet port as a standard.
The Comrex and the Tieline products also feature built-in Wi-Fi connectivity, while the ViA can also be equipped with up to two internal 3G/LTE modems. Any of the other products can easily be connected to Wi-Fi networks as well as to mobile broadband 3G/LTE networks through external adapters, to be connected to a USB or RJ-45 port (according to the considered device).
VISUAL RADIO ON THE MOVEA technician records a radio program by a broadcast van for sound, 1939. Credit: Yle
Visual radio can add a special flavor to radio broadcasts, and it is therefore gaining momentum all over the world. Solutions like the Comrex LiveShot Portable enable visual radio broadcasters to deliver a seamless video experience also when broadcasting from remote.
Relying on bonded cellular technology, LiveShot delivers live, two-way, HD video and audio over a range of IP and cellular networks at latencies as low as 200 ms.
Especially when dealing with studio-to-studio and STL connections, reliable connections are needed. Self-managed redundant systems can make a difference by sending multiple streams across the public internet and reconstituting the packets at the receiving end.
Manufacturers have developed several turnkey solutions. To this purpose, Barix Redundix combines two mechanisms. The first is time-delay routing, where the same audio stream is sent twice over the same link with a slight delay for the second system. The second is path-divergent routing, where two streams are sent using separate networks.
Comrex Access MultiRack debuted at the NAB Show. It is equivalent to five codecs, and in CrossLock mode it sends two identical streams over different networks.
The WorldCast SureStream technology, typically adopted within the firm’s AoIP STLs, has recently been ported to remote broadcasting with the APT Mobile SureStreamer. Compatible with Tieline, Comrex and other portable codecs, it uses two separate LTE or 3/4G carriers to raise the resilience of remote connections while keeping latency at very low levels, ideal for bidirectional interactive broadcasting.A shortwave radio telephone made in Yle’s workshop in the 1940s. Credit: Yle
REDUNDANCY AND MORE
Intraplex IPConnect manages multiple streams employing a combination of packet protection schemes with network/time diversity and packet-level forward error correction. Additionally, IPConnect can bridge local area network (LAN) segments across wide-area networks with seamless tunneling to enhance reliability of program and signal transport across large geographical regions with multiple receiving and transmitting sites.
SmartStream PLUS is a solution by Tieline capable of streaming simultaneous redundant data streams from both Ethernet ports of any Genie STL, Genie Distribution, Merlin and Merlin PLUS codec.
Devices featuring the 2WCom Stream4Sure technology can encode/decode up to four AoIP streams with different codecs and qualities. This does not necessarily imply the use of four different lines; users can adjust their audio over IP streams to the available bandwidth on a certain IP connection. The encoder generates the streams with different qualities, while the decoder can seamlessly switch between the four streams.
Advanced codec technology is now allowing streaming of MPX feeds directly from the studio to various transmitters. Sophisticated audio processing mechanisms can be applied in the studio, eliminating the need for sound processors, stereo generators or RDS encoders at each transmitter site.
Direct IP delivery offers two major advantages: lower expenses and the possibility to broadcast the same high quality listening experience from every transmitter site.
One step further we find the Intraplex Synchrocast 3, a simulcasting solution for single-frequency networks of overlapping transmitters. The precision of GPS digital timing enables a network of transmitters to work together to increase coverage areas and reduce interference.
For digital radio broadcasting, the 2WCom DAB+ over IP solution allow the distribution of complete DAB+ ensembles to the various transmitting sites of a digital radio network.
Tech managers have to analyze and configure the specific performance and features best suiting their workflow. Technology can do the rest.