Radio World

NAB’s technology innovation initiative, Pilot, has announced it is accepting submissions for the fifth annual Pilot Innovation Challenge. The Innovation Challenge is just one of Pilot’s initiatives meant to support different parts of the innovation cycle.

The prompt for the 2020 Pilot Innovation Challenge is: “Develop a working prototype to improve real-time decentralized collaboration while managing live and recorded audio/video from multiple sources for media production in a limited bandwidth environment. Broadcasters should be able to implement the prototype as a supporting element within their current environment.”

More directly, contestants are tasked with creating prototypes that address limitations caused by remote television and radio operations while being able to support current production environments.

“This year’s challenge looks to answer a timely question that has surfaced in the broadcast industry,” said John Clark, Pilot executive director. “We are eager to see how technologists, many of whom are facing similar challenges, innovate to enhance remote production and overcome hurdles caused by physical distance, varying bandwidth speeds and remote operations.”

Individuals, teams, companies, academic institutions and nonprofit organizations can apply. Up to five finalists will be selected by a panel of industry experts, who will be notified by the end of September. The winners will be announced during the NAB Show New York Digital Experience in October.

Funding up to $150,000 will be allocated between as many as two winners. In addition to funds, winners will receive relevant mentorship, development feedback and a trip to the 2021 NAB Show in Las Vegas to demonstrate the prototype.

The deadline to apply for the 2020 Pilot Innovation Challenge is Aug. 28 at 5 p.m. ET. For more information, visit www.nabpilot.org/challenge.

The post NAB’s Pilot Accepting 2020 Innovation Challenge Proposals appeared first on Radio World.

The author of this commentary is CEO of Access Europe. Access Europe launched the first mobile web browser in the 1980s and now facilitates media consumption outside of the home and in the connected car.

As we enter a new era of driving experiences, basic radio and rather awkward bring-your-own-devices (BYOD) are unlikely to satisfy drivers and passengers as the only forms of in-car entertainment.

Today’s consumers want access to all the services they are currently using on their phone and at home while on the road, the car original equipment manufacturers understand this and are all evaluating the best way to deliver on the potential of the connected car concept. As BMW board member, Pieter Nota, suggests: “It’s not just about having big screens in your vehicle, it’s about the content you can have on those screens and what you can offer that’s so important, in terms of things like the best possible integration of music in your vehicle.”

The combination of smart software with stable 4G and advanced 5G cellular networks unlocks a future in which the car becomes an OEM-branded communications hub that offers entertainment, BYOD access and value-added services.

The relatively low cost of shipping 4G systems in a car has already seen a rise in its inclusion in next-generation vehicles. Around 75% of cars will be connected to the internet by 2025, and connected functionality has moved up the list of features consumers value. A 2018 survey by mobile app developer Metova found over half of consumers have a car that connects to the internet through their mobile device and 33% prefer streaming audio over radio largely due to convenience.

While 66% of buyers are increasingly prepared to change their entertainment service providers and content packages for one that is available in their vehicle in order to gain better connectivity and seamless access to in-car entertainment.

5G Mobility Benefits

4G networks are already widely deployed and provide a pathway for high-speed connectivity across audio, compressed video and two-way communication for BYOD and onboard apps. In Europe, new car models approved for manufacture after March of 2018 must have the 112-based eCall emergency number system installed which uses a cellular modem within each vehicle.

Although 4G is ideal for streaming low bandwidth content, the cellular connectivity that will be fitted into all new cars is likely to be 5G ready — allowing a software/SIM upgrade to take advantage of new networks as they arrive to the market.

This move to 5G is more than just a gimmick; due to the short wavelength of 5G radio signals, cars with larger and better-integrated radio antennas will be able to transfer data at higher speeds with lower congestion at lower latencies and thus offer superior reception than that of smartphones. With the car acting as a reliable 5G access point, the ability to project a Wi-Fi hotspot for occupants provides increased reliability and performance across the entire journey for drivers and passengers alike.

With connectivity built in, automobiles finally gain several real-time capabilities that aid driver comfort, safety and utility. From instant updates for traffic and route guidance, to delivering new forms of infotainment such as streaming audio services and video for rear-seat passengers. 5G means, that for example, the car’s Wi-Fi and its built-in in-vehicle infotainment (IVI) system will be able to seamlessly blend different audio inputs from national and local HD Radio, from across the world, to Spotify and to a much greater standard than streaming directly from your mobile device.

[Related: Read more articles about radio and the connected car.]

IVI acts already as a connectivity hub allowing various media formats — via Bluetooth and USB drives — to be merged into a single source of entertainment. The next-generation IVIs will also be a central access point to the services offered by the OEMs, allowing them to shape these in the most attractive and efficient way for the driver and passengers.

Infotainment Unlocked

The connected car approach will also allow car brands to offer integrated infotainment services through partnerships with existing or emerging music and radio services. In a similar paradigm to the smartphone market, vehicles are likely to be a showroom with connected services that are enabled through activating pre-downloaded apps within the IVI — along with companion apps for mobile devices. Playing a key role in how car brands are perceived.

As the automotive and digital media industries continue to evolve, car manufacturers are recognizing that the key to differentiating themselves is in building digital and software-based services around the car. But unlocking the potential for creating new relationships with drivers and building customer loyalty is through entertainment and next-generation radio services. This means the way we use cars is about to change and for the audio industries, this presents a unique opportunity to evolve its offerings, enter new territory and keep its services at the heart of the driving experience.

Comment on this or any article. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post Entertainment Content for the Connected Car appeared first on Radio World.

The author is project director of RadioDNS. His commentaries appear regularly in Radio World.

RadioDNS has a mission to accelerate the growth of hybrid radio by establishing standards that reduce the costs and complexity of implementation. There’s growing adoption of our technical standards, but not all the impediments to growth are technical.

Radio receivers used to be simple devices. They varied in terms of support for FM/AM, stereo and RDS, but the broadcaster could generally be confident that what they transmitted was what the listener heard. As radio receivers have added more functionality, the opportunities for the listener experience to diverge from what the broadcaster intended has increased.

Sometimes this divergence is simply a misunderstanding. Many auto manufacturers started to include radio station logos in their cars, which made radio more visually appealing, but they didn’t realize how frequently stations and logos change, so they made no provision for the logos to be updated.

Logos got out of date, or entirely wrong as stations rebranded, and broadcasters became frustrated that they couldn’t fix it. With the best intentions, manufacturers had implemented a great idea very badly.

[Related: “Hybrid Radio Picks Up Momentum”]

Conversely, many broadcasters tried to circumvent restrictions on displaying dynamic text in the vehicle by “scrolling” their RDS station names, in complete contravention to the standards. As well as being a generally pretty poor experience, it frustrated manufacturers’ development of better interfaces to broadcast radio, and even regressed radio in some vehicles. Some broadcasters even misused the emergency signaling protocols to “hijack” listeners to their stations.

Most controversially, a radio was released that supported album art/visual content from radio stations, but utilized an internet connection to add preroll audio adverts to broadcast radio, and insert advertising into the radio station’s visual stream, without a station’s knowledge.

Mistakes have been made on both sides. Some times with good intent, sometimes not so. But each time the assumption was “this will be OK.”

Our latest activity is to be clearer about what “OK” looks like for radio, recognizing that the opportunity for there to be disagreements about what “OK” is has grown in line with the additional functionality that connectivity brings. Whilst our scope is hybrid radio, we think some of our thinking might also be useful for streaming and digital broadcast radio.

Our “Radio Device Metadata Terms” is an attempt to codify acceptable use of content made available by radio stations for radio devices.

It’s a standard template agreement that broadcasters can adopt if they think it describes how they’d like their metadata and content to be used. We think a standard is valuable because it dramatically reduces the complexity of working out what “OK” looks like, and establishes a consistency that allows manufacturers to make a radio that works for the majority of radio stations globally.

Much of it is pretty obvious: Don’t change the radio station logos, don’t edit or rewrite content provided by the radio station. Don’t add your own unauthorized content (or advertisements) to a radio station’s content.

Some of this is putting into writing things that should be clear now. The radio station should have all the necessary rights to distribute the metadata and content, and they should stick to the technical standards. They should be reasonable about how long content (like logos) can be stored before it’s deleted.

Nevertheless, it has taken time to consult and discuss these issues with all the stakeholders, because it inevitably creates some changes and places some (reasonable) restrictions in place in order to get consistency. We’ve taken input and circulated multiple drafts of the agreement so that people can understand how it will help and affect them.

We hope to publish the first version of Radio Device Metadata Terms on our website in the autumn. The key attributes are:

• It is a standard document which broadcasters and manufacturers can refer to, but RadioDNS isn’t a party to any agreement. Our role is to enable the market, but not participate or intermediate.
• Broadcasters can voluntarily adopt it by linking to it from their RadioDNS metadata. If a broadcaster adopts it, manufacturers should abide by it, but RadioDNS won’t be a party to resolving any disputes.
• If a manufacturer agrees with the terms, they can use all the content from any broadcaster globally offered under the terms.
• The terms don’t cover all use cases, and they don’t preclude any cases. If a broadcaster and manufacturer want to do something outside the scope of the terms, they can create their own agreement between them. That could be by extending the terms, or completely replacing it.

We’ll be providing guidance on how to implement the terms to both broadcasters and manufacturers. We hope it allows broadcasters and manufacturers to move forward with hybrid radio faster, with fewer chances of misunderstandings. We expect it to be widely adopted during 2021.

You can learn more at the Radio Device Metadata Terms portion of our website.

RadioDNS is funded by its members, and provides a uniquely non-partisan environment for stakeholders to discuss and resolve issues surfaced by the evolution of broadcast radio enabled by combined broadcast and IP. We’re really proud that our members represent every sector of the global broadcast radio industry.

Comment on this or any story. Email radioworld@futurenet.com.

The post RadioDNS Aims to Establish Metadata Consistency appeared first on Radio World.

With this issue, Radio World expands its readership to the international broadcast engineering community. We welcome the new readers to Radio World’s longest-running feature Workbench, and look forward to interacting with you, sharing tips and suggestions that make your job easier and more efficient.

MOVs

Longtime Workbench contributor and Malaysia resident Paul Sagi has been editing local science textbooks and scientific research papers in a variety of fields since retiring from broadcast and computer work.

Paul writes that much in life depends on timing. Since electric surges travel at a finite speed, the speed of current through the conductor, which is estimated at 98% of the speed of light, MOVs (Metal Oxide Varistors) must switch on fast — in nanoseconds.

Surge suppression is a race between the surge current impulse and the MOV. Placement of the MOV has to be between the power (or data) input and the protected components. It must be close enough to the power (or data) input, and far enough from the protected electronic components, that the MOV can be turned on (or at least turning on) before the surge reaches the components.

In Paul’s case, he placed the MOV right next to the phone line input of a DSL splitter, not 3/4 of an inch  away. He drilled holes through the printed circuit board (PCB) of his DSL splitter to add an MOV right next to the phone line jack. While inside, he replaced the original GDTSS (gas discharge tube surge suppressor) with a MOV because the MOV has a much quicker response time.

On the way to the DSL splitter, the phone line (Cat-5e Ethernet cable, green/white pair) passed through a surge suppressor he made with a 130V MOV. Between the DSL splitter and the modem was (you guessed it) another MOV surge protector and more Cat-5e Ethernet cable, green/white pair.

This brings to four the number of MOVs that Paul installed to take the punches from the lightning. Paul reports that over the years, he’s lost an MOV or two but never a modem. Timing is everything.

Paul also has an APC by Schneider Electric. The model is EasyUPS BV650I-MS UPS/AVR combo, and it works well. But even though Paul bought it from a Malaysian chain of computer stores, it was supplied with USA power outlets. The electrical outlets in Malaysia are the British type. The tip here is to have a good adapter for your AC cables.

Head for the Tunnel

Fighting the gummy residue after duct taping remote broadcast cabling on the floor or pavement is the bane of most remote engineers. The problem easily disappears with Tunnel Tape.

This patented, 3-inch-wide tape has adhesive only on its edges. This creates a stick-free “tunnel” in the center of the tape, where wires and cables can pass and not be affected by the adhesive on the edges.

The tape has some other benefits as well: You can easily tear the tape by hand, it is puncture-resistant, and it can be lifted and repositioned several times without losing adhesion.

A 3-inch by 40-foot roll runs just under $25. For larger cable bundles, the tape is available in 4-inch widths, at a slight increase in price.

Specifications and ordering information can be obtained at www.cableorganizer.com/tunnel-tape.

Low-Cost Software

Florida projects engineer Dan Slentz alerts readers to more free and low-cost metering software! This time it’s from UK-based Darkwood Designs  (www.darkwooddesigns.co.uk), which offers a variety of software meters including VU, PPM, multi-channel level meters, all supported by Windows XP / Vista / 7 / 8 / 10  only.

From the home page, click on “More PC Software” to download a slick Audio Test Generator. This level meter includes a digital readout and is combined with a Sine Wave Test Generator. Ideal software for your shop, workbench or laptop for field applications.

Dan also came across a new and useful YouTube video for owners of Moseley 6000 series studio/transmitter links. It describes the process to change operating frequencies on this equipment, but it also includes useful servicing tips. To find the video, enter “Moseley 6000 Series STL Pair Frequency Change” in the YouTube search block.

Another Software Tip

Readers may remember Dan’s earlier submission of free drawing software, similar to Visio, called Draw.IO.

The company has released another free software version called Flowchart Maker & Online Diagram Software. It’s ideal for developing flowcharts and other engineering diagrams.

Here’s the link.

Put it in the Dryer

San Diego’s Marc Mann found Bill Fike’s suggestion of using a clothes dryer to persuade AC cord sets to relax a great idea.

However, Marc urges caution. Bill’s model Maytag is similar to Marc’s 16-year-old Maytag.  The drying rack in that model and other early models were the subject of factory recalls, because when mounted, they allow lint to bypass the filter and accumulate in various areas of the heating and vent train, possibly causing a fire during normal use.

Marc’s model (Fig. 2) requires the user to remove the filter to mount and utilize the rack. The issue is that anything that would come loose while drying would pass directly through and likely get lodged in the squirrel cage fan. Bill’s model evidently uses a different rack mounting method.

Anyone who has the older style of dryer, which requires removal of the lint filter for rack use, should ensure they first remove any adhesive labels on the cords, which once heated could come loose and cause issues as they float around inside the dryer.

John Bisset has spent over 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award. Workbench submissions are encouraged and can be emailed to: johnpbisset@gmail.com.

The post Workbench: Welcoming a World of New Readers appeared first on Radio World.

The author is director of engineering for the WXPN Radio Network.

PHILADELPHIA — WXPN(FM) is a long-time user of Logitek consoles — and by “long-time” I mean decades.

I arrived at the station in February, 2002. At that time we were looking at products to replace an aging Logitek Perfectionist console. We’ve used the original ROC-10, Remora, and Numix consoles at our facility since 2002. Their long life is backed up by the fact that our original Remora-4, purchased 18 years ago, is still in service!

Last year, we decided it was time to replace the two remaining Numix-12 consoles that had been installed in 2004, and of course we checked out Logitek to see what was available from them. We wanted to have a similar feature set to the Numix but with a smaller footprint — however, we didn’t want to lose any physical controls such as the number of faders on the surface. Having the console sit on the tabletop rather than requiring a furniture cutout was also an important consideration for us.

Our search resulted in the purchase of two Helix-12 consoles. The Helix series is Logitek’s entry into touchscreen control of audio consoles, and it’s nice. These consoles provide really easy access to bus assignments, EQ, limiter and compressor controls. Our two new Helix units are in the backup on-air control room, which is mostly used for production, and in our newly redesigned “World Café” production studio. “World Café” is produced by WXPN and distributed by NPR to over 200 U.S. radio stations.

I’ve been working with Tag Borland and John Davis at Logitek for my entire time at WXPN. They have guided me through my initial introduction to the world of networked audio systems, two major system expansions, multiple upgrades, and thousands of questions. It’s rare to nonexistent to work with the same people at the same company for so long. Their knowledge of the product, ease of accessibility for support and pleasant and calm demeanor is unmatched in the industry.

With this installation, since we were dealing primarily with a console replacement in each studio, we really didn’t need assistance from the factory. My only issue was a problem with source names not displaying — but if I had read the manual, I would have saved myself and John a five-minute phone conversation.

We have a range of users at WXPN, ranging from college students who have never entered a radio station to serious radio veterans. They’ve always enjoyed our Logitek consoles, but of all the different features offered over the years, I’ve received the most positive comments on the touchscreen features on the Helix. It’s so much easier for users to access the various controls, and something as basic as panning two sources opposite to each other during a recording for easier post production is now used more often than ever. We also rely on aux sends for a handful of important tasks, and our users have commented that the way the touchscreen displays the on/off status along with the touch controls is superior to the mechanical push button type on older consoles.

Logitek continues to be a very good value for the money, and it’s a pleasure to work with them.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

For information, contact John Davis at Logitek Electronic Systems in Texas at 1-713-664-4470 or visit www.logitekaudio.com.

The post User Report: WXPN Upgrades With Logitek Helix appeared first on Radio World.

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

Recently it was announced that some of the biggest radio networks in the United States had agreed to terms with the Federal Communications Commission over failures related to the Electronic Public Inspection File system. The situation is an important reminder of several matters.

What is the issue? In February, Alpha Media, Beasley Media, Cumulus Media, Entercom, iHeartMedia and Salem Media Group informed the FCC that they had detected omissions in reporting related to the EPIF’s political file requirements. These regulations for commercial broadcasters are most interesting to the public for transparency purposes, as they provide a glimpse into ad spending by political candidates.

Closer to November, it’s a safe bet political files will be watched by journalists and the public. Earlier this winter? Maybe not as much, which may explain the FCC’s light touch as far as penalties go — no fines, and simply securing a commitment to do better.

[Read: Community Broadcaster: Turned Up]

Pockets in the commercial and noncommercial radio world have blanched at this decision for good reason. Although the FCC was rather generous to give leeway due to the pandemic, these issues were reported more than a month before shutdowns and presumably caught much earlier. However, admonishments by the FCC rather than fines over political file issues are not without precedent. Last October, the FCC reprimanded several stations rather than issue fines. In December, two Georgia television stations also received FCC rebuke, but no fines, for political file violations.

Although the commission has been benevolent as far as financial penalties in recent months — the dramatic fine reduction for two Boston pirate radio operators being among the marquee examples — every station should assume such relaxed discipline over EPIF violations will only last so long.

What do noncommercial broadcasters need to know about the EPIF? In general, full-power stations are required to keep a variety of records for public review, including contour maps, ownership reports, Equal Employment Opportunity records and Programs/Issues Reports (essentially demonstrations of the educational nature of your broadcasts). Many records must be collected quarterly, although altered operations have changed timetables in a few instances. Then, you must upload those documents to the FCC’s EPIF database and provide a link from your website to your file there.

Low-power broadcasters are not required by the FCC to keep a public inspection file, but, like full-power stations, must keep a political file and maintain those records going back two years. Inside of a station’s political file is your quarterly history related to underwriting, airtime requests, appearances by candidates and documentation of air times and dates for same.

As a former program director, I can tell you the political file was one of the more irksome beasts during the election season. There is no shortage of candidates who wanted interviews, underwriters clamoring to have their say, and forums to be held. However, it was nevertheless important for the station. It was even more important for the public, as a device for democracy.

Fines or lack thereof may draw eyes and ears, but let us always keep in mind the importance of these sometimes overlooked records to our communities and country.

The post Community Broadcaster: Devices for Democracy appeared first on Radio World.

The authors of this commentary are SVP, Broadcast Radio, and SVP, Engineering-Digital Platforms of Xperi, respectively.

When the COVID-19 pandemic was at its most critical early phase, consumers went to radio for local and accurate information.

During the recent protests? Radio was the choice for listeners in search of consistently useful updates.

After all, the internet and social media aren’t as effective at cutting through the noise and sharing relevant information; television is too broad, slow and methodical in its programming.

Though formats may have changed over time, the unique way radio delivers content makes radio a trusted friend in times of need.

According to Nielsen, eight out of 10 radio listeners were either listening to radio more or the same amount during the early part of the COVID-19 crisis — with 28% saying they were listening to radio more than usual and 60% of listeners reporting that they greatly respect and trust their local radio stations to provide late-breaking updates for their community.

And, some local radio stations saw huge upticks: KFI and KNX in Los Angeles were significantly up from earlier in the year, according to the Los Angeles Daily News in late May.

Radio has also proven adept at getting and keeping the attention of consumers. And, while radio is primarily an audio media, thanks to advances in digital broadcasting, broadcasters are now able to enhance their audio messages with text and visual information to create a complete information experience that reinforces each message for even greater engagement, with important ramifications for PSAs.

This convergence of digital technology with the audio format of radio has increased brand recall by up to 1,500% when compared to audio-only messaging, and, according to Xperi research, improves message recall. In one study, there’s a 12% lift among millennials:

All of which means greater opportunities to get public service messages out during the pandemic — and making them stick.

HD Radio PSAs: Essential Community Tools in a Crisis

At Xperi, we have a unique perspective on how radio is used during this crisis, and how HD Radio has been a game-changer. Broadcasters are frequently updating their listeners — from school and business closings to hot-spot surges and reminders on how to be safe and protect the most vulnerable.

With HD Radio, which is in over 65 million vehicles on the road in the United States, broadcasters are serving their communities by enhancing audio PSA messages about the virus with text and visuals to more easily get their attention and hold it, such as illustrations of the six-foot social distancing rule.

To understand the degree to which broadcasters used HD Radio metadata to convey information related to the virus — from hand-washing to social distancing — we conducted a snapshot analysis of Xperi data across 39 markets and 76 stations in Canada, the U.S. and Mexico between Feb. 15 and May 12, the height of the pandemic information rush:

When segmented across categories, this information appeared 1,810 times in news programs, 226 in news headlines, 445 in info URLs and 676 times in PSAs.

Among the reasons for this increase in use? Speed and ease of integration.

For example, Beasley Media Group quickly integrated messaging into an existing community program, and ran it across all 60 of their stations in very high rotation:

In Mexico, Grupo Formula created their own designs, including visuals for mask-wearing, stay-at-home, hand-washing and social distancing, for all their FM HD stations in major cities, including Mexico City, Guadalajara and Monterrey:

Other Mexico groups implementing PSA campaigns through HD Radio are Televisa Radio, Multimedios, Pergom and Grupo Oro. And Rogers Media in Canada is effectively using digital data fields in their HD Radio transmissions to convey news headlines and local community information.

During the most recent crisis, Beasley utilized enhanced PSA messaging on their QUU RDS systems, including a statement they shared on social media channels about their commitment to listeners and their families to promote positive change in the communities they serve and across our nation.

Digital Radio Key to Upgrading Emergency Alert Ecosystem

HD Radio Emergency Alerts are also invaluable community tools for broadcasters for emergency notifications.

The pandemic, and recent events around the protests, have reinforced the urgency of leveraging digital radio as an upgrade of the public alerting ecosystem — and our PSA data indicates that broadcasters are ready to implement it to better serve their communities.

A December 2018 report by the FCC’s Communications Security, Reliability and Interoperability Council (CSRIC) recommended upgrading several aspects, including, geographic targeting, multimedia, resiliency and redundancy, accessibility of alert information and integration of alerts across devices.

Digital radio technology — through HD Radio — can enable these improvements now. At Xperi, we believe it should be utilized as an integral part of the collaborative effort to upgrade the nation’s public alerting capabilities.

Proven Value Over 100 Years

Radio is simply the most efficient and flexible way to provide news and entertainment across geographic and topical segments, a claim the numbers support and remains the most consumed media channel, according to Nielsen Audio Today 2019 (total persons 12+).

So, it’s no surprise that it’s thrived for 100 years ( and why at Xperi, we are devoting a year-long campaign to celebrate the milestone).

During our recent unprecedented crises, it’s been radio — and digital radio — that has helped to deliver the information listeners have needed in the most comprehensive and convenient way. And when life returns to normal and priorities shift from social distancing to socializing, digital radio, and specifically, HD Radio, will help lead the way, providing a complete experience around the news and entertainment consumers want — when they want it — in a way that fits their lifestyle. It doesn’t take a crisis to see the value of that.

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post Digital Radio Has Expanded Community Messaging appeared first on Radio World.

Sage Alerting Systems has released an update to its Model 3644 Digital ENDEC EAS units. The update is required to be installed before Oct. 28.

A company release explains, “A signing certificate used by FEMA to validate CAP alerts will expire on Oct 28, 2020, at 14:05:29 UTC. Sage has released a free firmware update that you must install to permit your ENDEC to continue to receive EAS CAP alerts from FEMA after that date.”

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

In addition the update has tweaks to the SSL root certificates required for downloading alert audio files from state or county alert originators.

Explanatory release notes can be found here. Questions can be sent to support@sagealertingsystems.com.

The post Sage Updates ENDEC Firmware appeared first on Radio World.

There’s good news on the horizon for podcast revenue growth, and presumably for radio organizations that are active in that space.

Over the last several years, podcast ad revenues accelerated at a rate “nothing short of stunning,” said Pierre Bouvard, chief insights officer at Cumulus Media and Westwood One. He often blogs in support of radio’s place in the audio arena.

He was commenting in his latest post about a report on U.S. podcast advertising revenues from the Interactive Advertising Bureau and PricewaterhouseCoopers. In doing so, he also noted the ongoing strength of AM/FM radio compared to other audio media, citing separate data from Edison Research.

Growth Trends

With expected growth of 14.7% through 2020, the stage has been set for podcast revenues to hit $1.1 billion in 2021, according to the IAB/PwC report.

Commenting, Bouvard wrote, “Even with the impact of COVID-19, 2020 podcast revenues are forecast to come in at 94% of last year’s 2020 prediction. … This speaks to the strength of audio as a powerful platform for both brands and direct response marketers.”

[Read: TechSurvey 2020 Looks at Podcast Growth]

While it remains to be seen what long-term impact the pandemic has on podcast revenues, IAB/PwC still predicts a 15% jump in 2020. This comes after podcast ad revenues soared 48% between 2018 and 2019, a “stunning” growth rate, Bouvard said.

He said podcast advertising has proven to be more resistant than other media against COVID-19 for various reasons, including the medium’s relatively flexible format, which enables quick shifting of ad messaging; the popularity of news content; and the strength of certain ad categories like direct-to-consumer retailers and financial services, which so far are maintaining market strength despite the coronavirus.

The report listed the top-earning formats. The leading genre for U.S. podcast advertisers is news, capturing 22% of revenues. Comedy captured 17% followed by society and culture at 13%, business at 11% and true crime at 9%. More than 70% of that ad spend comes from those five.

The report also found that annual buys were increasing as a percentage of the total, while “scattered” advertising declined illustrating that buyers are looking at the long term.

A key takeaway for Bouvard is that “ad-supported streaming audio has peaked over the last four years with little audience growth. Podcasting has all the audience growth and advertiser interest.”

Bouvard cites Edison Research “Share of Ear” data showing that podcasting audience shares have tripled over four years while Pandora’s are down, Spotify is up slightly and SiriusXM is up — but that AM/FM remains the dominant ad-supported audio platform.

And he said AM/FM radio’s share of ad-supported audio is consistently strong.

Read Bouvard’s analysis here.

The post Podcasting to Break Billion-Dollar Barrier in 2021 appeared first on Radio World.

We like sharing announcements from Radio World’s Who’s Buying What column partly because it gives us a chance to peek into various new radio facilities.

Here’s one from Swiss radio station Canal 3 and Lawo.

The console manufacturer says the station chose a Ruby on-air console and Power Core DSP mixing engine for their recently completed air studio. Lawo provided the photos shown at bottom of this story.

The studio is used for pre-production and as an on-air backup. Consulting, construction and installation of the hardware and studio furnishings were provided by system integrator SLG Broadcast AG.

[See more recent Who’s Buying What stories.]

The flush-mounted console has a split-frame setup with a 12-fader main mixing surface for DJs and a four-fader module for in-studio newscasters; this lets presenters work independently and at the same time. MADI connects the new studio with two existing rooms, currently equipped with Lawo sapphire consoles. And a mobile studio setup in three flight cases includes a 12-fader ruby with Power Core.

The studios are in Biel, southwest of Bern. Canal 3 broadcasts on two frequencies in Bern and Solothurn; it’s a bilingual private station that went on the air in 1984, supplying content for Swiss German- and French-speaking listeners. It broadcasts with DAB+ on SwissMediaCast and C3F on Digris.

Photos are below.

We welcome news for Who’s Buying What from both users and suppliers, including RF and other non-studio applications. Email radioworld@futurenet.com.

The post Canal 3 Installs Lawo Ruby appeared first on Radio World.

The 2020 College Broadcasters Inc. National Student Electronic Media Convention (NSEMC) will be held online Oct. 28–30. This decision was made by the CBI Board of Directors with the safety of CBI members and guests in mind.

CBI is planning presentations, access to the latest technology and expert vendors and opportunities to network with peers and special guests. There also will be modified versions of CBI’s Swag Swap Social and National Student Production Awards Ceremony.

[Read: College Media Convention Will Be Virtual-Only]

The $100 registration fee for this year will be per media outlet member; so members may include as many affiliated attendees from their organization as they would like.

CBI also will be producing online sessions twice a month between now and the convention, featuring workshops with tips on training, programming and recruiting new members at the onset of the fall semester.

Information for member and non-member attendees, vendors and guests is online. For information on programming, email Events@AskCBI.org. For information about vendor and sponsorship opportunities, email Development@AskCBI.org.

The post CBI’s 2020 Student Convention Goes Virtual appeared first on Radio World.

Miguel Hernández University Radio is now broadcasting from all four of its campuses in FM and several on-line platforms with the addition of a new studio on the Elche, Spain, campus. AEQ performed the installation and upgrades.

The new digital broadcasting studio includes a room with seats for an audience. The main digital control is equipped with an AEQ Forum Split digital mixer with 16 faders. The Forum mixing console configuration includes five microphone/line inputs, eight analog line outputs, eight AES and SPDIF digital inputs/outputs, four USB inputs/outputs, 64 MADI inputs/outputs and two digital phone hybrids.

[Read: A Look Inside Valencia’s À Punt Radio]

The Forum Screen Display software shows operating parameters and information such as dynamics, parametric equalizer and VU meters.

AEQ installed the mixer together with the auxiliary equipment (microphones, audio monitors, turntables, etc.) to complete the main control room.

In the talent room seven AEQ HB-02 microphone and headphone guest stations with level controls were installed. An AEQ Studio Box desktop signaling system was located in the studio and on-air signs were placed over the entrances and in the studio’s interior.

AEQ digital equipment was also installed at the Orihuela and Altea, Spain, campuses. Both studios share the same configuration: each control room has an AEQ Capitol mixer with dual phone hybrid and an AoIP Dante module enabling the connection of the AEQ NetBox 4MH on-air studio interface. Auxiliary equipment was also upgraded with AEQ HB-02 guest stations, AEQ Studio Boxes and on-air signs.

RW welcomes news for Who’s Buying What, email us at radioworld@futurenet.com.

The post Who’s Buying What: UMH Radio Upgrades Its Studios With AEQ appeared first on Radio World.

Daniela Zamora is station vice president and general manager of Zamora family-owned WDTW(AM) in Detroit. It is a Spanish-language music formatted station.

In this Q&A she discusses how the station is approaching the coronavirus, especially in providing timely and useful information to its Spanish-speaking listeners along with keeping the station afloat financially. She was interviewed by Suzanne Gougherty, director of MMTC Media and Telecom Brokers at the Multicultural Media, Telecom and Internet Council. MMTC commentaries appear regularly in Radio World, which welcomes other points of view on industry issues.

Suzanne Gougherty: What has your station been doing to keep Hispanic listeners informed during the continued pandemic?
Daniela Zamora: Daily segments Monday through Friday, updating our community with the latest news releases and data from WHO, CDC, Gov. Christine Whitmer’s office, along with city and local officials.

Gougherty: What feedback have you received from listeners about your pandemic coverage?
Zamora: Overall there has been a very positive response to the pandemic coverage we have been airing. We get a lot of calls asking about links or phone number for additional information on the particular piece of information or story mentioned on-air.

[Read: La Z Seeks to Make Its Mark in Detroit]

Gougherty: Has your on-air staff been working in the studio or have they been broadcasting from home? If from home has it been a smooth transition? 
Zamora: With the exception of our national syndicated programming in the morning which requires a board operator in studio, all of the staff is working remotely. It most definitely was an adjustment with many hiccups along the way, typical connection issues, but thankfully we were able to troubleshoot and quickly pivot to a new working environment.

Gougherty: Did you have the gear available to set up home studios for your talent? Are they feeling comfortable broadcasting from home?
Zamora: Yes, all staff was provided with the computer and studio equipment for working remotely. Thankfully most of our staff was already familiar with the remote setup, so for the most part all were pretty comfortable throughout the transition.

Gougherty: Does your air talent feel more or less connected to their audience during this unprecedented time?
Zamora: Although we are limited in the ability to take live on-air phone calls, we make an attempt to engage more through our social media platforms. We also started a food pantry initiative, setting up food drive distribution centers in Detroit, Pontiac and Taylor. We are proud to have provided help for just over 500 families in the DMA.

Gougherty: How is your sales team holding out? Are they still able to close media buys?
Zamora: We have received some new buys, but mainly just recruitment and political. Like most others, we are doing the best we can to survive and working with our clients in an effort to maintain current advertising campaigns.

Gougherty: Is your IT person keeping your website and other social media platforms current?
Zamora: Yes, we have kept them very busy and they are doing a great job.

Gougherty: What’s the new normal going to look like at your radio station in the months to come?
Zamora: Like many other businesses, we have come to realize some of our work can be done remotely. We are looking into a phased approached. Bringing back talent in-house is the priority and then phase in sales staff on alternate days if need be — keeping the safety of all staff at the forefront.

Gougherty: Is your sales staff focused on political advertising dollars?
Zamora: Yes they are. We have had quite a few political buys placed in the past month.

The post Keeping Afloat in the Age the Coronavirus appeared first on Radio World.

Beginning in early April and over 2-1/2 months, a group of volunteers produced “COVID Virginia,” a local format devoted to the impact of the pandemic in the communities of southwest Virginia. It aired full-time on George Flinn Jr.’s station WBZS(FM) in Shawsville, which serves the Roanoke area, and online at www.covidvirginia.com.

Bill Trifiro, a correspondent for NBC News Radio and the 24/7 News Network, helped lead the effort.

I can’t wait to meet most of the volunteers who worked on COVID Virginia.

I have spent hundreds of hours with them, but as I type this I can’t tell you what most of them look like. We formed COVID Virginia via emails and conference calls just as Governor Ralph Northam issued his first COVID-19 related executive order. It was an ambitious endeavor.

Together in Isolation

We decided to fill most day-parts with live and local hosts sharing their experiences through the pandemic and taking calls from residents who wanted to share theirs … all from our kitchens, bedrooms and basements while under the stay-at-home order.

Like many radio markets in America today, Roanoke has a couple of news/talk stations but only two locally produced talk shows, neither of which solicits phone calls. (That’s not an indictment. WFIR has one of the best newsrooms in the country, and to support it without going under, syndicated programming is the only way to survive.)

Historically Roanoke has been a railroad and retirement community. Though we hadn’t had a confirmed case of COVID-19 at the time, we knew that it was going to hit the elderly community especially hard, and we wanted to give residents a place where they could voice their concerns and feel together in isolation.

[Related: “Radio Is the Local Lifeblood of Brands During COVID-19”]

At first, we designed a decentralized model where each volunteer host would feed their show directly to a server that in turn would deliver audio online and directly to the terrestrial tower. The incredibly flexible Backbone Radio technology we were employing would make that possible, after the company graciously donated their platform to us for free during the pandemic.

The problem was time.

Commercial-free

We wanted to get programming going right away. To get all of the volunteer hosts the equipment they’d need and get them trained on the software would take days.

Flinn Broadcasting had just donated WBZS to our endeavor and we were eager to get on the air. To shorten the timeline Backbone Radio provided us a one-button connect, studio-grade audio app that people could load on their phones or computers. This would connect to a board op, who would feed the server/tower; that person was me.

We had no pretense that this was going to be a traditional broadcast. Dogs were going to bark, kids were going to come bursting into our makeshift studios; but we wanted to provide the highest-quality information and offer all of the functionality of a talker in a top 10 market.

iHeartMedia donated NBC News Radio newscasts and its 24/7 News source wire service. Local television stations WDBJ and WSLS donated early-morning and evening newscasts. And since no one was getting paid we’d do it all commercial-free.

After some shuffling of schedules, the volunteers got to work in two-hour shifts.

Up With the Sun

We’d get up early and run WDBJ 7’s newscast from 5 to 7 a.m. Then Ripley Johnson would host “COVID Quarantine Questions” from 7 to 9 a.m. For two-and-a-half months Ripley took a medical and inspirational approach to the issues of the day. Again, no one was getting paid; but Ripley missed only one broadcast — after falling down the stairs to her basement.

She was back on the next day; many would have been laid up for a week.

Our 9 to 11 a.m. time slot initially went unclaimed, so I dubbed it “potpourri” on the programming calendar. When Karl Roeper said he could take it on Tuesdays and Thursdays he quickly dubbed it “Karl’s Roeperi” and it stuck.

From 11 to noon we ran a live press conference, media briefing or a recent broadcast from the governor.

Our noon slot took a look at how COVID-19 was affecting area businesses and provided resources to listeners. Until this point, everyone on the air had at least some radio experience dating back to the 1980s or ’90s; but “Business at Lunch” was manned by two rookies to radio: regional business veterans John Philips and Mary Miller.

Mary liked to say that she wasn’t actually a rookie because she had read announcements in school. John had been a road warrior, and he had a passion for talk radio that I had thought doesn’t exist anymore. He led “Business at Lunch,” booking two, three and sometimes four guests per show. His planning exceeded that of most of the best producers I’ve met.

Hard-Won Experience

The 1 to 3 p.m. slot was held by one of the best voices in radio. Dale Bayless had left radio for teaching. He broadcast from his fortress of solitude, his kitchen, covering a gambit of COVID-19 topics, yet his greatest gift was the ability to put listeners in the shoes of students and young people trying to navigate the new normal.

One woman called in and told me that Dale could read the phonebook and she’d be glued to the radio.

Our afternoon show ran from 3 to 5 p.m., and the host was the glue of the group. I knew a fraction of our volunteers, but Rob Ruthenberg knew them all.

Rob, a broadcast veteran, was the first person I’d called when concocting this whole crazy idea; and before I knew it he had picked up the phone and filled every timeslot.

Like many in the entertainment world, he had had three jobs but then lost them all on the same day. The state and nation were shedding jobs by the thousands. Rob took this recent experience and walked listeners through the ins and outs of unemployment, the paycheck protection program and stories of those who lost their jobs or were on the frontlines and the fears and anxieties they were going through.

We’d run WSLS television news in the evening from 5 to 7 p.m. most nights. After 7 we’d air some virtual press conferences from around the New River Valley. Amy Westheimer would host “Happy Hour With Amy.” Geoff White hosted “Music Junction Friday nights.” Tyrique Nolen, a frontline worker, would host or participate in a variety of shows. Chad Snyder helped co-host the morning show and booked guests. I know I am missing many people who helped along the way.

When I envisioned my role I thought I’d host a long-form news program, but as we were blessed with a large number of volunteers, I settled into news duty on the station, board-op’ing and filling for volunteers who called out due to job interviews and all the things that came with COVID-19. It was an honor.

June Closing

I say it was an honor because after weeks on the air, we reached the end of the governor’s initial executive order. In the days leading up to June 10, we struggled with the idea of ceasing operation. After more than two months the shows had become habit for many of us and gave many something to look forward to; and Flinn Broadcasting had offered to let us continue past June 10.

However, COVID fatigue had set in. We had two state of emergency declarations inside of the COVID-19 emergency declaration; it became harder to discuss social distancing and masks when flooding was affecting our region and when racial inequity and protests dominated the headlines and streets.

Statewide, COVID-19 cases were on the decline, we had reached Phase 2 of our reopening plan, and dates to reopen schools had been established. The feedback from our volunteers was largely in favor of keeping to our charter; so at 11:59 p.m. Wednesday, June 10, WBZS turned back to a music format.

I am not sure what impact, if any, we had on our community. What I am sure of is that with a limited skill set, I did the best I could to help during the pandemic. I met some incredible people, albeit virtually. I am honored to call them friends, and I am proud of the work they did.

The post “COVID Virginia” Was a Volunteer Miracle appeared first on Radio World.

This is the final edition of the international edition of Radio World. Due to changing business conditions, Radio World will present future international coverage as part of our global online offerings. Please follow us there at radioworld.com. Subscribers to the digital edition of Radio World International will receive a free digital subscription to the global edition of Radio World. If you are not sure if that includes you, and you want to receive Radio World’s global edition and enewsletter, sign up for subscriptions to both (separate signups required) at Radio World Online Customer Service Center. For other questions email futureplc@computerfulfillment.com.

DIGITAL RADIO

NENT Group Drives DAB’s Future in Sweden

The commercial operator has successfully pioneered the country’s DAB+ broadcast.

BUYER’S GUIDE

What’s New in Visual Radio

Read about offerings from Comrex, Multicam Systems, ENCO, BroadcastPix and WinMedia Group.

ALSO IN THIS ISSUE

RTBF Inaugurates New Studios in Mons

Radio Méga Creatively Connects With Listeners

On Its 70th Anniversary, EBU Maintains Initial Vision

The post Inside the June Issue of Radio World International appeared first on Radio World.

It seems that some of America’s largest and most prominent radio companies didn’t do a very good job at managing their political files until recently.

Six of them — owning almost 1,900 radio stations combined — have agreed to settlements with the Federal Communications Commission. They are iHeartMedia, Cumulus Media, Entercom, Salem Media Group, Beasley Media and Alpha Media.

The outcome feels like something of a “group slap on the wrist,” one that nevertheless seems to carry an FCC warning — or call it a reminder — to the industry.

The six companies agreed to adopt best practices and put compliance systems in place; no financial penalty is involved. The FCC noted sympathetically that radio companies are in the midst of a challenging pandemic and business environment; but it pointed out that it had opted not to pursue “civil penalties” where it could have.

The settlements

At issue are the rules that require U.S. radio stations to keep track of certain information and make it available for public inspection. That includes requests for purchase of broadcast time from candidates for office and from “issue advertisers.” Stations are supposed to upload the information to their online political files “as soon as possible.”

The FCC said it’s crucial that political files are complete and up to date, in part because the information affects, among other things, the statutory rights of opposing candidates to request equal opportunities.

The texts of the six settlements are largely the same, with the FCC noting that each company had voluntarily informed the commission in February that many of their stations had not uploaded the records. Informal discussions at that time led each company to promise to do better and to conduct a compliance report over an immediate test period of several weeks.

In each case, the FCC said that the companies had gotten their act together, showing “significant” or “dramatic” improvement in complying with their political file obligations.

That led the FCC to end the investigation. The companies admit violating the political file obligations, they’ll implement compliance plans and they’ll submit periodic compliance reports.

The commission noted that the pandemic “has placed the radio broadcast industry as a whole under significant financial stress from a dramatic reduction in advertising revenues,” and that the companies’ voluntary disclosure and cooperation, combined with these “exceptional circumstances,” led it to settle.

But it made clear it was giving the companies a break. Sample language: “It is in express consideration of these unique conditions that the Bureau, in the exercise of its prosecutorial discretion, forbears from including a civil penalty on the basis of [a company’s] noncompliance during their license terms as an element of the Bureau’s agreement to enter this Consent Decree.”

The investigation also is one that probably was  a lot easier to conduct than it would have been five years ago, before the new online political file process existed. Reviewing the files is presumably far easier for FCC staff now.

The post Big Radio Companies Settle With FCC on Online Political Files appeared first on Radio World.

Volkswagen is the latest major car brand to start offering the 360L infotainment platform from SiriusXM.

We’ve been reporting on the rollout of 360L by various carmakers because of its “hybrid” radio features like on-demand content and personalization, continuing a trend in car dashboards to meld broadcast and internet/streaming capabilities to create more powerful audio and content offerings.

General Motors, Audi and BMW have made similar announcements in recent months.

Volkswagen will begin introducing SiriusXM with 360L in most model year 2021 vehicles. Buyers get a three-month trial subscription to SiriusXM’s top tier.

[Read Radio World’s recent special report on hybrid radio trends.]

“For model year 2021, the majority of Volkswagen models receive the all-new third generation of Volkswagen’s modular infotainment platform — MIB3,” according to a press release.

“Every model that is equipped with MIB3 will offer SiriusXM with 360L, including the model year 2021 Arteon, Atlas Cross Sport, Golf GTI, Jetta, Jetta GLI, and Tiguan. The Atlas, introduced as a MY21 vehicle this spring, will incorporate MIB3 and SiriusXM with 360L as a mid-year change for MY21.5.”

The announcement was made by Hein Schafer, senior vice president, product marketing and strategy for Volkswagen of America and  Chris Paganini, VP, automotive partnerships, for SiriusXM.

The post SiriusXM Adds Volkswagen to the 360L Family appeared first on Radio World.

The World Broadcasting Unions is voicing support for a large broadcaster in the Philippines after the country’s House of Representatives voted to shut down the broadcaster’s TV and radio services, which include 18 FM and five AM stations.

“The House vote on Friday, July 10, puts at risk the employment of more than 11,000 workers and has drawn accusations of an attack against press freedom,” WBU said in a statement. WBU is a coordinating body of broadcasting unions that represent broadcast networks around the world.

“The closure of ABS/CBN is a matter of concern, not just in the Philippines but internationally.”

It said the vote followed a cease-and-desist order in May by the country’s media regulator shutting down ABS-CBN’s outlets, which also include 42 television stations and 10 digital broadcast channels.

WBU said ABS-CBN is the oldest broadcasting network in the Philippines, operating since 1946, “and a vital source of information for tens of millions of Filipinos.” It noted the importance of broadcast media during the pandemic and in awareness of tropical storms.

It asked lawmakers and the Duterte Administration to reconsider renew ABS-CBN’s franchise.

The WBU noted that ABS-CBN has been fighting to retain its broadcast rights after regulators initially turned down its renewal in February. It was operating under a temporary license. Separately the country’s Supreme Court deferred a hearing in the case. “It is unclear what effect the House vote will have on this legal action,” WBU wrote.

WBU’s members are the Asia-Pacific Broadcasting Union, the Arab States Broadcasting Union, the African Union of Broadcasting, the Caribbean Broadcasting Union, the European Broadcasting Union, the International Association of Broadcasting and the North American Broadcasters Association.

The post WBU Asks Philippine Government to Renew ABS/CBN License appeared first on Radio World.

Federico d’Avis is retiring from his position as international sales director of Dielectric; he’ll continue as a part-time consultant to the antenna manufacturer, while John Macdonald takes over his former role.

“Federico was responsible for Dielectric’s growth in the CALA region and Canada over 12 years with the company,” the firm said in an announcement. “He substantially raised Dielectric’s visibility and market share in these regions, and was responsible for the company’s largest regional projects.

[Related: Read other recent People News]

“He also built partnerships in countries that helped Dielectric get closer to its customers. This notably includes Brazil, where he established local manufacturing agreements to eliminate high import expenses, and minimize RF and antenna costs for Brazil’s broadcasters.”

Among his projects were an eight-channel FM radio antenna and dual-manifold combiner for CRP Medios y Entretenimiento in Peru; RF and antenna systems for TV Azteca’s national ATSC DTV network in Mexico; and TV channel relocation projects for Canada’s DTV Allotment Plan.

Before joining Dielectric 11 years ago, he worked in microwave antenna sales with Gabriel Electronics and Radio Waves.

John Macdonald has worked with international transmission manufacturers such as Broadcast Electronics, Thomcast and Nautel. He will report to Jay Martin, VP of sales.

Send announcements for our People News column to radioworld@futurenet.com.

The post Federico D’Avis of Dielectric Retires appeared first on Radio World.

The author is radio operations manager for Georgia Public Broadcasting.

ATLANTA — Georgia Public Broadcasting covers local politics across 18 radio stations and nine television stations in the state. Over the past several months, we’ve covered more local, political and live breaking news events than ever, even by election year standards.

This was on top of another major change: In early March, GPB reporters in Macon, Savannah and Atlanta were sent home with laptops, mics and other equipment to ride out the pandemic.

Fortunately, we had the studio infrastructure to do all the above.

In 2018, we moved our offices, rebuilt our studios and repopulated studios with new WheatNet-IP audio networking and LX-24 console surfaces. We built four edit studios and an air studio, production studio and talk studio while transitioning over from our Wheatstone Bridge TDM system to the new WheatNet-IP audio network using a Wheatstone MADI Blade, which let us move multiple audio channels between the two easily.

The talk studio was the last one we completed in the fall of 2019, which gave me a few months to finalize settings and workflows before the pandemic hit. I had spent some time setting up salvos on the studio LX-24 consoles so that operators could interrupt the ENCO automation and mix feeds from any three of the adjoining studios in the facility.

That came in handy during our many live-breaking news events; operators simply press a button on the console that fires off a salvo to interrupt the automation and go live instantly to any of the other studios. I set up a similar salvo routine to stop station IDs from firing during such events, another function that has come in handy.

Finally, to repurpose broadcast television audio for radio, I set up a Wheatstone HD-SDI Blade into the WheatNet-IP network that de-embeds audio from a video stream for direct input to the console and then on-air.

I’ve since added Glass E remote client software for the LX-24 boards so that instead of having someone come in to turn off or on the feed and insert whatever breaks are needed, it can all be done remotely from home. The remote client software mirrors the console so that settings can be changed remotely.

There were practical reasons for upgrading to WheatNet-IP audio networking at the time, but all those paled in comparison to the actual events of the last few months.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

For information about Wheatstone consoles, contact Jay Tyler in North Carolina at 1-252-638-7000 or visit www.wheatstone.com.

The post User Report: New WheatNet-IP Studios Handle Recent Events appeared first on Radio World.