Aggregator

Codec and audio network equipment maker Digigram has a new cloud-based service for linking remote contributors to studios.

Iqoya Connect will link equipment and users along with providing management and monitoring tools for remote codec fleets and the destination studio codecs.

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

According to Digigram for the remote user, perhaps a journalist, Iqoya Connect “features a unified web platform where the user’s custom profiles and audio settings are saved.” Connecting back to the studio is kept as a simple mostly automated two-step process.

For reception personnel back at the facility, Iqoya Connect uses a global monitoring interface that provides “real-time monitoring of the codec fleet on one screen … as well as direct access to devices in the field if required.” Codecs can be programmed and live support enabled as well.

“When designing Iqoya Connect, our goal was to simplify the audio professionals’ daily experience while offering more flexibility, security and efficiency,” said Xavier Allanic, Digigram’s vice president of sales.

Info: www.digigram.com

The post Digigram Makes a Connection appeared first on Radio World.

Digital Alert Systems has made available the latest software version, V4.2, of its Emergency Alert System software for its DASDEC-II and One-Net SE EAS devices.

The new version of the software offers features and improvements that are designed to expand the security measures already built into the software. This includes additional communications protocols for EAS-Net, the DAS communications protocol software that enables EAS data and audio transmissions over a TCP/IP network for up to eight EAS-Net compatible platforms.

[Read: Digital Alert Systems Launches Software Assurance Plan]

Another new feature is the software Secure Socket Layer HTTPS certificate management functions, which allow users to perform things like selecting the web server certificate, adding new cert and key certificates, selecting different certificates and deleting a certificate. Users can also load and/or delete their own key/cert pairs.

There are also separate control toggles as part of V4.2 that enable users to control digital signatures selectively from various Common Alerting Protocol servers, with improved logging between servers for more information about CAP files. In addition, communication improvements for users of DAS’ Homogenous Alert Overseer are also available.

Any DASDEC-II or One-Net SE customer running V4.0 or V4.1 can download V4.2 for free. For customers not yet upgraded to V4, DAS has a price relief program that offers a discount on the normal upgrade fee, ranging from 20% to 60% through Sept. 7.

Info: www.digitalalertsystems.com

The post Digital Alert Systems Releases V4.2 of EAS Software appeared first on Radio World.

There’s a new general manager as well as a new chief engineer at WIHS(FM) in Middletown, Conn. And both are the same person: Steve Tuzeneu.

Connecticut Radio Fellowship announced that Tuzeneu will take those roles at the Christian station beginning July 15. He replaces GJ Gerard, who has held those roles for 25 years and is retiring.

“Tuzeneu brings over 45 years of diverse radio station experience, from announcing to engineering to management,” the organization announced. “His career is coming full circle, because he worked for WIHS from 1985-1991 when the station was located in downtown Middletown.”

It noted that Tuzeneu (“TOO-zen-oo”), a native of New Jersey, has held staff positions at faith-based radio stations in Colorado, Connecticut, Kansas, Massachusetts, New Jersey, North Carolina, Virginia and Wisconsin. He most recently was a network staff engineer for the Bible Broadcasting Network, according to his LinkedIn profile.

He has a Bachelor of Science degree in broadcasting/business administration, CBT certification from the Society of Broadcast Engineers, an FCC General Class Radio Engineering License and an Extra Class Amateur Radio License.

The announcement was made by Drew Crandall, president of Connecticut Radio Fellowship.

[Read Steve Tuzeneu’s 2015 article “In Search of Engineers.”]

Radio engineers and managers, send news of promotions, hirings and job changes to radioworld@futurenet.com.

The post People News: Tuzeneu Joins WIHS in Connecticut appeared first on Radio World.

Again the National Association of Broadcasters is blasting the Federal Communications Commission for a planned increase in certain regulatory fees on U.S. radio and TV stations.

[See a chart of the proposed fees.]

NAB submitted reply comments responding to the FCC’s current proposed rate structure. The filing reiterates arguments the association has already made against the fees, in some cases over years. A sampler of phrases in NAB’s latest filing gives you the gist:

“utterly fails to explain its rationale”

“abject failure”

“jeopardize the ability of struggling broadcasters to stay on the air”

“violates the law”

“fly in the face of the statutory mandate”

“increases … created from whole cloth as a means for the FCC to solve a math problem”

“the timing could not be worse”

“inequities in its regulatory fee approach”

“an additional, potentially insurmountable hurdle”

The association repeated its many earlier arguments, including that the FCC proposal doesn’t provide a basis of fee increases; that there has been no change to the total amount of fees the commission is required to collect; that broadcasters are subsidizing unlicensed spectrum users that require a lot of FCC resources; and that the pandemic highlights the unfairness of the FCC’s approach.

The NAB also said it supports suggestions from broadcasters for additional temporary reforms, for instance to allow waiver requests via a single filing; allowing stations in default to seek a waiver of this year’s fees; and a waiver of the automatic 25 percent penalty for late payment of regulatory fees.

Read the NAB comments (PDF).

The post NAB Again Goes to the Mat Over Fee Increases appeared first on Radio World.

Codec manufacturer Tieline has added a new codec to its product lineup.

The Gateway IP audio codec is a 1RU multichannel IP audio transport solution for radio broadcasters. It can stream up to 16 IP audio channels with support for AES67, AES3 and analog I/O as standard.

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

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

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

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

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

An optional WheatNet-IP card is also available.

Info: www.tieline.com

The post Tieline Adds Gateway to the Lineup appeared first on Radio World.

From our “Application Notes” page:

Baker Broadcasting is using ENCO WebDAD to solve remote broadcasting problems in the pandemic era.

Baker, based in Fort Smith, Ark., was an early adopter of the DAD automation product family. Now ENCO says in a press release that Baker’s adoption of WebDAD “has allowed flagship station KISR(FM) and KREU(FM) — the only Spanish-language station in Northwest Arkansas — to continue on-air operations without interruption or limits.”

The site usually has about 20 employees but ENCO said Chief Engineer Ayrton McPhail was one of a few team members allowed onsite for two months.

The manufacturer quoted McPhail saying staff can remotely connect to their workstations and coordinate automation from home. “The ability to directly upload audio files into rotation also simplifies our programming,” he said.

He also noted the system’s access to libraries; direct uploads of audio files instead of third-party applications; the ability to remotely voice track; and the option to record audio in-app.

[Related: “New Ebook Explores Broadcasting From Home”]

The post Arkansas Broadcaster Puts WebDAD to Use appeared first on Radio World.

Henry Engineering founder Hank Landsberg wrote in after reading the Workbench column where we showed the Sparkos “discrete ICs.” A number of years ago, Hank built an audio console based on OpAmp Labs plug-in amplifier modules that were popular in the early 1970s. Old-timers may remember them.

Hank’s console, pictured in Fig. 1, was actually a smaller version of the boards that he designed and built for Drake-Chenault in 1977.  Both designs were built using OpAmp Labs plug-in amplifier modules.

Seen lined up inside the console in Fig. 2 (the cylindrical grey “cans”), these modules were made up of discrete parts, which plugged into an octal tube socket. There were dozens of versions, ideal for anyone who wanted to build their own audio gear: mic preamps, equalizers, mixing consoles, monitor amps, etc.

What made them particularly attractive was the price; they were inexpensive at $35 each, and convenient. Using the OpAmp Labs plug-in modules eliminated the need to make your own PC boards, and simplified construction of home-brew audio gear. The modules continue to be sold; see www.opamplabs.com.

Hank reports that after 30 years, the modules in his console started to fail. So he built a “retro-fit” replacement, similar to the Sparkos stuff reported in our 5/13 column. OpAmp Labs has never disclosed what circuitry was actually in their modules, and since they’re “potted” and sealed with epoxy, it’s impossible to know what components were actually used.

Hank’s “retro-fit” amplifier would be compatible with the OpAmp units, so he could replace those with his own circuitry. Since the OpAmp units use the “octal” or eight-pin base, Hank’s replacement did too, and is seen compared with the OpAmp Labs module in Fig. 3.

By using surface-mount technology components, Hank was able to put the whole amplifier on a PC board about the size of a postage stamp, and mount that on the top of an octal plug. Hank selected the Texas Instruments OPA1612 dual-opamp IC, and included 15VDC voltage regulators on each PC board.

He rebuilt the console with about 15 of these home-brewed modules. Fig. 4 shows the finished result. With some careful gain-structure engineering, Hank was able to eliminate all of the coupling capacitors in the circuitry, yielding frequency response that is (literally) flat from DC to about 30 kHz, with very low noise and distortion.

Thanks to the availability of small-quantity PC board production, the cost to produce a few dozen of these modules was relatively low. And Hank is sure they’ll be working just fine another 30 years from now!

Want to see what’s new at Henry Engineering? Head to Hank’s fresh new website at www.henryeng.com.

* * *

Like most of us in this business, our career started with a dream, maybe mimicking DJs as you played 45s on your older sister’s record player. Perhaps your inquisitiveness lured you into taking things apart — funny how they never got completely re-assembled!

For me, it was growing up in the Washington, D.C., suburbs and listening to the top 40 powerhouse 1390 WEAM, though I also took things apart that never got reassembled properly.

One of the familiar voices on WEAM was 7-to-midnight jock Tom Edwards. As an early teen, I listened every night while I did my homework, trying to copy the way he talked up every song, never missing the post. I grew up listening to Tom, as did hundreds or thousands of other teens, and not just in Washington.  Tom’s career took him from D.C. to weekends in New York, then Chicago, Boston and finally L.A.

You may recognize him as Tommy Edwards, depending on which market you heard him. As a kid, I met Tom and found a real gentleman, patient and willing to answer a kid’s many questions about radio. Like so many familiar voices, I lost track of him when he left the market.

Imagine my surprise when, nearly 50 years later, I discover that Tommy Edwards has written a book, appropriately titled “I Grew Up Listening to You.” The content is fascinating, as Tom lays out his career, complete with behind the scenes stories — like hanging up on top 40 radio programmer Bill Drake. The book is well-written, easy to read and available on Amazon for under $20. You’ll have a hard time putting it down, as you read about many industry greats with whom he interacted over the years. Find it on Amazon.

* * *

After reading Tommy’s book, I was hankering for some radio like it used to be, and stumbled on WCFLChicago.com. If you grew up in the 1960s and ’70s, this site is for you. Complete with the superlative TM jingles, as well as commercials, promos, and even some of the Chicken Man skits, this site will take you back to Chicago’s Voice of Labor — Super ’CFL.

Want more Workbench? Find it here.

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.

The post Workbench: State-of-the-Art Audio on an Octal Tube Socket appeared first on Radio World.

Many Radio World ebooks explore products and tech trends. This one is different.

What is a manufacturer’s business philosophy? Who are its key decision makers? How did the company begin, what were its landmark introductions and how is its history reflected in its products today?

“Meet the Makers” provides a look at the people and philosophies behind eight industry manufacturers: 2wcom, CGI Media Solutions, Comrex, DB Group, Jutel, Lawo, Nautel and Tieline.

It’s a chance to learn more about a favorite supplier — or discover one not familiar to you — and to find out how these companies are contributing to the vibrant marketplace of radio and audio technology in 2020.

Read it here.

The post Meet the Makers: A New RW eBook appeared first on Radio World.

Burk Technology is now offering preconfiguration of its ARC Plus and ARC Solo remote control systems. This new service includes configuration of monitoring and control points, automatic functions using Jet Active Flowcharts, alarm notification setup, periodic log capture and distribution, and AutoPilot custom views.

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

Burk’s product experts will tailor a system to meet a station’s unique requirements, giving clients the visibility and control needed to manage an entire broadcast environment. Jet Active Flowcharts make the decisions and take the actions a client specifies, using an easy-to-read graphical format that is intuitive and natural. AutoPilot custom views highlight the information most important to managers and engineering staff providing at-a-glance status of the broadcast facility.

Preconfigured systems provide a reliable, effective facilities control including important features that are sometimes overlooked. Email or text alerts provide instant notification of equipment failures or off-air events. Up-to-the-second status lets users decide whether to drop everything and head to the site in the middle of the night or let it wait for the next scheduled service visit. Automated logging and reporting of critical parameters for the transmitter and tower lights demonstrate FCC and FAA compliance. Long-term variations in logged data help to define the scheduled maintenance plan. Early warning thresholds on key parameters identify equipment degradations before failures occur.

Info: www.burk.com

The post Burk Offers ARC Preconfigured Systems appeared first on Radio World.

Visual radio systems developer MultiCam Systems has announced an exclusive distributor for Russia.

Okno-TV, a large multimedia production systems integrator, will manage distribution, installation, training and after-sales support for the entire MultiCam product range.

MultiCam European sales representative Anton Kuznetsov said, “This partnership with Okno-TV is a logical way to increase MultiCam’s brand visibility and product availability across Russia.”

The post MultiCam Signs Russian Distributor appeared first on Radio World.

This is a response to the reply by Larry Wilkins in Radio World, which includes the statement, “This will render an approximate maximum AM coverage radius of 200 feet, according to the FCC July 24, 1991 Public Notice (still in effect).”

The information in FCC Public Notice #14089 referenced above does not supersede the requirements of 47 CFR §15.219, which define and govern the legal use of unlicensed transmit systems operating in the AM broadcast band (530-1700 kHz).

Here is an engineering analysis showing that an unlicensed AM transmitting system strictly meeting U.S. 47 CFR §15.219 can produce a useful coverage area having a radius in excess of 500 meters (1,640 feet). See page 2 of this PDF:

F.I. vs H-distance from Part 15 AM Transmit System, read it here.

The analysis is based on the use of NEC4.2, which use is accepted by the FCC even for the design and documentation of the directional arrays they require of some licensed AM broadcast stations.

Such an unlicensed, FCC-compliant AM system easily should provide service to cars in a very large parking lot, as might be useful to some religious organizations and other entities during the COVID-19 pandemic, for example.

Richard J. Fry, CPBE, worked for two decades in engineering at the Harris Broadcast Division.

The post Letter: Richard Fry on Part 15 AM Coverage Area appeared first on Radio World.

The author of this commentary is director of client services at Write Label.

Local radio ad sales have been hit particularly hard by COVID-19. Content like radio and podcasts, when the world is the most captivated, are taking an unfortunate hit to revenue even though consumers are tuning in. Media is being consumed across a broader range of time slots and outlets, and despite what you might assume, platforms like Netflix are not the only winners.

In fact, according to Nielsen, 83% of Americans report that they’re listening to as much or more radio as they did prior to the pandemic. It is through these more traditional mediums, like local radio and television (which has seen a 7% spike in local news viewership) where broadcasters and advertisers can provide useful, relevant material to communities.

So, what are we seeing, and how can radio, especially on a local level, navigate this rapidly changing situation?

Not only will consumers remember this time forever more, but the brands that invest in advertising in a bare market are often the ones that come back with a vengeance when the market returns.

Non-traditional advertisers, that usually don’t focus on standard mediums, are now using radio to target people at home who are likely consuming content via traditional media streams they may not have frequented in the past. Traditional advertisers are also now faced with an increasing need for relevant content that speaks to consumers in the time of COVID-19.

What is radio doing right?

Radio as a medium has always been intimate, making it an effective tool during a crisis. Captive audiences like commuters have long been the lifeblood of radio, and while those folks are no longer commuting, radio is still serving a purpose.

Someone speaking in your ear is as personal as it gets, and as we are all barricaded inside, local radio is rising to the challenge during COVID-19 to inform and assist their listeners. In urban hubs like New York City, people are spoiled by endless food delivery options, and access to sufficient aid and relief platforms, where in suburban and rural areas, folks are not so fortunate.

We have seen local media outlets responding to the rally cry from consumers and local businesses by setting up useful and meaningful tools to better the community. From dedicated food delivery platforms for restaurants that are still operating, to raising money for causes around COVID-19 and providing access to food services for those in need, these interactions create a unique, personal and emotional connection with audiences that perhaps only radio can achieve during this time. Communities can come together and feel connected via the medium.

For example, Adams Radio Group CEO Ron Stone recently developed a radiothon for Feeding America. What started with a few independent radio stations coming together, turned into 2,000 individual stations planning to air the radiothon.  The recent “Rise Up New York!” telethon also helped Robin Hood’s COVID-19 relief fund reach $115 million, thanks to iHeartMedia executive John Sykes, credited with leading the charge in booking the big names for the event.

Additionally, iHeart’s New Hampshire cluster, with help from TV station WMUR, raised over $760,000 for the New Hampshire Food Bank following a one-hour broadcast called: “Project Community: New Hampshire Together From Home.” And Cox Media Group (CMG) Tampa partnered with Metropolitan Ministries to host “Feed It Forward: A Virtual Food Drive” on April 16. More than $250,000 was raised to help families that have been directly impacted by the pandemic.

Radio is a cost-effective medium for brands to utilize during this kind of crisis, with minimally required production efforts but messaging does have to shift rapidly to address unfolding circumstances and consumer needs. As a local medium, it’s also keeping consumers informed and up-to-date on business opening hours as well as closures, and information around where it is best to shop locally. Radio is in a unique conduit for community connectedness for consumers, as they increasingly crave information (as well as comfort) from the media.

What needs to happen next?

Now, more than ever brands need local, targeted messaging, and platforms that can produce swift and relevant content to address the ever-changing COVID-19 situation.

As we see brands and agencies quickly and strategically developing reworked content around the pandemic, local radio outlets need to be preemptive about what brands need, and have sales teams getting in front of the crisis rather than being reactive as the situation unfolds.

Advertisers should not underestimate the power of radio as the pandemic unfolds. As the recent study from Nielsen showed, 72% of daily radio users plan to shop for groceries over the next week, while 53% will be getting gas for their vehicle, and 43% collecting take out from a local restaurant.

Consumers often have a distrust of national media, and so now is the time for local radio to shine, becoming part of community infrastructure and providing a unique mix of information and anxiety releasing content, like music, that other media platforms are unable to deliver.

In good times people like to advertise, in bad times, people have to advertise. If radio plays it cards right, it can come out of COVID-19 as a savior for local businesses.

Write Label is a writing platform that offers crowdsourced creative writing solutions. See http://www.writelabel.com.

Radio World welcomes proposals for guest commentaries and thought pieces. Email mailto:radioworld@futurenet.com

The post Radio Is the Local Lifeblood for Brands During COVID-19 appeared first on Radio World.

The author is host of “Dan Sweeney’s One-Hit Wonders.”

AM/FM, low-power and internet radio stations increasingly are turning to an abundance of very good, no-cost, targeted programming to add “personality” to their format mix — including doo-wop, oldies, classic hits, variety and specialty. Passionate radio vets, former media execs, professors and retired enthusiasts all participate in creating fresh, new content as a “labor of love.”

“Not only has it been fun to promote, it’s created new and very loyal listeners,” says Zeb Navaro, general manager of KKSM(AM) in Oceanside, Calif.

Unlike podcasts, these shows are built specifically for over-the-air and internet linear radio operations that need to allow for IDs, commercials and local news break. Most syndicators have invested in jingles, logos, websites and content. New professionally built shows are distributed weekly. [For a list of low-cost/no-cost shows, see bottom.]

For example, my show, “Dan Sweeney’s One Hit Wonders,” which recaps “one and done” music from 1955 through 2015, is distributed to about 60 stations in the United States, Canada, U.K, Germany and New Zealand. The 55-minute shows are free to air for affiliates, and I reserve two minutes for underwriting.

This niche program complements other syndicated shows and is frequently packaged into program blocks adjacent to local market content and random  music segments.

KKSM is licensed to the Palomar Community College District; it broadcasts on 1320 kHz and is located in the San Diego DMA. KKSM packages a “Super Saturday” lineup that includes my show along with “That Thing With Rich Appeal,” a classic Boss Radio format, on approximately 100 stations; Larry Kratka’s “Nothin’ But Old 45s,” telling back stories of old 45s, available on 40 stations; and Craig Orndorff’s “Seems Like Old Times,” featuring music from the 1940s through the 1960s, on almost 40 stations.

The lineup has increased stream numbers by 200% over the same period before the package was created and promoted. Navaro says, “No other station in the San Diego market is offering this programming.”

Mike Putnam, general manager of WMNB(LP) in North Adams, Mass., part of the Albany, N.Y., DMA, serves the listening area with extensive local/regional politics, talk shows and news. His variety format also includes several nationally syndicated shows that help build audiences and keeps them tuned in between the local content.

Asked why he carries the shows, Mike said, “The shows are entertaining, there is no cost to run them and I receive significant positive feedback from listeners. It’s unique programming with personality versus just music. Anyone can use Spotify for that.”

WQFB Surf 97.3 FM, an LPFM in the Daytona Beach DMA, has long embraced “no-cost” nationally syndicated programs as a way to keep expenses low and complement local programming. Vern Shank, the general manager, said most of the staff is made up of volunteers and that WQFB carries a fair amount of free syndicated programs with personality that complement its local shows.

Clear Communications WVLT(FM) Crusin’ 92.1 in Vineland, N.J., near Philadelphia added several free nationally syndicated shows as local DJs were confined at home because of COVID-19. Some may remain after the pandemic passes.

The balancing act between cost-cutting to protect an ever-shrinking financial margin and keeping listeners has intensified. Local radio content is still king. No-cost nationally syndicated programming goes a long way to reinforcing the needed personality of a station. If the syndicators can afford to produce and distribute quality content using creative monetary strategies including underwriting, merchandising and bartering, this could be a “win-win” strategy for stations and syndicators.

The author says “Dan Sweeney’s One Hit Wonders” features unique stories about some 2,300 one-hit wonders, artists and songs including “where are they now” updates. The show was chosen “Best Community Volunteer Program” by the Intercollegiate Broadcast System in March. For info email  djsweeney.ds@gmail.com.

>>

Program Sampler

Here’s a selection of professionally produced syndicated shows worth considering, all at little or no cost:

Dan Sweeney’s One Hit Wonders

That Thing with Rich Appel  https://www.thatthingshow.com/

Nothing But Old 45s, Larry Kratka

UK USA Rock n Soul Connection

Seems Like Old Times

Ken Michaels, “Every Little Thing”

Bart Shore’s Time Warp Radio

Greatest Hits USA

Dennis Mitchell’s Breakfast With the Beatles

Rockabilly N Blues Hour with James Riley

Music Expert Retro Countdown

Ryan Doran

Al Cocchi’s Saturday Nite Fever Classic Dance Party

Pat Gwinn at the Beach

The post No-cost Targeted Programming Is a Win-Win appeared first on Radio World.