Radio World

PreSonus has introduced its new Revelator USB microphone. Intended primarily for home studio use as well as podcasting and voice-overs, the mic includes accessible presets, loopback audio, and selectable polar patterns.

The Revelator offers the same DSP algorithms found in PreSonus’ StudioLive Series III mixers, providing users with eight presets with various combinations of EQ and compression, and offers an additional eight user-defined presets that can be created and saved using the full StudioLive Fat Channel controls available in Universal Control. Also onboard are a selection of voice effects and the ability to store up to four presets to be instantly selectable via the preset button on Revelator.

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

Revelator also features two stereo streams for loopback audio so users can conference in Zoom calls, record gameplay, or showcase the audio in a YouTube video. The presence of two streams for loopback audio means users can mix and record the audio from two different applications on a computer, along with their voice, at the same time using the intuitive interface in Universal Control. Built-in monitoring and an onboard headphone amplifier let users listen to your performance and your mix in real-time.

Three pickup patterns are provided — cardioid pattern, for one-person use; figure 8 for two users, such as in an interview situation; and omnidirectional to pick up multiple speakers around the microphone.

The bus-powered, USB-C-compatible mic comes with PreSonus’ Studio One Artist recording and production software and Studio Magic Software Suite, as well as an integrated desktop stand with built-in cable management.

Revelator is available now for a U.S. street price of $179.95.

Info: www.presonus.com

 

The post PreSonus Revelator USB Mic Debuts appeared first on Radio World.

I am a systems engineering consultant and chair for the Audio Engineering Society’s Technical Committee for Broadcast and Online Delivery.

Previously, I was director of stream operations for CBS Radio and then held the same position at Entercom. In these roles, I was responsible for setting up and maintaining over 300 streams.

Early on at CBS Radio, we were doing streams the same way as everyone else, with old PCs and without much priority. Eventually, management asked us to try to find a better solution to manage our streaming content.

We searched and spoke with a number of companies, but nobody could provide the exact solution that we were looking for. In 2014 I went to the AES convention in Los Angeles and after one session I got several members of Telos Alliance together in the back of a conference room and explained how CBS needed a new solution for streaming.

At the end of the day, it turned out we had similar goals for a new streaming platform. I dubbed the meeting a success and came back to New York and worked with Telos’ team over many months providing input and feedback on the project. After a little more than a year, the Telos Z/IPStream R/2 was born.

We started installing them in all the CBS stations. The rollout was a complete success and has continued to be for all the projects I have used the R/2 on since.

R/2 comes with Omnia three-band processing “in the box,” with optional Omnia.9 processing, allowing me to create unique and great-sounding individual presets for each stream.

Having the power of Omnia processing lets me tweak each one to sound amazing as well as staying within the specifications of AES TD-1004, the AES recommendation for the loudness of audio streaming and network file playback.

Remote operation is smooth as the design was always meant to be controlled and configured by a web GUI. With the Supermicro IPMI control port, the system can be cold-booted. As long as the facility’s firewall rules are configured for proper access, nobody has to be onsite.

The advent of smart speakers has caused unprecedented growth in stream listening. It is one of the fastest-adopted new technologies in our lifetimes. It has brought audio listening back into the home and is driving further expansion into mobile.

In my role chairing the Audio Engineering Society’s Technical Committee for Broadcast and Online Delivery, we are looking into recommendations for stream loudness. We believe it is very important to set the stream content and any injected interstitial to a standard loudness. Not only are these jumps jarring, but forcing listeners to take action to adjust the volume level also opens the door for them to turn off the stream.

The Z/IPStream R/2 is the first streaming appliance to be designed from the ground up as a broadcast stream transmitter. With its built-in redundancy, it is truly the broadcaster’s friend, and I have not worked with an engineer who has been unhappy with this product after I install it.

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 on this product, contact Cam Eicher at The Telos Alliance in Ohio at 1-216-241-7225 or visit www.telosalliance.com.

The post User Report: Z/IPStream R/2 Offers Power, Reliability appeared first on Radio World.

What’s the best way for broadcasters to get the word out about COVID-19 vaccines? That’s the question to be explored by a research project that the NAB will participate in.

The National Association of Broadcasters and the Donald W. Reynolds Journalism Institute announced a “nationwide research project to identify effective COVID-19 vaccine education messaging.”

[Read: NAB Ad Campaign Emphasizes Local Broadcasting]

They said the findings will help in development of a “toolkit” for radio and TV broadcasters and other journalists “to craft public health messages and educational programming that will best resonate with their communities.”

The project will be conducted by consulting firm SmithGeiger. It will do a national survey that the organizers call a first: looking into “the challenges and opportunities facing local and national media presented by the rollout of COVID-19 vaccines.”

NAB and RJI want to put out a toolkit for broadcasters and other journalists “that provides messaging guidance focused on a local and regional approach rather than relying solely on a national message.” It is expected to be released early next year in English and Spanish languages.

 

The post NAB Explores “Vaccine Education Messaging” appeared first on Radio World.

In:Quality, which specializes in remote broadcast products and services, is highlighting a partnership with Radio France that it says has driven updates to its firmware.

“A new device from In:Quality, the USB SIP Codec, was seen by Radio France as a potential solution to help their teams to connect from home, with just a USB microphone, and their home broadband internet,” the company stated.

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

It said the Radio France Innovation department invited In:Quality to collaborate with Sandbox, Radio France’s “open innovation” program, running tests in connecting with their in-house SIP service.

“There was some urgency — due to the ongoing pandemic — and so a relationship was quickly established, tests were carried out, and the results were very positive,” In:Quality stated in a press release.

Founding Director Kevin Leach said the feedback from those tests has been incorporated in an update to the firmware. Improvements include a clock on the screen and the ability to mute the microphone for coughing. The layout and error handling also are improved.

The company said it is preparing improved cases for the USB SIP Codec. “One version makes for a similar-looking device, but which looks and feels more professional, with neater ports and branding. The other new version will include XLR sockets, for connecting analog microphones, or to hook up to a studio mixer’s line-level connectors.”

 

The post In:Quality Updates USB SIP Codec appeared first on Radio World.

Bill Hendrich will retire from Cox Media Group at the end of the year. He is the executive VP who oversees programming, operations and sales for the company’s 65 radio stations across 11 markets.

The announcement was made by President/CEO Dan York, who saluted Hendrich for his “exceptional passion, focus and leadership.”

[Read: Daniel York Named Cox Media Group President and CEO]

Hendrich was quoted in the announcement, “For the past 31 years, I have been able to work with the best and most talented team in the radio industry. With NewCity Communications, Cox Enterprises and Apollo, I have been a part of three outstanding companies, each bringing valuable and innovative ideas to keep radio viable in today’s media landscape.” He’ll continue to help out in an advisory capacity.

Among his past roles, he led integrated radio and TV in multiple major media markets for CMG. He headed its Healthcare Acceleration efforts that focused on the healthcare sector. He previously was VP and market manager of the company’s six-station group in Jacksonville, Fla. He also was VP and GM of WDBO(AM) and WWKA(FM) in Orlando for 10 years and oversaw the internet sales and operations for CMG Orlando.

 

The post Hendrich Will Retire From Cox appeared first on Radio World.

In-car testing at KHTK.

The author is vice president, business development, for Orban Labs.

A long time ago, on a planet far away in a different galaxy and another lifetime, there were Arbitron (now Nielsen) paper diaries.

These were manually filled out by “listeners” to indicate which radio station(s) they listened to and for how long.

Technology marched on, and in the age of PCs and smartphones, the thought of filling out diaries manually felt like using stone tablets and chisels. So Arbitron designed a system to encode a radio station’s audio with a series of low-level tones that a device called a Personal People Meter would hear and log.

All that Arbitron “listeners” would have to do was carry the PPM device and, at the end of the day, put it into its charger, which would transmit the listening data back to Arbitron for processing. Brilliant!

Arbitron built the encoders, which resided in the station’s audio chain. The encoder looked at the audio and, if there was sufficient audio, generated the tones that the PPM device heard.

Processing manufacturers took a look at how they might be able to work with the encoder, and many provided an “encoder loop” that let the station put the encoder in between portions of the processor processing chain.

In many processors the “encoder loop” was placed after the input AGC and before the multi-band processing. This fed the encoder with more uniform audio levels and could potentially improve the encoder’s ability to encode the audio.

Take It On-Board

A decade later, in the era of AI and really smart phones, Nielsen, along with the NAB, approached processing manufacturers to see if they were interested in having the PPM encoding done in the audio processor.

This would eliminate the external encoding hardware plus the processor encoding loop and make life easier for stations. Also, there might be the ability to place the encoder in places that weren’t practical with an external encoder.

Nielsen assembled a team that developed a PPM encoding Software Development Kit (SDK) for both X86 and ARM solutions, and worked extensively with processor manufacturers on implementation.

Timing worked out well for us at Orban as we had engineering resources that had become available right at the time the SDK was ready, and our new XPN-AM platform was an ideal candidate for the X86 implementation.

Bob Orban and the engineering team looked at where the best location in the processing chain should be for the encoder, taking into account the need to support both analog AM and HD Radio, and potentially all-digital AM, along with streaming or an FM translator.

This resulted in using two encoder instances, one for analog and the other for all other digital services. Within 90 days we had a stable XPN-AM build with integrated PPM encoders.

Once the encoders were implemented in our XPN-AM software, a stringent testing process was done with hundreds of audio test files being processed and checked by Nielsen.

After the test files hit 100% approval, the next phase was beta on-air testing. These test sites had to have sufficient audience to generate enough testing granularity to assure valid results. Also, station management had to buy into the tests, the testing had to be coordinated with a Nielsen rating “book” period.

The Beta Process

I hit the road and installed all of the XPN-AM PPM beta test units at KHTK in Sacramento, KSL in Salt Lake City, KKYX in San Antonio and WSB in Atlanta.

Setup included adjusting proper modulation levels, checking HD Radio blend and diversity delay settings for KHTK and KSL along with doing drive listening in everything from vehicles ranging from a Mercedes Benz (borrowed from the morning drive host) to Jeeps, pickups and everything in between.

“Golden Ear” listeners, GMs and PDs were all polled and processor settings such as EQ and density were tweaked as desired by each of the stations.

Jason Ornellas, Bonneville’s regional director of engineering for the West Region, is shown at KHTK(AM) Sacramento with the XPN-AM processor.

We also did some experimenting with MDCL (since we could). At KSL we increased the amount of MDCL from 3 dB to 5 dB AMC without impacting fringe coverage because of the higher modulation density. It was interesting to see the forward power running about 17 kW with a 50 kW setpoint. The DOE said that would pay for the processor in power savings alone.

The critical part of the testing — the PPM encoding — was thoroughly tested. We were able to confirm with Nielsen that the correct IDs were being encoded. This included separate testing for stations that were running AM HD Radio.

Beta testing went live on Oct. 8 without any issues, and the feedback from both the stations and Nielsen has been highly positive, so much so that we have decided to provide PPM encoding at no extra charge in our XPN-AM starting immediately.

Orban’s engineers always enjoy a good challenge — in this case, producing viable internal PPM encoding in record time — and as usual they delivered, thanks to Bob and his team.

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

The post Making PPM Encoding Easier appeared first on Radio World.

From our “Radio Doing Good” page:

The morning show “Hawkeye in the Morning,” heard on “New Country 96.3,” KSCS(FM) in Dallas/Ft. Worth, held its second annual 10,000 for the Troops holiday card drive.

The Cumulus station partnered with Support Our Soldiers to send the holiday cards to “high risk” units/individuals that are in isolated areas or do not have support coming from home.

Mark “Hawkeye” Louis said the station had collected more than 46,000 cards as of the beginning of December.

The campaign kicked off in early with the goal of collecting 10,000 cards. Listeners and supporters were able to mail cards to the station or take them to several locations including a T-Mobile Experience Store, Gigi’s Cupcakes and Sun & Ski Sports stores.

 

The post Dallas Station Gathers Cards for Soldiers appeared first on Radio World.

W234DH’s signal pattern

The renewal of a Baton Rouge, La., translator is pitting one FM station against one another over issues of interference and whether or not the translator is operating within the parameters of its license.

In July 2020, the licensee Radio & Investments Inc. (R&I) — licensee of station KDDK(FM) in Addis, La. —  submitted an instant Petition to Deny over the application renewal status of an FM translator. R&I said that FM translator W234DH, licensed to Crocodile Broadcasting Corp. (and bundled in with the renewal application of Crocodile station KGLA(AM) in Norco, La.), should be flagged by the FCC for several irregularities — including the claim that Crocodile had not yet finalized construction of the FM translator’s facilities when it specified and that the installed antenna was not directional as was authorized under its license.

[Read: Battle Lines Are Drawn in Translator Interference Rules Order]

Subsequent research also suggested that the W234DH translator is operating as much as 40 times over its minima, a source said.

An engineering statement submitted with the petition said that the facility is not operating consistent with its license. According to R&I, a 16.1 dB difference between the authorized output power and the observed output power indicates that W234DH’s signal strength in Baton Rouge is many times more than it should be.

“It is clear that there is a consistent pattern demonstrated by Crocodile to ignore the commission’s rules,” R&I said in its filing.

In its filing, R&I pointed to the commission’s reliance on character as a key element of licensing. “In light of the licensee’s execution of the renewal application, which did not reveal that the constructed facility was once again at variable with its license, Crocodile would be hard pressed to make the argument that it did not have intent,” R&I said.

Crocodile responded by rejecting the bulk of R&I’s petition, saying that R&I’s petition was defective and without merit for several reasons. Crocodile said that the filing was untimely because it had been filed more than two months after the filing deadline. The licensee also said that R&I’s claims that W234DH is operating at power in excess than authorized is false. R&I is relying on faulty field strength measurements, Crocodile said in its filing.

Crocodile also defended its character by saying that R&I failed to provide any factual evidence that Crocodile was attempting to deceive the commission.

An attorney representing Crocodile told Radio World that they did not wish to comment on the proceedings beyond what has been filed with the commission.

In May 2019, the FCC released new guidelines for resolving FM translator interference complaint issues such as these, though some stakeholders have expressed concern about the ways in which the commission determines interference.

 

The post FM Translator Renewal Met With Interference, Misrepresentation Claims appeared first on Radio World.

Federal Communications Commission Chairman Ajit Pai will leave the FCC in January.

“It has been the honor of a lifetime to serve at the Federal Communications Commission, including as chairman of the FCC over the past four years,” he said in a statement.

Pai is a Republican who departs ahead of an expected new chair being appointed by President-elect Joe Biden.

“I am grateful to President Trump for giving me the opportunity to lead the agency in 2017, to President Obama for appointing me as a commissioner in 2012, and to Senate Majority Leader McConnell and the Senate for twice confirming me. To be the first Asian-American to chair the FCC has been a particular privilege. As I often say: only in America.”

[Read Radio World’s interview with Ajit Pai shortly after he took the reins as chair in 2017.]

Pai has been a cheerleader for radio in his tenure, often speaking about the importance of the medium in American life, and he has sought to help bolster AM broadcasters in particular through a series of “revitalization” measures. He also has pushed efforts to streamline processes and reduce regulations. Among many changes during his tenure was the elimination of the main studio rule.

Pai thanked the FCC’s “talented staff” and said they “performed heroically, especially during the pandemic.”

“It’s also been an honor to work with my fellow commissioners to execute a strong and broad agenda.  Together, we’ve delivered for the American people over the past four years: closing the digital divide; promoting innovation and competition, from 5G on the ground to broadband from space; protecting consumers; and advancing public safety.  And this FCC has not shied away from making tough choices.  As a result, our nation’s communications networks are now faster, stronger, and more widely deployed than ever before.”

Among the highlights he cited are “reforms we have instituted to make the agency more accountable to the American people.  In particular, for the first time ever, we’ve made public drafts of the proposals and orders slated for a vote three weeks before the agency’s monthly meetings, making this the most transparent FCC in history.”

The post Chairman Pai Will Leave FCC in January appeared first on Radio World.

Radio World’s free ebook “Console Tech 2021” is about how the physical and virtual surfaces that radio stations and online audio creators use are evolving.

Five manufacturers discuss specific features or designs that they’re implementing in their new offerings; and several dozen radio engineers and owners talk about the consoles they’re using, including both old and new models, and what they like about them.

Read it here.

The post Console Tech 2021: A New Ebook appeared first on Radio World.

Radio industry veteran Brad Nolan has launched Podcave, an all-in-one podcasting management and publishing platform, intended to support users through every step of podcasting, from show planning and guest booking, to publishing and promotion.

Using SaaS technology to provide professional tools and structure on a single platform, Podcast offers audio hosting powered in the background by OmnyStudio with included IAB-certified analytics. Elsewhere in the software is a complete episode planning suite that includes guest management, a segment planner, a music library (powered by radio imaging company Benztown), a trending topic/source finder, and a “Record Assist” focus mode for while users are recording an episode.

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

An internal promotion engine includes scheduling social media, notifying guests of their episode release, email marketing and text/SMS marketing. Users also get a stable, customizable (including custom domain) website powered by PodcastPage.io. Podcave also offers a 30-day free trial.

Podcave’s founding team consists of radio veteran Brad Nolan, who has created radio shows now heard in hundreds of cities, and coached talent at the highest levels of radio broadcasting; John Michael has worked at some of the most influential radio stations in the U.S., including KROQ, JACK-FM, and AMP Radio in Los Angeles; and Nikki Noble has managed online communities in the thousands, ran operations for major companies, and spearheads Podcave’s women in podcasting and social responsibility initiatives.

Info: www.podcave.com

The post Podcave Podcast Production Management Platform Debuts appeared first on Radio World.

Wayne Pecena addresses the 2020 SBE National Meeting.

The Society of Broadcast Engineers has an incoming executive director, a new website and a pending new technical training program, among other notable changes.

Radio World caught up with Wayne Pecena, recently elected to a second term as president of SBE, to ask him about its priorities in coming months.

The non-profit society is based in Indianapolis, Ind. Pecena is associate director of educational broadcast services at Texas A&M University, which operates the KAMU(FM/TV) public broadcast stations. Appropriately for an SBE leader, he has a lengthy string of certifications including CPBE, 8-VSB, AMD, DRB and CBNE; and he is a past recipient of the Radio World Excellence in Engineering Award.

Upon reelection, Pecena noted that the industry and broadcast engineers “have experienced change and challenge like never before. I want to ensure the society brings a sense of normalcy to our members,” through its professional development continuing education, certification and frequency coordination programs.

This conversation includes reference to the pending retirement of John Poray, SBE’s first and only full-time executive director since 1992. James Ragsdale, a former finance executive at Anderson University in Indiana, will succeed Poray in January.

Radio World: This has been a year like no other. Has there been an effect on the society’s activities?

Wayne Pecena: Certainly we have been impacted, while at the same time many things are normal.

The SBE office has remained open throughout the pandemic — granted, in a modified form, observing the restrictions placed by the state of Indiana and the city of Indianapolis. But the office is open and functioning, with all programs ongoing.

We’d been doing webinars for some time. Like a lot of organizations, we were already in that virtual environment, so it wasn’t necessary to hurry and ramp up. But certainly we have increased that.

We have seen phenomenal engagement from our members in the webinars. As of last month we had twice as many participants as the year before, and we haven’t gotten to the end of the year yet.

Obviously our in-person events have been canceled, whether it’s an SBE-only event or related ones — the NAB Show being the biggie that a lot of our in-person outreach is centered around.

Many of our local chapters have gone to a virtual meeting environment. That’s a blessing and a curse, in some ways; everyone probably prefers that in-person fellowship and networking at a chapter meeting. But [we’ve seen] increased attendance in some larger areas where it’s just not easy to get across town to a 7 p.m. chapter meeting; that travel can be significant.

I know I have enjoyed attending many local chapter meetings because of Zoom around the country.

RW: It seems like in the last year or two, there’s been a real mushrooming of resources made available to your members.

Pecena: Since day one of the SBE, professional development, continuing education, has been a priority. And as technology changes rapidly it creates opportunity for further programs.

Even before the COVID pandemic, we had been aggressively ramping up, particularly, our webinar programs. Those have been most popular with our members. You can attend at a prescribed date and time for that live presentation, but we see far more participation on-demand. Those are recorded and available to our members.

The feedback that we get from those programs is very positive.

RW: I understand you’ve got an updated IP networking series coming.

Pecena: That is just one of the webinars planned.

One of the things that we have seen, not just in IP networking, is a need for more in-depth content. There’s a limit to what you can do in a webinar session, which we try to keep to an hour to an hour and 15 minutes.

So for many topics — beginning with our RF 101 series and advanced RF series, a lot of the IP content — we’ve gone to multiple part webinars. There’s an AoIP series that, gosh, I’ve lost count of the number of parts, six to seven, maybe even eight parts.

That’s how we’re addressing more advanced topics, to have enough time to address those topics but at the same time break them into manageable chunks of time. You could offer a full-day, eight=hour seminar, but there’s not many broadcast engineers who have that kind of time to sit in front of the computer.

RW: You have a pretty big change with John Poray retiring as executive director, and Jim Ragsdale coming in. How do you feel about John leaving?

Pecena: Certainly his announcement was a surprise; at the same time it was not a surprise. From the board aspect, we knew that John was going to be retiring soon, but when that announcement came at the first of this year, it still was a shock now that we had a date in front of us.

John has been the face of SBE for 28 years. A lot of growth has occurred over that time, from the office staff that keeps everything running, to the number of programs that are offered. It’s never enjoyable to lose someone with John’s tenure and experience and of course his dedication to the society.

Early in his career, when he came to SBE, he thought he’d probably be at SBE for five years and then move on to the next step up. And here we are 28 years later and he’s still with us.

We offer John sincere thanks and congratulations for his dedication to SBE and everything that he has done. I think it’s safe to say there’s not a program offered through SBE that does not have his personal touch on it in one way or the other. He’s a very engaged leader.

I suppose if you’re going to retire, there’s probably a good time to do that: when things are pretty good. Yes, we have some challenges that the industry presents and the COVID situation has presented. But we have a society that is in sound financial shape. We have successful programs. We have a dedicated and supportive staff that takes care of all of that day-to-day stuff.

If you’re going to say goodbye to 28 years, this is probably a good time to leave, at the top of things.

RW: How did the search go and what struck you about Jim Ragsdale?

Pecena: Our response from potential candidates was a little overwhelming; I personally had felt that if we got maybe 10 applications we’re going to be good, and we had pushing 30. So then we had a different challenge in front of us. How do we weed through this?

We had a dedicated committee led by Joe Snelson, a former SBE president and [who has experience in] the corporate environment. He did a really good job in leading that effort.

We boiled things down to three candidates and engaged in face-to-face interviews in Indianapolis. The three candidates were uniquely different but all viable for the position.

Jim was chosen unanimously by the committee. He did his homework on the SBE. He brought the best perspective of looking ahead. Granted, he was from outside the industry, but at the same time, he had ties to the broadcast industry through family members who were engaged in broadcasting for many years, and he brought solid financial management strengths, particularly in a nonprofit environment, as well as solid reference evaluations from previous roles.

Everyone felt he was that right fit for SBE.

RW: What should we look for from SBE in coming months?

Pecena: I think we step back and take a new breath and give Jim Ragsdale a time to get acclimated. We have several new programs that are launching, I don’t want to remotely suggest we’re just going to stop doing things; but give Jim an opportunity to get up to speed, making his own evaluations. He brings a solid financial background and [can make] his own assessments with that.

And this is strictly a personal feeling, but we probably need to revisit our strategic planning efforts. In our last event about three years ago, we came up with a plan, and many of the aspects of that plan have been implemented. You’ve noticed the new website, for instance; the need for that was identified in that strategic plan.

What was also identified but frankly has not happened has been some of our expanded outreach activities engaging in other related organization’s activities — whether it’s a state broadcast conference or local chapter events. Of course with the COVID situation, that kind of stuff went away.

So I think once he gets a solid footing by mid year, we need to reevaluate our strategic plan. Not necessarily do it all over again, though maybe that’s the best way to do it. In today’s fast changing environment. I’m not sure doing strategic planning every five years is the right time. Maybe it should be shortened a little bit.

Our focus, I think, will continue to be on education certification, our frequency coordination activities that are going on. You don’t necessarily hear a lot about frequency coordination, because it’s going on in the background, but there’s a lot of work that goes into that, particularly with the Department of Defense contract that SBE is involved in.

RW: The direction of membership trends is down over time.

Pecena: Yes it is down, That was a big focus of our last strategic planning effort — ways to increase that membership, and that was the basis of our outreach program.

We still need to focus on the increasing membership.

RW: We’ve seen a lot of attention in the national discussion over diversity, and as we’ve reported, radio engineering in the United States certainly has not got a lot of racial diversity, or age diversity for that matter. What role, if any, does the SBE have in this discussion?

Pecena: That is an aspect that needs to be on our radar. I’ll just say, it honestly has not been a dedicated focus. We have been focused more broadly on increasing our membership by providing desirable, needed services to our members regardless of race or demographic background. I think we have some more fundamental things to work on before we dedicate our resources to a specific area. That’s my personal feeling.

We are working too on revamping our international program, with a new committee chair who is going to take a look at that aspect; that brings more of an international perspective.

RW: SBE has always kept a voice on Capitol Hill when there are technical issues being discussed. Are there things that SBE is following closely in Washington that we should know about?

Pecena: Certainly I think that “spectrum grabs” will continue, and we continue to comment.

When the December SBE Signal newsletter comes out, there’ll be a piece that Chris Imlay wrote regarding some actions questioning the ethics of broadcast engineers in general. I think he’s done a really good job of responding to that.

We’ll continue to do our best to help the SBE make good decisions. A lot of times decisions are made without the true technology impact [being considered]. We’ll do our best to keep our opinions in front of those FCC staffers.

RW: The 2021 calendar already looks different with no spring NAB Show. How are your events and meetings affected?

Pecena: Historically the SBE has two major in-person events a year, the first centered around the NAB in the spring, and then the national meeting, which occurs in the fall, typically in conjunction with a regional broadcasting event. This year it was to be Chapter 22’s Broadcast and Technology Expo in Syracuse, N.Y.

With everything shuffling around and the NAB moving to an October show next year, it was not felt we could do both of those within three weeks; so the 2021 NAB will feature our traditional “NAB events” with that national meeting and awards presentation, which of course this year were done virtually.

It looks good on paper today. We’ll see how things work out.

Everyone is hopeful that we can get back to some in-person events at some point. One of the things we’re always excited to do is our regional Ennes workshops. Outside of one early this year, they were all canceled, so I’m hopeful that at some point in 2021, we can get back to those in-person regional Ennes workshops around the country. We have several chapters or state broadcast associations that are interested in that.

The post Online Resources Blossom at SBE appeared first on Radio World.

One in a series of commentaries about how radio’s technical infrastructure will look in the future.

Michael LeClair is chief engineer of WBUR Boston and former tech editor of RW Engineering Extra. 

I recently moderated a roundtable interview with five leading technologists for the Radio World ebook “Virtualizing the Air Chain.”

Radio World’s free ebook explores next-gen radio architecture. Read it here.

We discussed whether the industry is ready for a fully virtual air chain, what kind of obstacles exist, and the implications for radio managers and their suppliers including a discussion of cap-ex vs. op-ex philosophies. You can read that very interesting discussion at radioworld.com/ebooks.

Radio World’s Editor in Chief Paul McLane then posed a related question to me: “All this is happening in an industry that, at least in the United States, suddenly is not required to maintain a physical studio in every city of license,” he asked. 

“This combined with the possibilities in virtualization seems to open some pretty remarkable implications for what a studio air chain looks like in a few years. Am I right in thinking that this is an important angle to this story?”

I replied, and Paul asked me to share my thoughts with readers.

Stretching the meaning

Yes, there’s an angle there; and the engineers in our ebook roundtable were clearly coming from groups that all would find that angle to their advantage.

But I note that satellite distribution already has consolidated the studio into one location if desired. 

The removal of the main studio rule simply codifies the lack of having any presence in a particular market that is associated with their license, except the physical transmitter and their EAS monitoring. 

Stations had already been stretching the meaning of the main studio rule for years of course, both in the commercial and NCE worlds. With music automation, we’re already at the point where the studio portion of the radio station has been virtualized into computers and it happened a long time ago. 

To take EMF and Cox as examples, they appear to be well along in building out the centralized “cloud” infrastructure, but not in the commonly understood sense of moving all their infrastructure into the hands of someone like Amazon, which handles web services for all kinds of web-based businesses

Neither appears to be enthused about the idea of moving their air chain content into a rented site with IT support, no matter how good it is. They are going to model their centralized IT operations like a content distribution site. They may even purchase the support for it if the price is right (as in the concept of “hybrid cloud” that we discuss in the ebook). 

But they don’t seem on a track to ditch all their assets and rent them from suppliers whose primary expertise is web site hosting. For the multiple streams and formats they generate, it could all be done in one location and then spread out across the country to fill in at a selection of stations that works for them. Assembly of localized advertising could be done over the web from anywhere. 

Much of what is streaming on the web has been shown to be aimed at listeners to legacy programming from radio stations. The volumes there are so large that most (if not all) large streamers have already moved to the model of renting out capacity from a CDN, a content distribution network. The station creates a stream they hand off to the CDN, and the CDN arranges the necessary parts and pieces like different versions of the stream (higher or lower bitrate), ad insertion and variable bandwidth upon demand to support a changing number of listeners. Individual stations don’t really have to do much except hand off the content and that could be coming from or going to anywhere in the continental United States. 

Creating live content would still require a studio somewhere — I’m imagining a large and uninteresting warehouse somewhere in the Midwest with 40 voice booths, cranking out the announcer bits and producing local ads when needed. Add in music assembly by automation at the CDN and you are ready to build as many feeds as you need for the broadcast side, using a few successful templates as a start. 

Cloud thinking

I would argue that we’ve already reached this model with existing distribution networks and there’s really nothing new there. 

The new part of the discussion is the idea of moving all the other aspects of the air chain that might normally reside at a transmitter site into this common studio for assembly so that a single stream could be deployed to meet the unique characteristics of a particular station: HD, multicast variations, processing, PPM, RDS metadata, HD PAD and EAS insertion. 

On the other hand, as Alan Jurison of iHeart said during our roundtable, this might be an attractive option to smaller broadcast groups or ones that serve low population areas that have limited local advertising revenue available. 

In order to get 24/7 support they might want to build the automation and the rest of the chain in an actual cloud center, then ship it off to the transmitter. As Philipp Schmid of Nautel said: All you need is an Ethernet jack and you’re all set. 

But it’s true that the pandemic has moved our entire industry into learning the techniques required to assemble a broadcast program largely, if not entirely, from home. These newly learned skills would be at the core of transitioning the industry further to a centralized data center model. 

What do you think the radio air chain of the future looks like? Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post Groups Will Model I.T. Like a CDN appeared first on Radio World.

Gene Autry performs at KMO in Tacoma, Wash., 1949.

John Schneider’s annual salute to radio’s golden past is back with a new edition for 2021.

The highlight of The Radio Historian’s 2021 Radio History Calendar is, as always, the pictures, usually originally black & white and now colorized by John himself.

These pictures include Gene Autrey singing at KMO in Tacoma, Wash., in 1949; bathing beauties on radio and, always eagerly anticipated views of old equipment and radio practices. Some of these are even more interesting in the age of COVID.

Especially fun is the cover shot of NBC Radio’s master control console at Rockefeller Center. It looks like something from the cover of a pre-World War II science fiction book.

Besides the eye candy, the calendar has a seemingly neverending list of important historical radio dates; at least one for almost every day.

Makes a great Christmas gift for that special radio engineer in your life. The price is $24.95, including shipping, in the United States. Foreign purchases are more.

The post 2021 Historical Radio Calendar Now Available appeared first on Radio World.

iCON Pro Audio has released its new Duo44 Live portable/desktop recording interface, intended for podcasting, home recording, live streaming applications and more.

The Duo44 Live is a four-input/four-output USB recording interface allowing full duplex simultaneous recording and playback. There are dual mic/instrument preamps accessed via front-panel combi connectors alongside potentiometers to control the input level of each of the associated analog microphone/instrument inputs, while the rear panel also includes MIDI I/O on standard five-pin DIN connectors.

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

A master level potentiometer is available on the front panel, while the topside-sited monitor knob allows for direct monitoring when turned clockwise and “computer” monitoring (complete with effects while recording by using low-latency ASIO monitoring) when turned anticlockwise. The unit sports D/A-A/D convertors delivering 114 dB dynamic range and provides 24-bit/192 kHz conversions.

The Duo44 Live is equipped with a +5 VDC power supply connector, enabling external power to be supplied when working with a USB-connected iPad, for example, so no need, necessarily, to work with a computer-hosted digital audio workstation. Beyond that, iCON Pro Audio’s (Windows-only) proprietary ProDriver 4 software lets users redirect audio from any source on their computer and also hosts VST or DirectX plug-ins without a DAW.

iCON Pro Audio’s Duo44 Live is available at $169.99.

Info: https://iconproaudio.com

 

The post iCON Pro Audio Debuts Duo44 Live USB Audio Interface appeared first on Radio World.

The author is chief engineer, Broadcast Operations Division, at Learfield IMG College.

JEFFERSON CITY, Mo. — As the chief engineer of the Learfield IMG College broadcast operations division, my team and I spend our days assuring that all of our broadcast facilities, equipment, remote connections, satellite uplink and internet streaming systems are all operating correctly.

One of the sports production studios at the Learfield IMG College broadcast operations facility in Jefferson City, Mo. A Comrex sits on the center shelf in the rack.

In addition to these tasks, also make sure that our remote crews have all of the equipment and cabling they need to do a complete broadcast. As time has gone on, my expertise has grown to include doing this work for our podcast-creating networks as well.

Learfield started dabbling in the podcasting world a few years ago, and in the last two years we’ve gotten deeper into podcasting and Facebook Live streaming with many of the networks we work with. At this point, we’re using the Comrex Opal for several podcasts.

For example, we use it for a weekly coach’s interview podcast with Kansas State Network, North Carolina State Wolfpack Network and the Wisconsin Badgers Network. Some Learfield IMG College sports networks use podcasting platforms to provide a weekly 10-minute insight into the coming week’s football/basketball game, where the play-by-play hosts often interview an opposing team’s coach.

We primarily use Opal to acquire audio from our play-by-play host talents, who are usually connecting from a home office or from the broadcast studio at their university. We also often use Opal’s second connection to patch in either our coach, or an opposing coach that could be located states away.

We utilize Opal by sending a connection link to guests, who can then connect to it on a laptop or mobile phone with just a click. Because some of our recurring weekly podcasts are streamed live, we use Opal in a live context as well.

When we think about doing an interview, whether with a governor or with talent or maybe even a sports icon, there is nothing better than using Opal to obtain a rich, full fidelity-high-quality audio feed.

We recently used Opal to do an interview on a COVID response with Kim Reynolds, the governor of Iowa. We sent the link, the governor’s team clicked it and connected to the Opal, and we connected our talent. With no extra fuss, we did a three-way call and recorded it.

Wyatt Thompson, right, the voice of the Kansas State Wildcat Network, interviews Courtney Messingham, Kansas State football offensive coordinator.

The audio sounded incredible — much better coming through the Opal — than we would have had on a standard telephone coupler line.

In our experience, connecting talent and individuals with Opal is very simple. We’ve been able to use this platform across many talent levels — from folks that are not technically inclined all the way to people who are extremely tech-savvy. We’re able to walk most people through it, and once they do it the first time, they’re like “Wow, that was really easy.” And to me, that’s the beauty of this system. We send you a link, you get it on your laptop or on your smartphone, you press the button and talk into it, and you’re basically done.

Comrex Opal is a fantastic solution. We’ve found multiple uses for it: everything from doing a podcast to a phone interview or a three-way call. It’s affordable, and the audio quality sounds like everybody is sitting in the same studio. For anyone in the broadcasting world who wants to put up a high-quality audio stream or audio feed, there’s no comparison to anything else in the market. Opal sounds 150% better than just a standard phone call.

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 Chris Crump at Comrex in Massachusetts at 1-978-784-1776 or visit http://www.comrex.com.

 

 

 

The post User Report: Comrex Opal Polishes Podcast Interviews appeared first on Radio World.

Extending its investment in podcasting, iHeartMedia announced a partneship with European podcast platform Podimo to translate and adapt podcasts “across the globe in different languages.”

The announcement was made by Podimo Chief of Strategic Relations Eva Lægdsgaard and iHeartPodcast Network President Conal Byrne.

They’ll start with the true crime podcast “Forgotten: Women of Juárez,” or in Spanish, “Olvidadas: Muertes de Juárez” in Spanish, German and Danish.

The podcast investigates theories about the disappearance of hundreds of young women in the city of Juárez, some found with symbols carved into their bodies or their wrists bound.

The adapted series will be released early next year in 20 countries in Latin America, Spain and the United States, with Germany and Denmark to follow.

 

The post iHeartMedia, Podimo to Translate Podcasts appeared first on Radio World.

Interconnects hardware manufacturer SoundTools has introduced its new WallCAT 8, a two-gang wall plate with four female and four male XLR connectors.

The plate utilizes eight connectors, allowing the choice of either input or output across four XLR channels. A pair of RJ45 connections in the back of the plate transmit analog audio, AES3, DMX and interCOM signals to multiple locations with a Cat-5e, Cat-6, or Cat-7 cable. All connectors on the WallCAT 8 come preinstalled — ready to go without a need for soldering.

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

Noting that “The WallCAT 4, male and female, have been wonderfully popular products for us,” Dave Rat, designer of SoundTools products wondered if the company could fit eight connectors on to a standard 4-inch x 4-inch wall box plate, and then set out to design it. “The WallCAT 8 is exciting because it allows the same panel to be used as either inputs outputs or any combination,” he says.

As with all SoundTools products, the plate is guaranteed for life by the company’s Happy Human Warranty, he said. “If you need a replacement during the unit’s lifetime, give our team a shout.”

Info: www.soundtools.com

 

The post SoundTools Launches WallCat 8 Wall Plate appeared first on Radio World.

The author of this commentary is chairman of Digital Radio Mondiale. 

When a manmade or natural disaster strikes, we are reminded that radio broadcasting can be considered the most resilient and most widely available tool to reach out to people and save lives.

We know how this works in the analog world; on-air services are interrupted for short audio announcements and typically restricted to a single language.

The DRM digital radio standard (www.drm.org) retains all the basic strengths of radio broadcasting for alarm dissemination, adding a whole set of modern features that can establish DRM’s Emergency Warning Functionality (EWF) as part of any modern national alert network.

How does DRM work in case of disasters?

When a disaster situation strikes, an explicit alarm signal is triggered by the emergency authorities and sent by broadcasters to receivers indicating where to find the actual emergency program.

This allows radio receivers to monitor DRM’s dedicated alarm signaling channel in the background (e.g. while in deep standby mode) and to wake up on demand; or, while playing, to automatically retune to the indicated emergency program.

In practice this means that temporarily emergency services are inserted and available on air instead of interrupting ongoing services. This allows listeners to retune to the previously selected station as soon as they discover that they are currently located outside the affected area.

On various levels, a well-designed DRM network for EWF will ensure that an active alarm is limited to the extent possible for listeners in the area affected by the disaster. The Journaline component of the emergency program provides an accurate definition of the affected area as a region, so that a receiver can automatically switch back to the previously tuned service once it has established that the alarm is no longer relevant to the listener.

Digital radio’s unique capability of transmitting detailed and structured textual information using the advanced Journaline text application allows digital radio-based EWF services to reach a wider audience with different needs, like users with hearing impairments as well as non-native speakers or tourists who would not be able to understand audio-only announcements in the local language.

RRI implements DRM EWF

Where has been EWF on DRM been demonstrated? In one of the most disaster-prone areas of the globe.

The Indonesian public broadcaster Radio Republic Indonesia (RRI) has recently taken the final step towards implementing the DRM Emergency Warning Functionality (EWF) in its five DRM FM transmissions recently commissioned in the Java island, the most populous of the 14,000 in the Indonesian archipelago.

This is shaping into the first-ever large-scale implementation of the EWF service in DRM in the Asian region.

A recent in-depth evaluation of the technical parameters and coverage of the DRM FM transmissions was carried out by the Indonesian Ministry of Information and Communication (Kominfo), arriving at some very favorable conclusions on the performance of both DRM in FM and EWF.

This is part of the commitment made by RRI to providing comprehensive emergency warning services to the public in Indonesia, using the DRM infrastructure.

But the public broadcaster alone cannot deliver it and a proper command chain needs to be set up involving the authorities providing the information, the transmission including the specific emergency path and the relevant and suitable receivers.

A recent webinar explained this and detailed the many agencies that need to work seamlessly together for this. So, disasters are terrible and averting them is not for the faint-hearted as without cooperation and coordination such a system is unworkable.

 

 

In August RRI carried out a special trial and demo in  Jakarta  highlighting and proving that the DRM EWF is an extremely versatile and dependable warning system; the trial proved that it can be configured to reliably and accurately generate appropriate warning signals to be delivered to the specific affected areas.

 

 

RRI had already decided to implement the EWF service in its new five DRM FM transmitting stations, which have become operational since June — currently operational in Java (the first DRM FM transmitter to be commissioned in the Asian region), Timor and West Sumatra.

 

The location of these initial DRM FM transmitters has been selected so that these transmitters could be efficiently deployed for EWF warnings (including tsunami warnings) in the western and southern coastal areas. More such transmitters are planned in the near term to cover many such critical areas.

As detailed by Sharad Sadhu in a recent DRM article, currently, all the DRM FM digital radio stations that can deliver EWF are broadcasting audio services RRI Pro 1 and RRI Pro 3, plus a Journaline text service with news and current affairs information in textual form (in writing) in Bhasa Indonesia (national language all without the need for Internet connection.

The Official Ministry of the Communications, or Kominfo, conducted extensive measurements in West Java and later at RRI Jakarta. Kominfo concluded that the test results in the field are consistent with ITU-R Recommendation BS.1114 and BS.1660.

These conclusions, now publicly available, include that DRM digital radio in the FM radio band can be implemented side by side (coexistence) with analog FM radio using 200 kHz frequency spacing from existing FM radio; full DRM implementation can be emitted with a frequency space of 100 kHz between adjacent DRM FM radio transmissions; DRM technology can also be used for EWF very effectively.

With this the stage is set for the first-ever large-scale implementation of the EWF service in DRM in the Asian region. This will surely set an example for other countries in this region to use DRM EWF technology to save people’s lives.

 

The post Does Emergency Warning Really Work on DRM? appeared first on Radio World.

One in a series of articles about the careers and experiences of Black engineers in radio broadcasting.

Rodney Belizaire (Photo by Joe Faraoni / ESPN Images)

Rodney Belizaire has worked in engineering in New York City for 37 years, work that allowed him to travel to points across the globe as a specialist in remote radio engineering.

Belizaire is senior engineer in Media Operations Engineering at Disney Direct to Consumer International. He provides technical management for the New York radio stations of ESPN and tech support for ESPN’s and DTCI’s audio initiatives, which cross over into TV and video.

Radio World: You started early in the field, showing notable initiative for a teen.  

Rodney Belizaire: When I was 13 years old, I gave myself a summer project of writing all of the CEs of all the major radio facilities I wanted to visit in New York.

I didn’t realize until years later how seeing one African American engineer, the only one I saw in my visits, made an impact on me. In seeing him do his job running the board, I saw someone who looked like me. It was at that point I realize that my dream was possible. I charted and planned my course from there.

RW: Has the acceptance level as a Black man in radio engineering changed since then?

Belizaire: I stand on the shoulders of mentors, colleagues and benefactors who paved the way for me throughout my career.

Due to the lack of diversity in broadcast engineering, there have been only a handful of those African Americans who I met coming up in the New York City community who were staff engineers, who by the way never even had aspirations to be more than that because they never felt the opportunities would come their way. Only one who was a CE, David Antoine, who I could look to for guidance and what I realized later was mentorship, on how to navigate the broadcast engineering field.

That said, there’s no way I’m in this industry without being given the opportunities by non-African Americans to prove myself. I’d like to think that my work ethic, commitment to excellence and good fortune to have crossed paths with the right people at the right time have kept me in the industry all these years.

I’d like to think that due to the diverse racial makeup and melting pot that New York City is, that as time went on, being an African American in media in general wasn’t like being a unicorn.

I’ve often wondered if I hadn’t been born and raised in NYC whether I would’ve have had the same opportunities. The cream of the crop in engineering talent works here, so I felt like I was playing catchup my whole career. I knew that I had to bring excellence to everything that I did every day.

There was also the silent but ever-present knowledge and burden that if I screwed up, I wouldn’t only be seen as just a bad engineer but I could jeopardize things for anyone who looked like me moving forward. My goal was and is every day to break stereotypes and biases that non-African Americans have about people who look like me.

[Related: “Is Diversity in U.S. Radio Engineering Possible?”]

RW: We’ve heard from other Black engineers about how they felt or were treated in certain employment circumstances. Have there been awkward situations?

Belizaire: I’ve run out of fingers and toes to count how many times that vendors, industry colleagues, etc., who have met me for the first time after dealing with me by email or phone, can’t even hide their shock that I am African American. Whatever they were or weren’t expecting when they do finally meet me, I knew that it wasn’t me.

At conventions, my attendee badge and the company I work for have opened many doors that I’m pretty sure would’ve otherwise been closed to me.

Most people tend to forget my skin color once they get to know me. I treat people the way I’d like to be treated and have been fortunate to be treated extremely well for the most part.

I’ve definitely done remotes, worked on job sites or entered buildings where I’ve experienced the standard extra level of scrutiny and circumspection.

I’ve also been stopped by the police for driving while Black in the middle of the night, on the way to a morning show remote prep, and had to have a White colleague vouch for me before I could enter a work site, because it was impossible, in the gatekeeper’s mind, that I was there to do what I said I was there to do, even if my name was on a list.

So sure, I’ve been made to feel like I don’t belong; but I don’t let that stop or define me. What defines me is that I’m there to do a job to the best of my ability and my employer’s satisfaction.

RW: What does it feel like to be in your shoes right now? What emotions do you have about the current social movement?

Belizaire: Let’s face it, most senior executives who run broadcast stations or operations don’t live in areas where they see many people or interact socially with anyone who look like me. Once they leave work, they may never see another African American unless they are at work.

Whatever they may feel about African Americans, whether it’s conscious or unconscious bias, they may not want to place anything as important as the technical reins, directly tied to their revenue, in the hands of someone who looks like me.

In general, every decision I make outside of my home is usually rooted in avoiding situations that could need or cause me to justify my existence based on someone else’s bias, prejudice, stereotypes, etc.

Someone said to me after the George Floyd incident that racism never really went away. It was only dormant. That’s a powerful statement inasmuch as even with the societal progress that’s been made, it may easily take a couple of more generations before enough biases have been put aside.

I’ll admit that I was caught off guard and dismayed by the events that led to the powder keg and frustration of the national movement, because I mistakenly thought we were more evolved as a society.

That said, I and my family do our part to dispel stereotypes, defy negative expectations and do the best we can to be part of a society that changes for the better. And I do believe this will get better with the awareness brought on by the events that put a spotlight on biases and still-pervasive racism. I pray that the conversations that have begun will continue.

RW: What can broadcasters do to improve recruitment protocols in order to bring more diversity into the technical side of radio?

Belizaire: The issue isn’t just recruitment. It’s pay parity. And education about career options since most kids don’t even see radio as a viable medium anymore.

I know that the SBE [Society of Broadcast Engineers] and others do their best to evangelize broadcast engineering, but broadcast engineering is seen as a dead end. I am guilty myself about not evangelizing for it, but the jobs are minimal, require a lot of work due to reduced staffing and are thankless in any markets outside of the top 10.

I mentor younger folks, but I can’t get them interested in engineering. The few I’ve tried to interest don’t have the fire in the belly and aren’t interested. There’s a reason why most recruits are coming from IT, which works on the studio side of things. Who’s teaching RF? Those are mostly contractor jobs now.

RW: On that topic, what would you say are the most important issues or trends in U.S. radio engineering?

Belizaire:  Relevancy, adaptability and trendsetting. The issues loom larger than ever with the exponential changes in technology year over year, instead decade over decade.

How do engineers use technological trends to reach the audience wherever they are, using whatever methodologies are necessary? More than ever, the radio engineer needs to continually adapt to be media technologists, staying ahead of the curve through continual education.

SIDEBAR: Hello From Venice

We asked Belizaire to share an interesting career project memory:

“One of the pinnacles was helming the first ISDN remote originating from Venice, Italy,” he wrote.

“In 1995 while being a staff engineer at WQXR-FM in New York, America’s foremost and most listened to classical station, I was afforded the opportunity to be the remote engineer for week-long live broadcasts originating from Venice.

“There were many challenges surrounding the use of an external Adtran NT-1. Outside of Italy or to non-visitors, it’s not universally understood that Venice is many little islands that make up two larger sections separated by the Grand Canal, making up one larger island not on the Italian mainland. The Venetian telecom central office had never done or had an ISDN use request off the Italian mainland, so their telco central office wasn’t even entirely equipped to accomplish what was needed.

“Between my broken — really, nonexistent — Italian, a dedicated Italian telecom professional, our benefactor’s political connections and clout and a miracle or two, we were able to become the first broadcasters to originate a live remote from Venice using ISDN in 15 kHz mono.

“All the broadcasts were done from the Safe Venice Society’s offices next to the Grand Canal, which provided great ambient sound and views for the host, who was giving play by play descriptions of the breathtaking views down the Canal and having the listeners view Venice from his mind’s eye.

“An attempt to originate a couple of the broadcasts from one of the hotels never happened because they could not move or provide ISDN in time to the second location. Whichever central office configurations that worked in the offices did not work at the hotel.

“Imagine traversing the Venetian streets with a cart full of equipment on almost cobblestone-like streets, rushing to make it back to the offices in order to get the broadcasts on the air. I will never forget that.”

The post Belizaire Reflects on Race, Success appeared first on Radio World.