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Radio World

“Best of Show” Up Close: WinMedia WinSales

Radio World
4 years 9 months ago

“Best of Show” Up Close is a series of Q&As with participants in Radio World’s annual springtime Best of Show Awards program.

Winmedia nominated its winSales system. We asked Jesus Vazquez Miguel, international sales manager, for more information.

Radio World: What is winSales and what is its targeted application?

Jesus Vazquez Miguel: WinSales facilitates advertising management for radio, TV and advertising agencies.

Jesus Vazquez Miguel

Fully integrated with the winMedia playout system, WinSales can also easily be interfaced with most playout systems currently in the market. Therefore it is a major asset for sales and financial teams as well as a very powerful monitor tool for management, to follow the evolution of the turnover or the invoicing cycle of the different projects.

WinSales is intuitive. It makes it possible to respond in real time to market issues. It includes a calendar of events to anticipate and create special offers. The sales manager can organize suitable and targeted advertising offers.

RW: What sets it apart from similar offerings in its product class?

Vazquez Miguel: WinSales is the only product in its range that is able to send the content scheduled within the platform directly into the dedicated slots of the playout system.

In other words, when an advertising campaign is booked in winSales, in one click, it can be sent into the playlist of the automation system.

Lastly, winSales bridges the gap between the sales and production. The customer can provide the media corresponding to his campaign. In that case, the audio or video file will automatically be inserted in the playlist. If the media is not provided at this stage of the booking, the playout will generate a production sheet in which the audio will have to be added.

RW: What are the benefits of a “secured extranet”?

Vazquez Miguel: The WinSales offers a secured connection to the main server, an end-to-end encrypted connection, but also cloud data backup on multiple servers.

RW: In light of the pandemic, what kind of remote capabilities does it offer?

Vazquez Miguel: In these unprecedented times, we really have to work on improving the ability of our customers to go through their whole day-to-day workflows without being able to access their workspaces.

When we designed winSales years ago, we already had in mind that people’s ways of working were changing, and this is even more important when it comes to the various roles within the advertising space.

WinSales is a web-based platform; therefore, it can be used remotely from any type of device, from a computer, to a tablet or a smartphone in its responsive version, while offering the exact same capabilities as what a salesperson will get from being at his office.

For instance, he would have an extensive access to his sales catalog — advertising spots, sponsorship, events, packages, promotions, digital and social networks — and would be able to give availabilities and rates to his client in real time

RW: What does it cost?

Vazquez Miguel: The system starts from $300 (U.S.) per month.

RW: What else should we know about winSales or winMedia’s business these days?

Vazquez Miguel: In the era of uberization, winSales is fundamentaly the intermediary between the broadcasters and the advertisers, and provides a range of solutions in order to remove the stress and the admin on their daily basic workflows.

More than a website, winSales is a true market place where advertisers can simply upload the different products that are part of their catalog throughout the year, and where broadcasters can compose their campaigns as simply as by putting the different type of products they need in their baskets.

WinMedia is more than ever improving its products by transforming them to respond to the major need the world is facing at the moment: being able to work efficiently and deliver from anywhere. As a result, we offering more web-based and user-friendly interfaces, easy-to-set-up packages and a full offer of remote presentations.

[Read about all the nominees and winners in the award program guide.]

The post “Best of Show” Up Close: WinMedia WinSales appeared first on Radio World.

Paul McLane

Student-Run KTRM Serves Truman State

Radio World
4 years 9 months ago

Founded as a teachers’ college in the 1860s, Truman State University has evolved into “Missouri’s only public liberal arts and sciences institution.” And radio and media play a role in that mission.

Radio World contacted David C. Price, Ph.D., to learn more about the vibe around the station right now, part of our ongoing coverage of issues facing college and educational media.

Price is associate professor of communication and advisor to KTRM(FM), KKTR(FM) and  TMN(TV).

Radio World: Describe the media programs and operations there.

David Price: The Department of Communication at Truman State University sponsors five media outlets, along with the digital/social media associated with these outlets: a campus newspaper, “The Index”; an online magazine, “Detours”; a television studio, TMN-TV; an NPR-affiliate station, KKTR 89.7 FM, which re-airs programming from KBIA out of the University of Missouri in Columbia; and a student-run radio station, KTRM 88.7 FM.

RW: Tell us more about that.

Price: KTRM is a student-run eclectic station. Students who want on-air experience are given one-hour shifts and are allowed to select their own formats.

We have approximately 75 to 100 students participating, with the vast majority doing on-air programs. In between shifts and when classes are not in session, the station airs Adult CHR on the Simian automation platform from BSI.

The station describes itself as playing “genre spanning alternative and underrepresented music,” emphasizing independently produced music and music from smaller record labels.

KTRM is a Class A non-commercial station running 3,500 watts. KKTR is also a Class A non-commercial station running 3,500 watts.

KTRM has one air studio with a three-microphone set up for interviews, a back-up studio production room and two editing suites equipped with Adobe Audition and Adobe Premiere Pro.

The station is entirely student run, with a support staff of faculty advisors and an engineer; a secretary is available for purchasing and bookkeeping. Only the engineer, Norm White, works full-time supporting the radio and television outlets. The faculty advisor is given one quarter released teaching load and handles the required FCC documentation. (There are two faculty advisors at this time, one for radio and television, the other for newspaper and magazine.)

The mission of the station is educational — though we have to remind students of that frequently. There is some integration with the curriculum, but it is indirect so as to maintain the editorial and management independence of the media outlets.

[Read about the history of Truman State University.]

RW: Other media facilities on campus?

Price: The campus public relations office has a videographer and photographer on staff and are actively producing print, social media and video productions. We do share some equipment with them when needed.

The sports information area in the athletics department has video and audio production staff and equipment, though the live game productions are done by a contracted professional radio station.

The campus library has an audio/video production room for students who wish to self-produce content.

RW: How has the pandemic affected operations of the radio station? 

Price: Our students were on spring break when we were told operations were to cease. The radio station has been playing Simian nonstop since then.

The faculty advisor kept the station running (since students were not allowed on campus) by adding an externally produced weekly public affairs program and monitoring the equipment.

When students return to campus, they will once again be responsible for the public affairs programming. Under the student station manager, some content has been created, emailed to the faculty advisor who then uploaded it to the log by the faculty advisor. Students have also updated the playlist, which was emailed to the faculty advisor, who then uploaded the new songs and added them to the log. The student station manager decided to feature only Black artists in June to support the Black Lives Matter messaging.

The student station manager and an assistant were permitted to enter the studio to create the new playlist and upload related content. That was the only time students were in the station from March 6 to the end of July.

[Related: “High School Station Stays on the Air, Minus Its Students”]

Students were allowed back into the studio beginning Aug. 3; the station manager and one staffer came in on Monday to being preparations for fall semester.

As of now, the student body is expected to return to campus Aug. 12, and the station is expecting to have student broadcasters on-air at that time to resume control of daily operations, including all the public affairs programming, content creation, uploading, modifying logs, and other management tasks.

During the last two months we have been actively discussing how to maintain a safe workspace when we have 75 to 100 students coming in and out the studio and changing personnel every hour. The student station manager has been involved in these discussions.

We struggle with developing cleaning protocols, especially with microphones and audio boards. We have requested, but not yet received, Plexiglas dividers to separate student work areas and alcohol-based cleaning supplies. We purchased microphone covers, though we are uncertain how effective they will be.

RW: For the educational year ahead, what are the priorities of the station or your broader programs?

Price: Our top priority has to be protecting the health of the students. We will repeatedly tell students that the concept of “the show must go on” is no longer true. We have the Simian backup so if a student doesn’t feel safe or doesn’t feel healthy they are not punished in any way for not being there for a show. This is true of all of our media outlets.

We are planning for students to return to the studio as in the past. However, our student station manager is encouraging and welcoming off-site productions, where students can pre-record segments or shows at home and submit them for loading into Simian. We hope this option decreases the number of bodies going in and out of the studio, but still keeps students involved.

RW: You mentioned the Simian system. Describe the rest of the air chain.

Price: The air studio has an Audioarts D75 digital audio console with Electro-Voice RE20 mics; a DaySequerra M2 HD Radio Modulation Monitor; Sage Digital Endec; Symetrix AirTools 6100 Broadcast Audio Delay; and Rane HC6S Headphone Console.

We also have three Denon DN-C635 Compact Disc/MP3 Players; a Technics SL-1200MK2 turntable; a JK Audio Broadcast Host Digital Hybrid; Samson Servo 200 Amplifier; Symetrix 581 Distribution Amplifier; and Dell Optiplex 7020 computer with two monitors. We expect students to supply their own headphones for health/sanitary reasons.

The backup/production studio has an Audioarts R55e On-Air Console with Electro-Voice RE20 mics and Dell Optiplex 7020 computer with two monitors. For field productions we’re using a Comrex Access IP codec.

The transmitter is on campus here in Kirksville, about a half-mile SSE from the studio. The STL microwave link is a Moseley SL9003Q. The RF chain at the transmitter site includes a Harris HD transmitter with an Orban audio processor; and the antenna is an ERI LPX-4E.

RW: How would you characterize the feelings of students these days about careers in radio and in media more broadly?

Price: Our campus is located in a relatively rural part of the state, and I see more interest in time-shifting audio (podcasting) than in live broadcast. We don’t have a commuting audience, for the most part, so dayparts are less significant.

In my teaching, I pitch the value of local content that print can’t and doesn’t do as well — particularly sports and weather broadcasting. We regularly broadcast Truman athletics (even though there is a professional station also broadcasting the games).

Our radio students are also big into community engagement, sponsoring live music performances on campus or in community venues, which draw large audiences.

RW: Anything else we should know?

Price: Although the pandemic has disrupted operations, the bigger threat to student media is the continuous budget cutting coming from legislators and the governor of the state. As they cut funds for higher education, the cuts are passed down to our operations also.

We fear that if a major piece of equipment were to fail we would not be able to find the money to replace it. Some of our technology is aging, and our engineer has done his best to keep it going, but there are weak links in the production chains that could be big-budget problems.

The post Student-Run KTRM Serves Truman State appeared first on Radio World.

Paul McLane

A Visit to the D.J. Everett III Radio Room 

Radio World
4 years 9 months ago
Above, the D.J. Everett III Radio Room. See the end of this article for more photos of the room.

Many successful career people are grateful for mentoring they received on the way to the top. But few have honored a memory as passionately as has Beth Mann.

Ham Broadcasting is all about local. It owns five stations and markets itself as “western Kentucky’s leader in marketing and promoting all types of businesses.” It tells advertisers on its website, “We use a unique and powerful combination of radio and new media platforms to grow all types and sizes of businesses and organizations. We are 100% locally owned, 100% locally operated, 100% locally oriented and 100% locally committed to help you grow your business.”

The late D.J. Everett III

Mann, its owner and general manager, wanted to commemorate the contributions of her predecessor D.J. Everett III. She did so by creating a Radio Room named for him at the WKDZ/WHVO studios in Cadiz, Ky. It opened to the public last October during the station’s 10th annual Pink Out fundraiser for breast cancer research.

Everett worked as a broadcast journalist and TV general manager, as well as a radio owner. He was inducted into the University of Kentucky’s Journalism Hall of Fame in 2012. He died in 2015 at the age of 67. “Under his leadership, WKDZ was recognized numerous times as one of the best radio stations in the U.S. in its market size,” according to the Times Leader newspaper in Princeton, Ky.. “Everett was also known for his civic engagement and community involvement.”

This Radio Room is a gallery and meeting space also dedicated to the physical history of radio in Cadiz locally and in the United States.

Among its highlights are an extensive, beautifully staged collection of antique radio receivers behind glass walls; the Legends Room, a replica 1966 radio production studio; and a public meeting space in the center of the facility.

The D.J. Everett III Radio Room covers 1,850 square feet, entered through a pair of custom-made doors adorned with door handles styled after the RCA 77-DX microphone.

Beth Mann, WKDZ

“I started working with D.J. Everett when I was 17 years old, first in television and then in radio here at Ham Broadcasting,” said Mann. “D.J. was a father and mentor to me, and when he passed away in 2015, he left me a number of vintage radios. I took over the company at that time — it had been part of his long-term plan for me to do so — and I wanted to find a way to honor his memory and showcase his collection. The D.J. Everett III Radio Room grew out of that.”

An Inspired Radio Collection

The radios in the room cover from the earliest days of the medium up to the 1960s. Included in the displays are a 1919 Commerce Radiophone crystal set: a 1923 Atwater Kent “breadboard set,” so-called because the components are laid out on a flat piece of polished wood with no protective case; and a wonderful selection of 1930s-era “tombstone” and floor console radios from the Golden Age.

“We also have a 1943 metal-cased Echophone radio, which was used by the troops during World War II,” said Mann. “My favorite is the gorgeous dark green 1946 Bendix Caitlin, which came in a plastic case that would melt if the radio’s tubes got too hot.”

Annette Hargis contributed a diary in which her great-grandmother noted the day WKDZ went on the air. “We have a special place set aside in the D.J. Everett III Radio Room for this masterpiece,” Mann posted.

Also on display are photos, posters and other historical memorabilia. “We even have a diary donated by Annette Hargis, in which her great-grandmother Mrs. Wiley Stallons noted WKDZ’s first broadcast on April 8, 1966,” Mann said.

The Legends Room radio studio features 1966-era radio equipment that would be familiar to many broadcasting veterans, including a suspended RCA 77-DX microphone, a Gates Producer dial-type control panel, a cart tape machine for commercials and idents, a rotary dial telephone and a Revox reel-to-reel machine of a kind this author used in his own early radio days.

“The Legends Room is decorated with photos of our staff back in 1966, plus photos that trace D.J. Everett’s distinguished broadcast career,” said Mann.

Add the many tables and chairs available for community meetings, and one can see why the D.J. Everett III Radio Room has caught the imagination of Cadiz residents and radio fans in general.

“The overall reception to our project has been phenomenal,” said Beth Mann. “It is a chance for us to celebrate D.J.’s legacy, and also to show the world that local, community-centric radio is alive and well, and a career worth pursuing by young people.”

See below for photos of the radio room. For more about this impressive installation head to www.wkdzradio.com.

Annette Hargis contributed a diary in which her great-grandmother noted the day WKDZ went on the air. “We have a special place set aside in the D.J. Everett III Radio Room for this masterpiece,” Mann posted.

 

The entrance to the Radio Room with its microphone-styled door handles.

 

A display about radio during World War II includes ads from radio manufacturers explaining their work for the government making military radio equipment.

 

 

Early radio displays

 

A replica of a 1960s studio setup.

 

The post A Visit to the D.J. Everett III Radio Room  appeared first on Radio World.

James Careless

Quu to Provide Ad Sync to Salem

Radio World
4 years 9 months ago
A Quu promotional image

Radio data technology company Quu announced a deal to provide Salem Media Group with “ad sync” services on 28 FM stations in 17 markets.

Quu offers services to let radio stations manage RDS/HD in-car stereo displays with an eye toward revenue and a better listener experience. Beasley Media Group is among its investors.

It says its technology lets stations generate revenue by enhancing over-the-air spots with client logos and text to be seen by consumers on their desktops, mobile and dashboard devices.

The announcement was made by Quu CEO Steve Newberry and Salem Media Group President of Broadcast Media Dave Santrella.

[Related: “NAB EVP Newberry Plans Exit”]

“Salem Media Group further underscores the broadcaster’s commitment to providing unique advertiser experiences and optimum service offerings by featuring album art, showcasing station information and creating a complete 360-degree visual and audio-based advertiser experience for clients and listeners,” Quu said in a press release.

Santrella was quoted saying that radio serves and engages but that “radio needs to improve the user experience so that we look as good as we sound.”

[Related, 2019 story: “NextRadio Outcome Leaves a Void”]

The post Quu to Provide Ad Sync to Salem appeared first on Radio World.

Paul McLane

Trump Rescinds O’Rielly Nomination at FCC

Radio World
4 years 9 months ago

Michael O’Rielly’s renomination as an FCC commissioner was rescinded by Pres. Donald Trump Monday, according to published reports.

O’Rielly was originally nominated to the FCC by President Barack Obama and was sworn in November 2013. He was sworn into a second term in 2015. His term expired in June.

O’Rielly is a conservative who generally favors deregulation, including of ISPs and lifting media ownership rules given the rise of competition from cable and broadband and satellite, and was instrumental in loosening KidVid regs on TV stations.

[Read: O’Rielly Seeks to Knock Down Barriers]

The renomination of O’Rielly for another term was reportedly put on hold in July by Sen. Jim Inhofe because of the FCC’s decision to allow Ligado Networks to deploy a lower-power national mobile broadband network.

NAB President and CEO Gordon Smith released the following statement in response to the news O’Rielly’s nomination had been rescinded:

“Mike O’Rielly has been a sterling public servant for as long as I have had the privilege of knowing him, a span of time covering my years in the Senate and throughout my time leading NAB. He is the consummate professional — smart, diligent, honest, and fair. For these and many other reasons, NAB has been proud to support his continued service at the commission. But for these reasons also, I have every confidence that he will succeed wherever he casts his lot.”

There has been no comment from the FCC or O’Rielly at the time of publication.

 

The post Trump Rescinds O’Rielly Nomination at FCC appeared first on Radio World.

Jon Lafayette

RJ Russell Is SBE’s Engineer of the Year

Radio World
4 years 9 months ago
RJ Russell

The SBE’s engineer of the year is probably someone better known to television engineers than radio, but he plays a crucial role in U.S. frequency coordination, and has been helping to revitalize that volunteer program.

RJ Russell will receive the Engineer of the Year Award from the Society of Broadcast Engineers in its upcoming virtual national meeting. The award is named for Robert W. Flanders.

The society also named two recipients of the SBE Educator of the Year award: Fred Baumgartner and Roland Robinson. That award, which is named for James C. Wulliman, recognizes outstanding service and excellence in sharing knowledge through teaching other broadcast engineers.

[Read: “SBE Takes Its National Meeting Online”]

RJ Russell has been an SBE member for 21 years and has served in several board and committee positions.

After service in the Marine Corps he worked for a number of TV groups, and he was a broadcast engineering manager on the Sprint Nextel Project for four years, assisting TV stations with the 2 GHz repack and reimbursement. He also designed and built a new broadcast center for Brigham Young University and he has been active on the ATSC 3 project station in Cleveland.

“Most recently, RJ accepted the critically important position of SBE frequency coordination manager as an independent contractor through his company, TBSI,” SBE stated in its announcement.

“RJ has a vast and unique knowledge of the frequency coordination process and is the SBE’s major representative to the Department of Defense and its contractors in the SBE-DOD-NAB transition process at 2 GHz,” it said.

Fred Baumgartner

“Through the direct involvement of RJ, who is respected very highly by the DOD, FCC and NTIA, the SBE and its members, broadcast licensees, and the DOD have benefited from the careful, meticulous planning that RJ has worked exceptionally hard on to maximize DOD-coordinated use of 2 GHz without constraint on broadcasters.”

He is overseeing preparation of a national database of 2 GHz users to help the work of SBE frequency coordinators. “He has revitalized the program at a difficult time in the history of volunteer frequency coordination,” SBE said.

Last year’s recipient was Charlie Wooten.

The 2020 educators of the year are both longtime SBE members.

Fred Baumgartner has worked for 17 years with the Ennes Educational Foundation Trust, leading Ennes Workshops during the NAB Show and producing the SBE presentation on NextGen TV during the 2019 PBS TechCon.

Roland Robinson

Roland Robinson is an instructor of classes in broadcasting and video production at Bates Technical College in Tacoma, Wash., and has implemented an SBE-approved certification curriculum in broadcast classes.

“The curriculum was recently renewed unanimously by the SBE National Certification Committee, the members being impressed by the curriculum presented by Robinson,” SBE stated. He is also active in Washington state emergency alerting.

MultiCAM Systems won the SBE Technology Award for its Air Bridge video offering.

SBE Chapter 37 in Washington, D.C., won the Best Educational Event for the NextGEN TV Summit in January, held in conjunction with SMPTE.

The full award list including chapter membership and attendance awards awards is here.

The post RJ Russell Is SBE’s Engineer of the Year appeared first on Radio World.

Paul McLane

Radio Audio Processing, Before the Wars

Radio World
4 years 9 months ago

The history of audio processors for U.S. radio stations can be roughly divided into two chapters. The first, when these devices were a compliance tool for FCC regulations regarding transmitter modulation. Their job was to maintain average modulation levels between the required 85 and 100%, and ensure audio peaks never exceeded 100%. The second chapter, after the loudness wars began, when audio processors were used to create a signature sound for a station, and ensure modulation levels were kept as high as legally possible.

The Gates Sta Level AGC and SA-39B peak limiter belong to the earlier era.

Both were introduced in the 1950s, and enjoyed long service lives. They were designed around conventional textbook circuits with no “black boxes” or deep secrets about how they operated. Both were easy to set up and maintain. They were marketed by Gates throughout the 1960s and early ’70s as the perfect pair for maximum modulation.

Simple setup

The SA-39B was introduced by Gates in 1957, and replaced the similar SA-38, which was designed in 1948. It was marketed as a solution for AM, FM and TV operations.

The SA-39B’s audio circuit consisted of three push-pull stages: 1612, input; 6SJ7, intermediate; and 6V6, output. The regulated power supply had a 5V4 rectifier, and 6X5, 6SJ7 and 6L6  in the regulator circuit. A 6H6 functioned as the control rectifier. This regulated supply powered the first two audio stages. To ensure low noise, the filaments of the 1612s were run off a separate DC supply.

The theory of operation is simple. The audio output signal is sampled, rectified by the 6H6, and the resulting negative voltage connected to the second control grids of the 1612 input stage. As the output voltage increases, the grid becomes more negative, lowering the gain of the amplifier. Through compression levels up to 20 dB, distortion remained at a respectable .05% or less.

Compared to today’s audio processors, there were few adjustments and options to consider when setting up the SA-39B. Attack time was fixed at .001 seconds. Release time was adjustable via a six-position switch on the rear panel. Position 1 had a recovery time of .2 seconds, and each successive position added an additional .2 seconds. Position 3, with .6 seconds was the recommended starting point, and could be adjusted faster or slower to suit the format.

A tweak inside the limiter was used to set the front panel meter for 0 dB compression with no input. Then, it was simply a matter of increasing audio input until normal programming showed about 5 dB of compression. This setting allowed sufficient headroom for the occasional intense peak energy.

Output levels could be adjusted to +20 dB. If that was too much, two fixed attenuator pads could easily be inserted into the circuit.

[Read more tech history: “Proof of Performance, 1970s Style”]

A nice feature of the SA-39B was the six 1/4” phone jacks on the bottom of the rear panel which were wired to measure cathode current of the audio stage tubes. With a 1/4” phone-to-banana   plug patch cable, it was a simple matter to check these currents with a VTVM. Normal currents for each stage were indicated on the schematic.

Phone jacks made balancing the push-pull stages of the SA-39B easy. An octal-based electrolytic made replacement of the power supply capacitors a simple plug and play procedure.

There were two reasons for regular checks. Cathode current is a good indicator of tube life and when it begins to fall, the end is near. Second, push-pull circuits only work well when the tubes are balanced, and tubes don’t always age at the same rate. Imbalance can lead to increased hum and distortion, and in the case of the 1612s, thumping during low frequency passages.

Maintenance was fairly simple, with the usual tube checks and logging socket voltages. Access via the drop-down front panel gave access to most of the resistors and capacitors, neatly laid out on two circuit boards. Earlier tech manuals for the SA-39B documented component designations, values and voltages, but that went away when the abbreviated 4-page manual was released.

Most components of the SA-39B were mounted on two circuit boards. Earlier manuals included diagrams of the component values, designations and tube socket resistances.

A nice feature of the SA-39B was the 20-20uf 450 volt power supply electrolytic, which was provided on an octal socket. These capacitors were more expensive than the conventional twist-lock style, but made replacement a plug-and-play procedure, rather than a tedious and time-consuming chore.

The Gates SA-39B, and comparable peak limiters such as the RCA BA-6C and Collins 26U-1 were among the first casualties of the loudness wars. When the FCC passed regulations allowing AM stations to increase their positive peak modulation from 100 to 125%, their days were numbered. Asymmetrical modulation called for entirely different circuits for peak limiting. By the mid 1970s, the loudness wars had spread to the FM front. When the Orban Optimod 8000 was introduced around 1976, it revolutionized FM audio processing, and conventional peak limiters began to disappear there as well.

Cult status

While the SA-39B has largely faded from memory, the Gates Sta Level has been elevated to cult status as the decades have passed. In fact, software-based audio processors often have a ‘Sta Level’ setting to emulate its unique sound.

The Gates Sta Level was the last AGC amplifier that the company manufactured utilizing vacuum tubes.

Introduced in 1956, the Sta Level was in the Gates product line for the next two decades. It had a well-deserved reputation for its unobtrusive control of audio levels. The secret was the GE 6386, a remote-cutoff twin triode. It had a long life, and never seemed to lose its wonderful linearity. A little-known fact is that the Sta Level was not the first audio processor to use the 6386.

Shortly after General Electric introduced the 6386 tube, its broadcast products division introduced the 4BA9B1 Uni-Level to take advantage of it. The Uni-Level was a stripped-down AGC amp built for a low price-point. Input and output levels were controlled by fixed resistive pads, there was no compression level meter, and minimum parts count. The tube lineup was a 5Y3 rectifier, 6386 push-pull input/control, 6AL5 control rectifier, and (2) 6V6 push-pull output. They started selling like hot cakes.

Gates wanted a piece of the action, but they didn’t want to run afoul of GE’s application patent on the Uni-Level circuit. The challenge for Gates engineers was to design a device that utilized the 6386, but was sufficiently different to dodge a patent infringement. They did this by putting an OB2 regulator for the 6386 plate supply as well as adding a 12AT7 between the 6386 variable-mu stage and the 6V6 output stage. It was totally superfluous, and all the extra gain was swamped out by negative feedback. But it did keep the lawyers happy.

A control to adjust cathode voltage of the 6V6 output stage was the only tweak to tune up the Sta Level.

One of the underground mods for the Sta level was to remove that 12AT7 and couple the plates  directly to the 6V6 grids with .5 uf mylar capacitors. The result, less noise distortion and heat, better sound. But many engineers didn’t stop there.

Back when stations used to build their own equipment, the Sta Level’s schematic was the jumping off point for far more elaborate devices. Precision resistors, high-quality audio transformers, audio attenuators and other high-end components were often used.

While the Sta Level used an OB2 to regulate power to the 6386, many home-brew designs regulated everything, often using a 6AS7 with a 6SJ7 DC amplifier and OB2 VR tube as a reference.

Some stations went all out with the metering circuit, adding a rotary or pushbutton switch to select dB compression, audio output VU, cathode current of the audio stages, DC filament voltage for the 6386 and balance of the two push-pull stages. A few circuits also included indicator bulbs for expansion, compression and when the gain was frozen. They were not terribly useful, but fun to watch.

[Read more fun radio history from Tom Vernon: “The Time Has Come to Talk of Many Things”]

TV stations often had problems with the quiet passages in films, when the AGC would suck up all the background noise up to program level. The solution was to modify the Sta Level circuit with a pot to control the DC bias on the cathode of the 6386. That would establish a platform which would limit the range overs which expansion would occur.

Setup and maintenance of the Sta Level was straightforward. Once it was connected to the console output and being fed normal program level, adjust the input level control till the meter indicates around 15 dB of compression. Adjust the output control to properly feed the following device. At many stations, this was the phone line connecting the studio to transmitter, where the peak limiter was presumably located. Finally, set the recovery time for single or double.

As shipped, the Sta Level’s recovery time for 2/3 level was 7 seconds, and 90% level in about 28 seconds. By changing the values of R36 and 37, that could be increased to as fast as 2 ¼ seconds for 2/3 level and 10 seconds for 90% level. This was a common mod for Top 40 stations. Want to slow it down instead? Then 11-1/4 seconds for 2/3 level and 45 seconds for 90% might be more to your liking if you had an easy listening format.

By changing the values of two resistors, the recovery time of the Sta Level could be increased or decreased.

Sta Level had a tweak for balancing the cathodes of the 6V6 output stage. The manual called for matching the voltages, but a more precise method was to adjust for minimum distortion at 1 kHz. That was about it for adjustments.

Due to its simple design, reliability and great sound, the Sta Level was used lots of places besides the air chain. If you purchased a Gates automation system in the 1960s or ’70s, it often had a pair of Sta Levels on the audio output to even out the levels between different sources. Stations used them in production room for the same reason. Some were wired into a patch panel so they could be deployed for sports remotes, which had notoriously erratic levels. Talk stations were known to use them on phone lines.

While both units enjoyed a long service life, advancing technology eventually caught up with them. In 1975, Gates/Harris introduced the Solid Statesman line of audio processors. This included the  M-6543 AM limiting amplifier, M-6631 FM  limiting amplifier and M-6629 automatic gain control amplifier.

The Sta Level and SA-39 pictured with this article were found while cleaning out transmitter buildings during the contract engineering days of the 1980s. The SA-39 dates from the late 1950s, while the Sta Level was manufactured in 1967. They were cleaned up and returned to good operating condition. Both are now enjoying their retirement as objects of affection in my own personal home museum of oddities.

 

 

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Tom Vernon

K-Love Station in Mass. Adds Maxxcasting

Radio World
4 years 9 months ago

From our Who’s Buying What page: WKVB(FM) in Worcester, Mass., is engaged in a diplexing arrangement with WXLO(FM) via the latter’s MaxxCasting system, made by GeoBroadcast Solutions.

Noncommercial WKVB is owned by Educational Media Foundation and is part of its K-LOVE network. WXLO is a Cumulus station.

GBS said WKVB “substantially improved its signal and expanded its audience to reach the Boston-market” with this arrangement.

MaxxCasting uses radio and cellular technology in combination, and involves the use of a cluster of directionalized synchronized boosters. Equipment was provided by Doug Tharp at SCMS. Other contributors included Bert Goldman of Goldman Engineering Management and Shively, which provided directional antennas for the network.

Joe Miller is VP of signal development at Educational Media Foundation.

[Read more coverage of “Who’s Buying What.”]

“The coverage boost represents the first diplex deployment of a MaxxCasting system with HD Radio, and opens the way for future multicasting of several stations using a 4-node single-frequency network,” GBS said in an announcement.

It quoted GBS CTO Bill Hieatt saying, “The ability to include more than one station in a MaxxCasting system provides multiple broadcasters the ability to improve their signals and increase their listeners through one booster source.”

He said the application also supports the “revenue split” business model that the company has proposed for its separate ZoneCasting project involving geotargeting.

Send news for Who’s Buying What to radioworld@futurenet.com.

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Paul McLane

SBE Takes Its National Meeting Online

Radio World
4 years 9 months ago

It’s no surprise under the circumstances, but now it’s official: The Society of Broadcast Engineers will hold its national meeting as an online-only event this year. It also announced that there will be no associated equipment expo or technical sessions.

An image from the SBE website

The 56th SBE National Meeting had been scheduled for late September near Syracuse, N.Y. But it’s just the latest in the string of annual industry events that have fallen victim to the pandemic.

Other September/October traditions that have gone virtual include the Radio Show, originally intended for Nashville, and the IBC2020 convention in Amsterdam.

SBE stated: “The event was to be held in conjunction with the SBE 22 Broadcast & Technology Expo, a regional exposition and educational event that restarted in 2019 after a short hiatus.” Chapter 22 serves central New York.

“The in-person expo has been cancelled following restrictions imposed by the state of New York to reduce infections because of the ongoing COVID-19 pandemic. Because of current conditions, travel for exhibitors and attendees would also have been difficult.”

The following are now planned virtually for Sept. 22 and 23:

-The SBE Annual Membership Meeting will be combined with the SBE awards ceremony; these will be online at 7 p.m. ET/4 p.m. PT on Wednesday, Sept. 23, and will include the induction of officers and directors.

-The SBE Board of Directors will meet on Sept. 22 at 6 p.m. ET/3 p.m. PT.

-SBE Fellows will gather for a virtual reunion on Sept. 23; he time will be announced later.

The society said details on how to watch and participate in these events will be published on its website.

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Paul McLane

NAB Partners on Voting Campaign

Radio World
4 years 9 months ago
An image from the website of the League of Women Voters

New PSAs encouraging Americans to register and vote launched today.

The National Association of Broadcasters and the League of Women Voters announced a voter education campaign that runs through Nov. 3.

It features public service announcements that radio and TV stations can obtain from NAB’s 2020 Election Toolkit.

“The PSAs encourage citizens to participate in democracy by registering to vote, learning about issues and political candidates, and casting their ballots on or by Election Day,” they stated in an announcement.

Listen or view the PSAs here found here. The PSAs direct voters to VOTE411.org, a site run by the League as “a nonpartisan resource for general and state-specific election information.”

NAB President/CEO Gordon Smith, a former U.S. senator, encouraged stations to air the PSAs.

NAB has an Election Toolkit for stations. Click on the image to access.

“The right to vote and a free press are intrinsically linked pillars of American democracy. As ‘first informers,’ local radio and TV stations understand the indispensable role they play in helping citizens exercise their right to vote.”

Jeanette Senecal, senior director of mission impact for the League of Women Voters, said that accessible information about voting is particularly important during the pandemic.

Other resources are also available at the NAB’s 2020 Election Toolkit.

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Paul McLane

High School Station Stays on the Air, Minus Its Students

Radio World
4 years 9 months ago
School exterior in an image from the station website. It installed a four-bay directional Shively antenna in 2018.

The operations of WMSS(FM) in the Pennsylvania borough of Middletown near Harrisburg were affected by the coronavirus, like those of most U.S. stations. But WMSS also happens to be a high school radio station, which provides a further twist.

We asked General Manager John Wilsbach how things were going and to give us a brief history of the station.

Radio World: How has COVID-19 changed how the station operates?

John Wilsbach: Students were dismissed from school Friday, March 13, and we haven’t seen them since. The school would not allow any students on the campus.

We immediately went to our summer hours of 6 a.m. to 6 p.m. Since most commercial stations went to “at-home” broadcasting, I did all of my announcing from WMSS while handling the full operations of the station, with the engineer and faculty advisor filling in from time to time. The station was giving regular updates on the COVID news, local food bank info, public affairs medical programming, and live town halls with Congressman Scott Perry.

RW: Tell us about WMSS.

Wilsbach: It is a high school FM radio station at 91.1 FM. It’s normally on the air daily from 6 a.m. until 9 p.m., unless high school sports programming extends the broadcast day past that. We are 6 a.m. to 6 p.m. in the summer.

Covering sports for WMSS

The station is licensed to the Middletown Area School District; we serve the Middletown area, with communities like Hershey, Hummelstown, Highspire, Steelton, Elizabethtown and Harrisburg nearby. The station is 5.5 kW directional.

We are located in the middle school, which is a five-minute walk from the high school. The station uses a Radio Systems Millenium Digital 18-channel console with Livewire in the main studio and a 12-channel console in the production studio.

Our transmitter is a QEI Quantum M series transmitter; we use an Omnia FM3 processor with an Optimod 8100A as a backup. Our mod monitor is an Inovonics 531.

Our students use Prophet NexGen and GSelector on air. We still have a Denon CD player and a Tascam cassette/CD player in the main studio.  Our EAS equipment is Sage. For our remote sports games, we have Tieline. And yes, there is still a turntable in the production studio.

[Read the 2019 story “High School Radio Week Arriving”]

RW: How did WMMS get started?

Wilsbach: In 1977, junior high teachers John Cooper and Jeff Johnston read an article in the teachers’ lunch room about a high school that had a radio station. It was obviously very uncommon back in the ’70s. The more they joked about it, the more they became serious about inquiring.

Archival photo

LPB was located in the Exton area, about 70 miles away, and assisted with information. Local engineer Walter Konetsco and radio consultant Ed Perry in Massachusetts were also instrumental with the start-up. The station was awarded an FM license and has been on the air since Oct. 2, 1978.

RW: What role do students play?

Wilsbach: Students can join in grades 7–12. They must first take an exam of radio rules that include some old but relevant questions from the Third Class License Exam and some current operational questions.

The station is mostly automated during school hours. Although the GM is present most of the time, students check the operation and transmitter readings. Regular two-hour shifts run from 3 to 9 p.m. Students are responsible for gathering local public affairs information for airing, news and weather, and for completing their weekly time and projects that go toward their grade. The radio program has a curriculum for students in grades 9 to 12.

RW: And what role do teachers, administrators or professional staff play?

Wilsbach: I’m the general manager, I’m a 1983 graduate of the program and also a commercial broadcaster in the Harrisburg area. I am responsible for the station operation, administration, underwriting and training of personnel.

Brian Keyser is a teacher at the high school and is a 1991 graduate of the program; he is responsible for the curriculum side for the students grades 9–12 and also the training of students. Tim Starliper is the chief engineer and a 1986 graduate of the program, he is responsible for the technical and I-T functions. We’ve also had a couple other graduates who stay involved and assist the station when needed.

View from production to air studio

RW: What special considerations are involved for a radio station at a school?

Wilsbach: Any school district trying to do a radio station must be fully committed. It cannot be an electronic sandbox. The students are involved all year.

In this day of tight school district budgets, they need to know it’s not cheap. Especially the initial investment and yearly operational costs.

Most schools that can’t handle a 365-day program would be better served with an internet-only radio station where rules, costs and personnel issues aren’t as tough to deal with.

RW: What else should we know?

Wilsbach: Our station airs numerous high school football and basketball, local college sports, church services, nationally syndicated non-commercial programs, and locally produced public affairs programs. We also have news from Radio Pennsylvania.

The commercial stations in our area have always been helpful. They know these are their future employees. Schools starting a new FM or internet station should contact all of the local stations for input and equipment donations.

[Read more about the station’s history.]

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Paul McLane

New Codec Kid on the Block

Radio World
4 years 9 months ago

Ferncast will be a new name to many. It is a Germany-based codec developer founded by a name that might be familiar to some, Detlef Wiese, the founder of Mayah Communications. Weise provides information on the company and inaugural products.

Radio World: What is fernBerrie?

Detlef Wiese: The fernBerrie is the smallest professional audio codec with front panel controls in the market and it supports all industry standards. This includes RTP and SIP transmission with any codec algorithm. It is powerful enough to handle all conventional bitrates.

RW: Who owns the company, and who designs its products?

Wiese: The two owners of Ferncast GmbH are Detlef Wiese, CEO and Hauke Krüger, CTO. The products are designed by Hauke Krüger’s developers team.

RW: Tell us about the new codec.

Wiese:The fernBerie combines small size with high performance. It is a real milestone in professional audio transmission.

RW: What sets this apart from other codecs in the market?

Wiese: The fernberrie is the most affordable two+-channel solution in an exceptionally small package.

RW: Who is using the codec ?

Wiese: The fernBerrie offers a good combination of features capable of handling various applications such as radio stations, studios, voice-over.

Radios stations will find the fernBerrie Radio version ideal for OTT streaming. Studios can use the FernBerrie Studio for exchanging audio production. Voice over artists can deliver their voice to studios with fernBerrie Voice.

RW: What else should we know ?

Wiese: The fernBerrie is powered by aixtream software, which offers many features and an intuitive UI. Aixtream is a scalable and customizable along with being constantly improved by our developer team to ensure the highest quality audio transmission performance.

[By Detlef Wiese: “RT to Close by End of 2020”]

 

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RW Staff

User Report: FieldTap Keeps Hubbard Radio St. Louis on Air

Radio World
4 years 9 months ago

The author is engineering director for Hubbard Radio St. Louis.

As the engineering director for Hubbard Radio St. Louis, I handle demands for five different stations. When COVID-19 hit in March, we were caught somewhat by surprise. We received very short notice that the offices would be closed, and so we had to scramble to get everything in place to enable our staff to work from home.

We’d already put a little bit of thought into it because we had drawn up disaster recovery plans years ago, and we could adapt them for this particular emergency. So we had some ideas, but still had to improvise somewhat.

Right away, we needed to set up 23 hosts and producers with equipment so that they could begin broadcasting from home. We were fortunate in that we already had a number of Comrex Access, Opal and BRIC-Link units. Because we had that equipment available, we were able to get people operating from home on fairly short notice.

We built kits, and because of isolation, we had to drop them off at the homes of our staff, and train them over the phone. But we didn’t have enough portable units for everybody.

For those who didn’t get Access or BRIC-Link units, we began using FieldTap immediately. FieldTap is a free mobile app for iOS and Android that allows users to connect to Comrex IP audio codecs from their mobile devices. Our people could begin using it right away — all they had to do was download it onto their phone. Many of our staff have been using FieldTap to communicate with the studio, and to go live.

We originally began using FieldTap when it first came out. In our experience, FieldTap has been very simple for our staff to use without much help from engineering. All they have to do is enter an IP address, press the “connect” button, and they’re live.

Currently, we have six of our on-air staff and 10 of our producers using FieldTap with the IK Multimedia iRig smartphone interface nearly every day. We have begun bringing our on-air staff back into the office, but our producers are all still at home, and FieldTap lets them stay in touch.

Our producers don’t only work off-air — they’re also periodically on-air as part of their shows. FieldTap lets them monitor the audio, but also jump in as part of the program if they need to. They’re getting excellent quality when using FieldTap over a cellular network.

We’re planning to continue using FieldTap with iRigs after all of our staff have returned to the office. Our staff has become addicted to it, and many of our field reporters have been surprised by how much they like using it. They’ve found it to be easy to use and reliable — even when cell service is shoddy.

Because FieldTap is free, the barrier to entry is very low. Our program directors have embraced it because the audio quality is high, and our talent has embraced it because it’s so simple. It’s really saved us during this whole crisis.

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 Comrex.

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Marshall Rice

Report-IT Eases Remote Contribution

Radio World
4 years 9 months ago

The author is co-owner and VP of Viper Communications Inc.

OSAGE BEACH, Mo. — I am co-owner of six radio stations in the Lake Ozark region of Central Missouri, which include talk, country, soft rock and classic rock formats. I worked for CBS/KMOX in St. Louis for 21 years until I left corporate radio for station ownership in 2001. We have the Number 1 and 2 stations in this three-county area of Miller, Camden and Pulaski counties.

From when we first felt the impacts of COVID-19 we have managed to stay on the air with no major issues, however we did have to initiate “broadcasting from home” for many of our contributors and guests on the talk station.

We have always performed a lot of remotes using our Tieline Merlin codec and the Report-IT Enterprise app, as well as some other Tieline remote codecs. This is a challenging region and we encounter extreme conditions from which to broadcast. There are lots of hills and very few cell sites. We are a resort community and are situated on a huge lake called the Lake of the Ozarks. Maybe you’ve seen the Netflix series “Ozark” that is partly filmed here.

[Read other recent Radio World user reports.]

We have often done remotes from waterfront restaurants and bars using Report-IT. Until we got a Via + codec with SmartStream PLUS it was a challenge. This new technology uses the Wi-Fi of the establishment and the cellular service resulting in dramatic cutting down of dropped or skipping audio

We use Report-IT in various ways. For news reports, we often record audio files in the field using Report-IT and then use the FTP upload feature in the app to transfer recordings directly to our server at the station. It’s so much easier than messing around trying to pull files from a phone. The audio is waiting back at the station to be edited right away by another reporter. We also have news reporter John Rogger in Florida who regularly uses Report-IT for live hits and co-hosting in some of the talk shows.

During the COVID-19 ordeal we were well prepared and have used Report-IT a lot for our news/talk station KRMS(AM) 1150 kHz. Our host has always been located in the studio, however we have several guests who appear weekly that weren’t able to come in.

This station covers a range of different topics, from financial to boat repairs, and Report-IT has been very handy and our go-to solution.  I simply created user accounts for each guest and all they had to do was download the free app onto their smartphone, log-in and then connect. Even a non-radio boat mechanic who hosts a show could do it. This has been extremely easy to deploy and allows them to go live from wherever they have their phone.

The sound quality is great too, even at low bitrates. Many users plug in an external mic and headphones using a very affordable adapter cable I found online and this makes it sound like they are actually in the studio!

With the Report-IT app we always configure it to use SmartStream Plus. So this means the cellphone being used can stream over both Wi-Fi and cellular simultaneously where it’s available. When we have lots of tourists in town the cell sites can get overloaded, so the importance of redundant streaming cannot be underestimated. This has been rock solid in most situations and provides the redundancy we require in such a challenging location.

At the studio we have a fiber connection and run the Merlin codec with two LAN connections with separate IP addresses from the same ISP. This has proven to be the most reliable configuration in conjunction with configuring the unit to use SmartStream PLUS redundant streaming.

At the time of writing we seem to have been able to manage COVID-19 infections quite well and cases are low here. However, with the tourist season nearly upon us, we will have to remain vigilant. Whatever happens, we are well prepared and can react immediately and ramp up Report-IT deployments if and when required due to any lockdown procedures if necessary.

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 Dawn Shewmaker at Tieline USA in Indiana at 1-317-845-8000 or visit www.tieline.com.

 

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Dennis Klautzer

Community Broadcaster: Why Look Away?

Radio World
4 years 9 months ago

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

Diversity, equity and inclusion discussions are again in the spotlight for noncommercial radio, largely because more cases of abuse are coming to light. These incidents, and the persistent puzzle of how they went on so long, push for leaders and aspiring leaders of media organizations to get much more real about course correction and change.

The latest revelations have been troubling. Regarded as a top-tier public media organization by many, WAMU has reportedly avoided addressing a series of serious problems for years. The same was alleged at WNYC, WBUR and elsewhere. However, as Andrew Ramsammy remarked during a July panel I moderated on equity in community and public media, the days of leadership being unaccountable are done. Many are being ousted or are racing to the door, knowing their failures will follow them into their next jobs.

[Read: Community Broadcaster: Devices for Democracy]

Yet the departure of problematic staff and leaders does not fully address the big question: how do we fail to act when we see something, and how can we change work culture to prioritize reporting and accountability? It is a provocative subject station managers and boards of directors will have to find ways to compassionately answer.

In her book “Willful Blindness,” Margaret Heffernan points out that a mix of factors come into play when we each witness actions that we believe are contrary to what we expect of and believe from trusted figures and organizations. Sometimes, the author notes, we find it is easier for our identities and ideals to feel that we do not know there is a bad situation afoot. At other points, people make excuses for scandals out of our love for individuals, ideas, institutions and notions of progress. Heffernan calls this humans’ skill for diffusing and displacing responsibility. Still elsewhere, we convince ourselves or the futility of protest, the self-interests we risk in speaking up, and the ease in quietly accepting circumstances as they are. In addition, our preference for the familiar informs some willingness to look the other way on issues like diversity.

Most tellingly, we all assume we’d act differently if we saw injustice, experienced abuse, or heard of incidents; research, however, indicates virtually no one responds as she or he expects. From marital infidelity to church scandals to the Enron collapse, the author remarks that people in almost every case knew of profound lapses and said nothing. In official cases, incidents may have been reported and concerns also raised, yet ignored by official channels.

Such experiences are as old as humankind. How can community and public media create a stronger, more culturecentric environment?

It is critical that management be accountable. It is of further importance to constantly educate volunteers, staff, board and managers. Bystanders — those who witness problems and do nothing — and those who explain away or stay blissfully ignorant of corruption are not uncommon. The challenge may be helping people appreciate that uncomfortable matters are, in fact, a danger to everyone and the ideals we hold dear. And, undoubtedly, a stronger accountability and training ethos must be built for boards, managers and, especially, human resources and volunteer directors at any size station.

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Ernesto Aguilar

More Best Practices for AM Directional Systems

Radio World
4 years 9 months ago

This article continues a discussion of AM DA maintenance; here’s a link to the first part.

In our earlier exciting episode, we promised a real-life story. There are many, but here is my favorite:

Years ago I was doing contract engineering work for KKCQ(AM) in Fosston, Minn., about 140 miles from home. It was nondirectional day, with a three-tower directional antenna system at night.

I just happened to be there one morning doing maintenance in the studio/transmitter building when the 5 kW AM transmitter shut down. I was pushing the plate-on button when a man walked in and said we should go out to the parking lot.

There it was: His potato chip delivery truck had snagged a guy line and pulled the center tower down onto the parking lot and beyond.

Trucks like that are large because potato chips take up a lot of space while weighing next to nothing. The downed tower was just 197 feet so there wasn’t a resounding crash when it fell. Astoundingly, no one was hurt, no vehicles were hit and there was little other damage.

The first order of business was to call the power company to have guy lines carefully lifted from overhead power lines. You guessed it, that now-horizontal tower was the non-directional day tower for the station.

Needless to say, the station was off the air. What to do about putting the station back on?

Well, two of the three towers were still standing. I used some #8 electrical wire to make changes in the phasor cabinet, sending all power into the north tower. The tube-type transmitter ran nicely at 1,000 watts even with some VSWR. More power was not going to happen that day because the antenna coupling network was designed to put no more than 1,000 watts into that tower.

On the positive side, I was the “hero of the day” because the station was returned to the air just in time for Paul Harvey’s noon news and commentary broadcast.

D VS. ND

In the final analysis, KKCQ ownership looked at losing a tower as a blessing.

The 2,500-watt night directional pattern, pointing north, served very few listeners while putting noticeable nulls in populated areas of town, just to the west.

They elected to go non-directional day and night. The station returned to 5 kW on the north tower during the day with 90 watts at night. That 90 watts is sufficient for the community and the directional nulls are gone.

They sold the phasor and antenna monitor. With that money, and insurance compensation, they had a good start to building an FM station. They’ve not looked back and have lived happily ever since.

KKCQ ran a Gates BC-250GY AM transmitter at 90 watts during night hours, which was becoming expensive to maintain. Replacing it with a Broadcast Electronics AM-5A transmitter was a wonderful choice. That 5,000 watt transmitter will run with good sounding/clean audio at the 90 watt night power level. The design is perfect for that kind of drastic power cutback. Most transmitter designs can’t give good audio performance at less than 10% of rated power output.

Another station I worked at uses that same model BE transmitter for 5 KW day and 30 watts at night. It also sounds great at both power levels with no interruption in audio as it slides between power levels.

RF Contactors
Minnesota is known for actual winter temperatures that dip to 40 below zero at times. Lowest overnight temperatures usually coincide with sunrise, a worst-case scenario. That’s when directional AM stations switch from night to day patterns.

Most contactors/RF relays have solenoids (AC magnets) to pull a contact bar. They get sluggish under cold weather conditions, as you can imagine. Some stations use 100-watt incandescent lamps or electric heaters to keep tower shacks warm in winter.

If you do this, it is best to put any heat source below an RF contactor so the heat will rise into the contactor. Do it in a safe way so a fire is unlikely to start. RF contactors are wear items and will need repair from time to time.

The stations I worked on usually had a spare contactor on the shelf because failure is inevitable. When replacing a contactor, I would take the failed one to the shop for repair. I would then put them in plastic bags and back in stock, at the transmitter site, for the next incident.

Tips & Tricks

Use 3M Scotch Brite to clean tarnished RF contacts. Tarn-X liquid is normally used in the home to clean silverware, but works equally well on silver-plated contacts.

Fig. 1: Silicone spray can be used on RF contacts.

My experience is that pure silicon lubricant spray works well to keep things moving. It makes sliding contacts slippery and adds some measure of protection against future corrosion. My sources for that are Ace Hardware and stores that sell Gunk brand products.

Yes, the contactor shown above needs cleaning of its contacts before lubrication and going into service.

Voltage Can Be Low

Towers in an AM directional array are often hundreds of feet from the transmitter building. That means power to the solenoid coils might be less than the rated 208 to 240 VAC.

About 212 volts is considered normal for 208 three-phase power nowadays, but it is still less than a full 240 volts. At four amperes of solenoid current, the voltage at a tower could drop to as little as 190 volts, hardly enough to make a contactor switch reliably.

One cure is to use larger-diameter wire to feed the towers. Another is to install a low voltage transformer, wired as a “boost.”

Fig. 2: Boost transformer circuit to raise contactor voltage

With a 24 volt transformer secondary winding wired in phase and in series with the incoming power, the 190 volts could rise to 214 volts at a tower. Dots on the schematic are for polarity of the windings.

Out of phase, the available voltage will be 24 volts less. You likely won’t use a 24 volt transformer for day and another for night at each tower. Instead, a single higher-current transformer could do the work for all towers, switching to both patterns.

Transformers of this nature need to be installed in a safe location. The most common place is inside a phasor cabinet which is interlock-protected. Fig. 3 is a transformer from my parts box that can supply 22 volts at 21 amperes. It weighs in at 26 pounds and is enough to help five RF contactors at four amperes each. This one also has more transformer taps for lower voltages.

Fig. 3: A 22 volt 21 ampere transformer.

A three-tower directional would likely need 4 amperes/contactor x 3 towers = 12 amperes of required transformer secondary current. RF contactors in the phasor would be getting the full normal voltage anyway so they don’t need a boost because they are at room temperature and there is less chance of them sticking.

Take Notes
Rarely did I go to a transmitter site without finding something that needed attention. I used a piece of paper, in a shirt pocket, to write a few words, jogging my memory to purchase or bring a repair part on the next visit.

Don’t let things slide. Keep sites clean and in good repair. Throw out failed parts and only retain usable ones.

Metering

Not all RF current meters are alike. Fig. 4 shows a thermocouple RF ammeter.

Fig. 4: Thermocouple ammeters are often used to measure RF current.

This one is classified as having an  “expanded scale” so it is FCC legal to read currents from 4 amperes to 20 amperes.

Less expensive “square law” thermocouple ammeters are only good to read down to one-third of full scale. That means a 20 ampere meter is only accurate above 6.66 amperes, as per FCC rules. Check meter specifications to be sure.

You’ll note the meter needle is not sitting exactly at zero. Best to tap on the side of the meter while adjusting the zero set screw on the front to achieve an exact zero when no current is flowing in it. Meter accuracy after that will depend on this easy first step.

Take readings with thermocouple meters during a pause in modulation. That is when the indicated current will be at its least. An FCC inspector will do that too.

Delta Electronics makes transformer coupled ammeters (TCAs) for measuring RF currents in AM antenna systems.

Fig. 5: A Delta TCA AM RF Ammeter.

These use a toroid to sample RF and then diodes to turn it into DC to drive a meter. Those are good down to one-fifth of full scale. Their mirrored scales help give better accuracy when you look at one, lining up the meter needle with the needle in the mirror behind.

Delta also has meters with digital readouts, giving an astounding 100:1 ratio between its highest and lowest current readings at 2% accuracy. AM pioneers never even dreamed of that!

For those who are unfamiliar with amplitude modulation, an AM station’s average power increases 50% when 100% modulated with audio. Traditional thermocouple RF ammeters will read that additional power, but Delta meters do not.

However, they will show carrier shift, which is the result of transmitter power dropping a few percent as the transmitter’s modulator draws down the supply voltage during high modulation conditions. It can also happen when the transmitter has a weak PA tube. Solid-state transmitters typically have little or no carrier shift.

Meters were once required at the base of each tower to read current. The readings could then be compared as a “ratio” to the reference tower. I say ratio because they all go up or down together as transmitter power changes. The FCC deleted that rule because antenna monitors do the same thing with a lot less hassle.

If the system you are working on has base current meters, I recommend you take readings for future reference. Compare them to the original proof of performance as a double check.

RF Protection

Fencing to keep people away from radio frequency radiation has been required for many years (Fig. 6).

Fig. 6: Make sure you have good fencing to keep unwanted visitors out.

Keep fences in good shape; it’s the right thing to do. It’s also a liability issue. You don’t want to be held responsible, in a court of law, when someone claims they were injured because a fence was inadequate.

Monitor Points

Friend and fellow RW contributor Buc Fitch penned an informative article on field intensity measurements about 15 years ago. That information will help guide anyone in getting reliable field intensity readings. The text is at https://www.radioworld.com/miscellaneous/field-intensity-measurement-methodology.

And, of course, I am not the last word on this subject. For serious changes or repairs to an AM directional, it is best to call a consultant.

In sum: Think the job through to save yourself time and trouble. It makes perfect sense. 

The author built four new AM directional systems, from the ground up, using only schematic diagrams and parts in his time as a broadcast engineer.

Comment on this or any article. Write to radioworld@futurenet.com.

Mark Persons, WØMH, is an SBE  Certified Professional Broadcast Engineer and was SBE Engineer of the Year in 2018. Mark is retired after more than 40 years in business. His website is http://www.mwpersons.com.

The post More Best Practices for AM Directional Systems appeared first on Radio World.

Mark Persons

The Women Who Overcame Radio’s Earliest Glass Ceilings

Radio World
4 years 9 months ago
In 1922, Jesse Koewing was one of the first announcers at WOR in Newark (later New York City). She identified herself on the air with just her initials “J. E. K.”  View additional photos in the image gallery at the end of this story. Credit: Author’s collection

 

This article is part of Radio World’s series “Radio at 100.” Read more articles in the series.

Before the dawn of broadcasting, women were frequently hired as wireless operators, and so it was not a surprise that women’s voices were heard as announcers and program hosts in the early days of broadcast radio.

Sybil Herrold was perhaps the world’s first disc jockey; she played Victrola records on her husband Charles Herrold’s experimental station, which broadcast in San Jose from 1912 to 1917.

In Boston, Eunice Randall’s voice was heard on a variety of programs over AMRAD station 1XE (which became WGI in 1922). In New York City, WOR audiences regularly heard Jesse Koewing, who was identified on the air only as “J.E.K.” while Betty Lutz was the popular “hostess” heard on WEAF.

At WAHG (now WCBS), 16-year-old Nancy Clancy was billed as the country’s youngest announcer.

Sixteen-year-old Nancy Clancy was reportedly the youngest radio announcer in the country in 1924. Here she is shown in the studios of WAHG, the Alfred H. Grebe station in Richmond Hill, N.Y. WAHG grew to become today’s WCBS in New York City. Credit: Author’s collection

Additionally, women were frequently hired as “program managers,” responsible for booking the live entertainment that filled their stations’ airwaves, and they often came before the microphone to introduce the entertainers.

But, by the start of the network era in the mid-1920s, there came to be a prejudice against women’s voices on the radio.

“Flat” or “shrill”

Broadcasters complained that the tone quality of early receivers and speakers made women’s higher-pitched voices sound shrill and dissonant; but this prejudice remained even as higher-fidelity receivers became available in the early 1930s. The conventional wisdom was that “audiences don’t like or trust women as announcers” and “only male voices can speak with authority.”

An audience survey conducted by WJZ in 1926, with 5,000 respondents, determined that listeners of both sexes preferred the male voice by a margin of 100 to 1. In 1934, an article in the Journal of Social Psychology concluded that “the male voice is more natural, more persuasive and more likely to arouse interest over the air than the feminine voice.”

In 1935, Cantril and Gordon Allport published “The Psychology of Radio, and determined that 95% preferred hearing male voices over the radio.

This prejudice against female announcers was expressed by station managers of the day. In a letter to the editor in Radio Broadcasting Magazine, a station director wrote that “for announcing, a well-modulated male voice is the most pleasing to listen to. I have nothing against a woman’s announcing, but really do believe that unless a woman has the qualifications known as ‘showman’s instinct,’ it really does become monotonous.”

Another station executive from Pittsburgh wrote, “I would permit few women lecturers to appear [on the radio]. Their voices do not carry the appeal, and so whatever the effect desired, it is lost on the radio audience. Their voices are flat or they are shrill, and they are usually pitched far too high to be modulated correctly.”

As a result, by 1930 women’s voices had virtually disappeared from the airwaves, except for mid-afternoon programs aimed at the housewife and discussing such banal topics as cooking, fashion and beauty tips.

This was especially true in network radio, with rare exceptions.

In a notable experiment, NBC hired the vaudeville comedienne Elsie Janis in 1934 to be the network’s first female announcer, joining a staff of 26 men. But when listeners complained that a woman’s voice was inappropriate for serious announcing work, an NBC executive commented that they were “not quite sure what type of program her hoarse voice is best suited for, but it is certain she will read no more press news bulletins.”

Janis was relegated to announcing the weather and variety shows, and seems to have left NBC within a year.

Over at CBS, they paired radio actress Bernardine Flynn with Durward Kirby to host a daily newscast. But Kirby was assigned to read the “hard” news stories while Flynn reported only the “human interest” items.

Mary Margaret McBride broke the mold that kept women from serious announcing work on the networks. Her afternoon NBC interview program commanded an audience of millions, and she enjoyed a reported $52,000 annual salary in 1941. Here she is seen interviewing General Omar N. Bradley on the first anniversary of D-Day. Credit: Author’s collection

Perhaps the only woman to break the taboo on women reporting serious news stories during the network era was Mary Margaret McBride.

She began her radio career on WOR in New York in 1934, taking the air name Martha Deane and playing a grandmotherly-type woman who dispensed philosophy and common sense. In 1937, she moved over to the CBS network under her own name, and became recognized for her interviewing capabilities.

Her daily afternoon program included high-level politicians, generals and movie stars. She moved to NBC in 1941, where her daily audience numbered in the millions. She remained a regular feature on network radio until 1960, and then continued in syndication.

War years

World War II temporarily opened employment opportunities for women in radio, as the male staffs of the networks and local stations were siphoned off by the armed services.

Women assumed the roles of announcers and newscasters, studio engineers and sound effects specialists. In 1943, NBC hired 10 young “pagettes” to supplement its depleted staff of Radio City pages. Around the country, women were also hired as advertising sales persons, program directors, traffic managers, continuity directors and even station managers.

But sadly, just as occurred in manufacturing plants, when the men returned home after the war the jobs reverted to men who “had to support their families,” and the women were told to go home and be happy homemakers.

In the 1950s, as the radio industry adapted to the new competition from television, many radio announcers turned into disc jockeys, but the prejudice against female voices on the radio continued. The big-name deejays at local stations around the country were all men.

But there were a few exceptions. In 1955, Sam Phillips (of Sun Records fame) opened WHER in Memphis. Phillips enjoyed hearing women’s voices on the air, and he hired an all-female staff to run the station.

WHER operated from studios in a Holiday Inn motel, and this led to a spinoff program, sponsored by Holiday Inn. WHER personality Dottie Abbott, taking the air name Dolly Holiday, hosted an overnight program of easy listening music syndicated to stations around the country. Her soothing voice and soft music could be heard across the AM band after midnight almost anywhere in the country into the early ’70s.

Changing times

In the late 1960s, FM station WNEW in New York City experimented with an all-female format. Allison Steele won an audition against 800 other women and began working there as a disc jockey. She stayed on when the format was abandoned 18 months later, and gained popularity as “The Nightbird.” Her overnight show drew an estimated audience of 78,000, and she was chosen by Billboard Magazine in 1976 as the “FM Personality of the Year.”

WHER in Memphis was the first of several stations to adopt an “all-woman” format during the disc jockey era. In 1955, Sam Phillips (of Sun Records fame) opened the station; his wife Becky was one of the first DJs. WHER broadcast until 1973. Other stations that tried “all-girl” formats, as they were often called.

As the 1970s progressed, the barriers against hearing women on the air gradually faded away.

CHIC in Toronto and KNIT in Abilene, Texas, both had all-female deejay staffs, although the newscasts continued to be voiced by men. An all-woman format was tried at WSDM in Chicago, where Yvonne Daniels sharpened her chops before moving on to the AM powerhouse WLS in 1973.

Also in Chicago, Connie Czersin debuted on WIND in 1974. Maxanne Sartori played progressive rock at KOL(FM) in Seattle before moving to Boston to take the afternoon slot at WBCN(FM).

Donna Halper, whose written work has appeared in the pages of Radio World, played the hits at WMMS in Cleveland, where she was credited with discovering the rock band Rush in 1974. Liz Kiley started her career at WLAV in Grand Rapids in 1976, and within three years had moved up the ranks to WABC in New York.

The many who came after them benefited from the work of the women named above, and dozens of others, in challenging radio’s glass ceilings.

View four more historical photos in the image gallery below.

John Schneider is a lifetime radio historian, the author of two books and dozens of articles on the subject, and a Fellow of the California Historical Radio Society. He wrote here in June about the centennial of KNX.

Image Gallery:

 

RESOURCES & MORE READING:

Women and Radio: Airing Differences, edited by Caroline Mitchell

Fireside Politics: Radio and Political Culture in the United States, 1920-1940, by Douglas B. Craig

“Remembering the Ladies—A Salute to the Women of Early Radio,” by Donna L. Halper, “Popular Communications,” January 1999

Broadcasting Magazine, July 1, 1934

“The Story of WHER, America’s Pioneering, First All-Woman Radio Station (1955),” www.openculture.com

“Dolly Holiday — A Dreamy Soothing Voice in the Night,” www.rumormillnews

“Mary Margaret McBride, American Journalist and Broadcaster,” by The Editors of Encyclopaedia Britannica

Wikipedia: “History of Radio Disc Jockeys”

 

 

The post The Women Who Overcame Radio’s Earliest Glass Ceilings appeared first on Radio World.

John Schneider

Telos Preps Webinar for MPX Practice

Radio World
4 years 9 months ago

The Telos Alliance has scheduled an audio over IP webinar for Aug. 6 that will focus on delivering audio to transmitters.

“Omnia MPX Node: Reliable FM MPX over IP, Real World Stories of New STL Possibilities,” features Frank Foti, Geoff Steadman and Kirk Harnack.

They will examine real-world cases of using the company’s MPX Node hardware and µMPX technology “to deliver their FM MPX (composite) signal reliably over a variety of IP links, including public internet.”

Topics to be discussed include µMPX technology, dual-path IP redundancy, forward error correction and multicast options. To learn more or register, go here.

 

The post Telos Preps Webinar for MPX Practice appeared first on Radio World.

RW Staff

Avoid These Mistakes, Says Nautel

Radio World
4 years 9 months ago

Transmitter maker Nautel has put together an eBook full of tips for buying and setting up a new transmitter.

“9 Mistakes to Avoid When Buying a Transmitter” is “geared toward general and engineering managers,” and “discusses details that could be overlooked during the decision-making process including space requirements, potential delivery issues, site preparation and more.”

Nautel marketing maven John Whyte said, “Failure to account for even small details can drive up your total cost of ownership. This eBook addresses what we consider to be the top nine issues involved with a new transmitter purchase and includes questions you should be asking yourself in the preparation process.”

The ebook is brand agnostic when it comes to whatever transmitter is being discussed. It’s a free eBook that can be found here.

The post Avoid These Mistakes, Says Nautel appeared first on Radio World.

RW Staff

SWR Opens New Room in Stuttgart

Radio World
4 years 9 months ago

Above is a look inside the new Radio Play Control Room 2 at the Stuttgart facilities of German public broadcaster SWR.

The image was distributed by Broadcast Solutions, the system integrator working with SWR. It said the broadcaster has been upgrading its Stuttgart location to simplify production and improve its control and studio rooms.

Radio Play Studio 5 is being equipped similar to Radio Play Control Room 2, which was updated earlier.

“The control room is 5.1-capable and includes an AVID S6 console system, ProTools and Sequoia as DAW systems, as well as several source feed and effect devices,” Broadcast Solutions said.

“Three studios were equipped with mobile terminal boxes, which offer numerous connection options even for larger setups. The furniture’s overall design supports flexible working methods. Besides the director’s table, which is custom made for the S6 console, there are two additional mobile working tables for editing and production. The mobile tables can be moved and thus arranged according to the requirements of the respective production.”

The company said that by having two similarly equipped rooms, engineers and technicians can work and train more efficiently.

“SWR expects a consistently high level of capacity utilization in the coming years.”

Radio World welcomes information for our Who’s Buying What column, including facility images and descriptions. Email radioworld@futurenet.com.

The post SWR Opens New Room in Stuttgart appeared first on Radio World.

Paul McLane

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