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Radio World

Montenegro’s Radio Difunzi Centar Selects Connect for Monitoring, Control

Radio World
5 years 7 months ago

Radio Difunzi Centar, the national broadcaster for Montenegro, has tapped software tech company Connect to update it monitoring and control platform, specifically with the KYBIO Media system.

Radio Difuzni Centar control room in Montenegro, using KYBIO Media.

RDC has 80 sites across Montenegro that utilize a variety of transmitters and other equipment and was looking for a new software solution.

KYBIO is composed of a combination of modules that enable users to visualize in real time the statuses and key metrics of all sites and equipment in explorable dashboards; features real-time alarms, notifications, time-based reporting and root cause analysis; offers time management features, event resolution tracking and advanced control for remote actions over connected equipment with industry standard protocols; and provides aggregating data from multiple equipment and locations, which can then be transformed into visual insights and reports.

“We were impressed by the flexibility and scalability of KYBIO Media with its unique network scanning and auto-discovery features that greatly helped speed up the deployment time,” said Ljiljana Bracanovic-Nikolic, head of engineering at RDC.

“We really appreciate the software ability to handle large and complex data sets while presenting a simple and contextual user interface to our users.”

The post Montenegro’s Radio Difunzi Centar Selects Connect for Monitoring, Control appeared first on Radio World.

RW Staff

NAB, Content Companies See Protection of C-Band Services as “Critical”

Radio World
5 years 7 months ago

With a public C-band auction on the horizon, the National Association of Broadcasters and a number of companies that represent large purchases of C-band capacity are fully behind FCC Chairman Ajit Pai’s commitment that any plan for the auction will “protect the services that are currently delivered using the C-band so they can continue to be delivered to the American people.”

That quote came from a letter sent by the NAB and the companies — which include Disney, CBS, NBCUniversal, Viacom, A&E, Univision, Fox and Discovery — to FCC Secretary Marlene Dortch in response to an ex parte submission about the C-band.

[Read: FCC Announces C-Band Repurposing Plan]

Pai announced earlier this week that plans are underway to launch a public auction for 300 MHz of the C-band spectrum for the development of 5G. That would leave 200 MHz for current C-band spectrum users to continue their operations, which has been used primarily by satellite operators for the delivery of video and audio content.

“The chairman’s recognition of the importance of maintaining a robust and reliable content distribution system in the upper 200 MHz of C-band spectrum, free of harmful interference and without proposals to introduce new terrestrial transmissions, whether on a fixed, mobile or flexible use basis, is a critical step in this proceeding,” the letter reads.

NAB and its co-signers also stressed the importance of working with the FCC to make the transition as effective as possible for satellite operators and their customers as they shift to less spectrum.

Other areas regarding the transition brought up in the letter touch on reimbursement costs; interference prevention, detection, mitigation and enforcement; maintenance of the service during the transition; and honoring of the commitments that the C-band satellite companies have made. NAB described these as “essential.”

“We are committed to working closely with the commission, the satellite industry and other stakeholders to ensure a successful transition,” the letter reads.

The full letter can be read on NAB’s website.

 

 

The post NAB, Content Companies See Protection of C-Band Services as “Critical” appeared first on Radio World.

Michael Balderston

Follow Podcasting’s Path — or Blaze It Yourself

Radio World
5 years 7 months ago

Podcasting seems unstoppable these days. Forrester Research reports the new medium will be a $1 billion media market by this time next year — pretty incredible when you consider that the Interactive Advertising Bureau placed that same market at “only” $400 million in 2018. The expected 150% increase is, of course, due to the fact that more people are listening to podcasts than ever before. For example, Spotify noted its customers’ podcast consumption in 2018 rose 250% year-over-year, and Forrester claims adult podcast listeners spend more than three hours a week listening to online content. With the audience only growing, you can expect the number of podcasts, podcasters and advertisers to likewise mushroom in the coming year.

Navigating a marketplace that’s exploding like that is another story, however, but it’s one that will be crucial for many audio pros. The medium is still in a “wild west” phase where indie podcasts can blow up overnight, but listeners’ expectations are ramping up, too — homegrown shows with amateur audio quality are increasingly a thing of the past. This represents a great opportunity, however, not only for audio manufacturers, but also recording studios, engineers and other audio pros to provide podcast production services — or to start their own shows.

So how do you break into podcasting, record a great series and get a massive following? That’s a question we’ve been mulling a lot recently, as we’ve been curating a day of top podcast professionals who will discuss those topics and more at The Video Show, taking place at the Walter E. Washington Convention Center in Washington, D.C., Dec. 4–5.

The podcasting sessions are designed for all kinds of audio pros, from those thinking of delving into podcasting to seasoned veterans looking to up their game. Speakers will include studio design legend John Storyk of Walters-Storyk Design Group; Tim Albright of AVNation; Melissa Monte, host of the hit podcast “Mind Love”; Frank Verderosa, engineer of “Gilbert Gottfried’s Amazing Colossal Podcast;” Michael Goodman, president of CEntrance; Jill Olmsted, American University professor and author; and author/former NPR and Audient podcast guru Eric Nuzum.

Presentations will include:

Tools for Podcasting: How, Why, Where — American University professor Jill Olmsted will explore podcasting, how it works and where to find tools and inspiration to create your own podcast. Olmsted will also gift attendees with free copies of her extensive ebook, “Tools for Podcasting.”

Podcasting: From Choosing Gear to Empowering Guests — Michael Goodman, audio product design engineer and chief podcaster at CEntrance, will delve into audio hardware, podcasting best practices, dealing with podcast guests and more.

Podcast Studio Design: Necessities, Variations and Options — John Storyk of Walters-Storyk Design Group provides a case study of creating professional facilities for top podcasters Stitcher and Spotify’s Gimlet Media.

Getting it Made: Content and Quality in Podcasting — commercial post and pro podcast engineer Frank Verderosa will explore ways to create audio content, weighing cost, purpose, audience and goals; discuss challenges and solutions; consider recording options; and show how scalable production can be.

Make Noise: A Creator’s Guide to Podcasting and Great Audio Storytelling — NPR/Audient veteran Eric Nuzum has helped launch over 130 podcasts; he’ll share real-world advice for creating a compelling podcast, and will additionally sign copies of his new podcasting book, “Make Noise.”

Pitches, Partners, & Placements, Oh, My: How to Get Over A Million Podcast Downloads Next Year — “Mind Love” podcaster Melissa Monte will share the exact strategies she used to grow her show from zero audience to over a million downloads in one year, with no paid advertisements.

Amplify Your Podcast with Social Media — AVNation’s Tim Albright will go through each of the major, and minor, social media networks and explore what each has to promote your podcast.

And that’s just the podcasting track. In all, The Video Show will feature more than 100 sessions on all kinds of content creation, as well as a screening room, demo areas, streaming studio and exhibit floor. You can find out more at www.thevideoshow.com, and if you’re already amped to go, psst — visit here to get a nicely discounted registration. (Don’t say I never did anything for you.)

 

The post Follow Podcasting’s Path — or Blaze It Yourself appeared first on Radio World.

Clive Young

NAB Adds Broadcast Essentials to Education Resources

Radio World
5 years 7 months ago

The National Association of Broadcasters has added a “resource designed to equip new employees with information they need to succeed in their new roles,” according to NAB Executive Vice President of Industry Affairs Steve Newberry.

This new online educational program, dubbed “Broadcast Essentials,” is intended to help broadcast stations and new employees. NAB members can access the content for free, and nonmembers can purchase each suite for $499 per station or cluster.

The first course is entitled “Radio Employee Onboarding Suite” features six videos that address:

  • Radio station licenses and content delivery methods;
  • A typical station’s organizational chart;
  • Content and revenue streams;
  • How commercials are created, scheduled and aired;
  • Radio’s role in the local community and economy.

More courses are slated for release in the coming months.

 

The post NAB Adds Broadcast Essentials to Education Resources appeared first on Radio World.

Emily M. Reigart

Inside the November 20 Issue of Radio World

Radio World
5 years 7 months ago

What an exciting issue we have for you, with great stories and news from all around the world of radio. Low-power FM operators explain why they think they deserve regulatory relief. We remember the late Warren Shulz and Jeff Nordstrom. Buyer’s Guide features new offerings for streaming, podcasting and online delivery. We take a look inside the new studio of Rutgers station WRSU. Fred Jacobs writes that Alexa wants to be everywhere, including in our ears, our glasses and maybe even our pizza boxes. And lots more.

Read the digital edition here.

REGULATION
LPFM Stations Seek Technical Upgrades

Advocates argue that the low-power FM service is now a mature one. Many broadcasters say that doesn’t mean LPFM rules should be changed. Here’s what people are telling the FCC.

TECH HISTORY
How D-C Cranked Out All Those Tapes

Hank Landsberg is known for his little blue Henry boxes; but back in the day he was director of engineering at Drake-Chenault Enterprises, and he has cool stories to share about what it was like to work there in the heyday of tape-based automation.

 

ALSO IN THIS ISSUE:
  • Symposium Examines Changing Radio Landscape
  • Scarlet Knights’ Station Gets a Fresh Start
  • Alexa Is in My Ears and in My Eyes

The post Inside the November 20 Issue of Radio World appeared first on Radio World.

RW Staff

Study Highlights “Five Secrets for Automotive Advertisers” 

Radio World
5 years 7 months ago

A study commissioned by iHeartMedia challenges common assumptions about the efficacy of automotive radio advertising strategies and consumer behaviors.

The media company said that for 17 months, marketing attribution software company LeadsRx tracked “nearly 2 million commercials” run by “more than 300 automotive advertisers” and featuring all major automotive brands.

A report summarizing the findings, “Five Secrets for Automotive Advertisers,” was presented at the Automotive Analytics & Attribution Summit during a workshop titled “Turbocharge Your Radio Spots. The Top 5 Attribution Secrets Discovered From Over 300 Automotive Advertisers.”

[Read: Connected Travel Seeks a Radio Connection]

These so-called secrets will likely not surprise seasoned radio professionals; reach and frequency are key. The report concludes, “Running 10 commercials per day using a mix of ad lengths, dayparts, stations and days of the week can lead to a two times greater web traffic response rate.”  According to the study, the best recipe appears to be to run a campaign seven days a week, airing ads of multiple lengths between 6 a.m. and 7 p.m.  

Additionally:

  • After running radio commercials, advertisers saw an average 17% increase in web traffic within 10 minutes.
  • Ad campaigns airing seven days a week saw +90% greater results than those who advertised three to four days. 
  • Web traffic response to advertising is two times greater from 6 a.m. to 7 p.m. than in evenings or overnight.
  • Multiple ad lengths outperformed campaigns with single ad lengths by over two times. 

“The goal of any attribution study is to demonstrate how to make campaigns more effective, and this study confirms that advanced attribution helps automotive businesses to plan, measure and evaluate their advertising,” LeadsRx CEO AJ Brown said in a release announcing the study. 

iHeartMedia Executive Vice President of Automotive Business Development and Partnerships John Karpinski said, “Importantly, the use of attribution upended several commonly held industry misconceptions as to what makes for a successful advertising campaign. We [iHeartMedia] are now fully committed to marketing attribution to drive 100% of our automotive advertising business.”

The post Study Highlights “Five Secrets for Automotive Advertisers”  appeared first on Radio World.

Emily M. Reigart

Symposium Examines Changing Radio Landscape

Radio World
5 years 7 months ago
Some 120 broadcast engineers, equipment manufacturers, academics and students traveled from as far away as Japan and South Korea to attend this year’s BTS Symposium.

Convening for the 69th time in as many years, this year’s IEEE Broadcast Technology Society’s annual fall Symposium brought together some 120 engineering personnel from as far away as Japan and South Korea to exchange information about developments in disseminating information and entertainment to mass audiences.

Although the ATSC 3.0 and 5G rollouts got the lion’s share of attention this year, contemporary radio technology and issues were visible, with presentations ranging from IP connectivity to network security, remote monitoring, emergency alerting and regulatory matters. 

Frank Foti led off presentations on a day of the conference devoted primarily to radio, with an update on the initiative by the Telos Alliance to assist broadcasters in moving to all-IP transport platforms. 

[Read: The Value of Standards]

“I just recently finished up some pretty cool research work that I want to share that ties in with (the transport of) the FM multiplex signal,” said Foti. “Moving from multiplex over AES 67 to IP is a natural progression, and (this) technology slashes the amount of bandwidth needed for distribution by nearly 84 percent to a remarkable 320 kbps. It’s a remarkably efficient payload.” 

Foti said that the µMPX technology was designed for FM transmission applications and was devoid of traditional psychoacoustic artifacts, with those that were generated being masked by the FM reception process. He also noted that by using the technology, which supports the embedding of the pilot, FM broadcasters could gain 1 dB greater loudness in their signals.

Frank Foti. “With this [µMPX] technology we’re able to get that 1 dB loudness legally.”“In the FM stereo system (with) 100 percent modulation, it’s basically 90 percent audio and 10 percent pilot,” said Foti. 

“In this system we’re embedding the pilot instead of adding it. The equivalent would be modulating at 110 percent to get that added loudness. With this technology we’re able to get that 1 dB loudness legally. I’m not up here to (push) loudness, but we live in a competitive world. This is dense audio; you shift it 1 dB and the program director says ‘Wow’! In an age where broadcasters are fighting in every way to retain listeners, I think added loudness is a benefit to the industry.”

MP11

The NAB’s David Layer teamed with Xperi’s Harry Chalmers to provide a report on testing of a high bitrate (100 kbps core and 48 kbps non-core) HD Radio operating mode that was defined in the NRSC-5 IBOC standard but had not been tested until now.  

Layer noted that the testing was a cooperative effort of Xperi, Nautel and NAB Pilot, and utilized the Pilot radio test bed set up at the Cavell, Mertz & Associates offices in Manassas, Va. 

David Layer. “We needed to characterize the performance of MP11 before it’s supported by manufacturers of receivers and transmission equipment,”

As explained by Layer, this MP11 mode accommodates hybrid analog/digital broadcasting and operates within the same RF bandwidth (193.3 kHz) as the established MP3 transmission mode. 

“We needed to characterize the performance of MP11 before it’s supported by manufacturers of receivers and transmission equipment,” said Layer. “The first five modes of FM HD radio have always been supported, but there was no software written for this sixth mode (MP11).” 

The main objectives of testing were to determine the impact of the MP11 digital sidebands on the mainstream FM analog audio signal and the RDS component, as well as the possible effect of the analog FM signal on MP11 digital sidebands. 

[BTS Explores Tech’s Role in Content Wars]

Layer said that part of the testing involved using real-world program formats (including classical, country, urban and others) in addition to periods of silence (no modulation) and discrete tones (for measuring signal-to-noise ratio). The testing utilized six different FM receivers (a mix of analog-only and HD Radio-capable) and compared performance of the MP11 mode with established MP1 (no extended sidebands) and MP3 (some extended sidebands) modes of operation.  

Chalmers revealed that the signal-to-noise performance of one of the receivers used was inconsistent with that of the others, and that the analog-only receivers involved were most affected by the MP11 signal.

Harry Chalmers. “As a result of this study, Xperi is planning to commercialize this technology. We’re now including MP11 in all chip uploads that we give to manufacturers.”

“We spoke with the manufacturers, and they said that this was correctable,” he said. 

Layer said that in listening tests, any differences in analog component performance that might have been caused by the MP11 component were not noticeable, and that the study to determine effects of the analog FM signal on the MP11 signal was equally encouraging.

“The results were quite positive,” he said, adding that iHeartMedia is now doing some field testing, with station WTUE in Dayton, Ohio, acting as host.

Alan Jurison, senior operations engineer, engineering and systems integration with iHeartMedia and chair of this IEEE Broadcast Symposium session, said that iHeartMedia “did a driving test from Cincinnati to Dayton and the results were good. At the time of the symposium, WTUE has been operating (with MP11) for some 90 days and there have been no listener or automobile manufacturer complaints.”

Chalmers added, “As a result of this study, Xperi is planning to commercialize this technology. We’re now including MP11 in all chip uploads that we give to manufacturers.”\

AM PROTECTION CONTOURS

In the conference devoted to regulatory matters, the FCC’s 2018 Second Further Notice of Proposed Rule Making (NPRM) addressing “revitalization” of the AM broadcast band came under the spotlight, with a report by Tom Jones of the Carl T. Jones Corp. consulting firm.

He said that this second NPRM focused on changes to protection contours of existing Class A 50 kW stations, and would affect their protected operating contours during all operating modes (daytime, critical hours and nighttime), and reported that a large amount of feedback had been received during the comment period.

“Numerous thoughtful and informative comments were received in response to this ‘Second Further Notice,’ both in support of, and in opposition to, the proposed changes in interference protection afforded to Class A stations.” He said the most complete technical comments opposing the rule changes had come from a group called the AM Radio Preservation Alliance, and the most technical comments had been filed by several engineering consulting firms.

[Upgrading an AM to All-Digital: Why, How and Lessons Learned] Tom Jones. “The tradeoff is pushing noise away from your transmitter while creating interference elsewhere.”

Jones presented a list of the various pros and cons offered by the two dissenting groups, which include “adoption of the proposed change to the daytime contour for Class A stations would potentially allow other Class B and D stations on the channel to substantially increase their daytime power and thus better serve their communities” and “failure to protect a Class A AM station’s 0.1 mV/m daytime groundwave contour would eliminate massive amounts of current AM service, while only resulting in modest gains for non-Class A stations.”

He said that some of the strongest comments opposing the rule change came from the Federal Emergency Management Agency. FEMA said that such changes would “decimate the system developed and funded by FEMA, under the mandate of Congress, for a robust communications distribution network (allowing U.S. citizens to receive) under all conditions, a presidential message in time of national emergency.” 

FEMA added that millions of dollars had been invested on this network, “which is reliant on skywave signal coverage by Class A AM stations.”

Jones said, “I would advise anyone interested to review these comments, which are on the FCC’s website.” If the changes were to be enacted, “the tradeoff is pushing noise away from your transmitter while creating interference elsewhere.”

The post Symposium Examines Changing Radio Landscape appeared first on Radio World.

James E. O'Neal

FCC Announces C-Band Repurposing Plan

Radio World
5 years 7 months ago

FCC Chairman Ajit Pai on Monday, Nov. 18, disclosed his plan for reallocating part of the C-band spectrum (3.7–4.2 GHz) for 5G use.

In a letter to Sen. Roger Wicker (R-MS), chairman of the Committee on Commerce, Science and Transportation, Pai said the FCC will auction 280 megahertz of spectrum for 5G. An additional 20 megahertz will be used as a guard band with the remaining upper 200 megahertz available for the continued delivery of programming for radio and television.

[Read: New Bill Would Force C-Band Auction]

The FCC told reporters on Monday that with broadcast satellite services being downsized to just 200 MHz of spectrum a repack of the space will be required. There are more than 16,000 registered receive-only dishes in the field that currently use the C-band, according to NAB. They are used to receive national and syndicated programming for TV and radio.

The order is expected to be considered by the full commission early next year, according to an FCC official. FCC staff will be tasked with carrying out the public auction, which is expected to commence prior to the end of 2020, according to an FCC official. The FCC will accept public comment before any new rules are adopted.

On Nov. 18, the FCC called the process a “complicated rulemaking” that took over two years and raised a number of economic, legal, engineering and policy issues.

Pai in his letter to Congress outlined four principles that the FCC should advance in the rulemaking: “First, we must make available a significant amount of C-band spectrum for 5G. Second, we must make C-band spectrum available for 5G quickly. Third, we must generate revenue for the federal government. And fourth, we must protect the services that are currently delivered using the C-band so they can continue to be delivered to the American people.”

The public auction of the 280 megahertz for 5G (3.7 to 3.98 GHz) will be administered by the FCC. The commission determined an auction is preferable to a private sale, according to the FCC official. The C-Band Alliance, led by Intelset, SES and Intel, had previously proposed to split the band frequency to accommodate 5G services, with the alliance handling the private sale of spectrum.

The FCC on Nov. 18 said the repack of broadcast services to the upper 200 megahertz (4.0–4.2 GHz) has yet to be defined. The FCC official suggested that with the use of high-resolution video compression, the 20 megahertz guard band, the installation of filters on earth-stations and the launching of several new satellites, can compress all of the existing services and content currently delivered over the C-band into the upper 200 megahertz.

The FCC did not disclose whether incentive payments would be made to incumbent satellite providers affected by the repack. It is also not clear if there will be an independent facilitator appointed to oversee the clearing of the band.

NAB asked the FCC in an early filing during the proceeding to ensure “costs for implementing such a plan should be entirely borne by the beneficiaries of any private or public spectrum transaction: either the satellite operators or the mobile carriers who acquire spectrum usage rights.”

National Public Radio earlier pressed the FCC for clarity in its final decision when it comes to the financial ramifications of a massive C-band migration of satellite earth-stations caused by a repack. The Public Radio Satellite System (PRSS) depends on C-band for distribution of programming to approximately 1,275 public radio stations, said Adam Shoemaker, counsel for NPR, according to an FCC filing.

While the FCC’s plan on the repacking of broadcast services is unclear, the commission does expect to fully protect all incumbents currently relying on the C-band for video and radio programming, the FCC official said.

 

 

The post FCC Announces C-Band Repurposing Plan appeared first on Radio World.

Randy J. Stine

Music Matters to Willy

Radio World
5 years 7 months ago
Sofie Engelen hosts Willy’s morning drive

VILVOORDE, Belgium — The plan to launch a new radio station dates back from 2017, when Kevin Moens, music director with Joe, and a group of radio creatives came up with the idea.

“We felt we were missing something,” Moens said. “Both Qmusic and Joe have well-defined formats, but we couldn’t find a ‘guitar-focused’ station on the Flemish radio scene — part of the audience was left in the cold.”

NEW MARKET Willy’s on-air cast includes presenters, musicians and media personalities

The idea initially faced some criticism. “A third FM station for our media group was not the option, there was no room in the existing frequency plan — and streaming the signal was not enough,” Moens explained. “But gradually, the idea to serve a new segment alongside Joe and Qmusic became reality.”

When, in 2018, DPG Media decided to fully go ahead with DAB+, and with Alain Claes as head of the group’s innovation department, opportunities for new stations were created. “We launched the new Joe channels and DAB+ also became a facilitator for a new station,” said Moens.

“We wanted something novel — and Willy became the group’s first digital-only station, broadcasting via DAB+, streaming and the Radioplayer platform,” he said.

“Willy was part of a business plan,” added Claes. “This has to be seen as a long-term investment and although we offer a modest program today, the new station has received a lot of enthusiasm from advertisers because it offers a new potential audience market. With DAB+ tripling its penetration here, we are confident in Willy’s future.”

Willy is complementary to Qmusic and Joe. With the tagline “Music Matters,” the new station targets the “music lovers” audience bracket. “It’s all about music and people talking about it,” continued Moens, who is Willy’s music director.

MODERN STRUCTURE Editors were the first international band to take the “Free Willy” studio

The station invited a cast of music and media personalities to host its Friday program roster. Musicians like Triggerfinger’s Ruben Block, television director Tim van Aelst and presenter Sofie Engelen received “carte blanche.”

Moens added that the only prerequisite is that “they are passionate about music and their playlist includes a guitar segment.” The rest of the week, Willy offers a no speech music format. Friday night’s “Free Willy” show is the platform for bands, interviews and album presentations.

Although Willy wasn’t planned when Joe and Qmusic moved to the Sound Park studio landscape, the new station benefits from the future-proofed structure.

“To be honest, when we planned the studios, we knew new activities would be coming our way,” said Alain Claes. “In-house production of commercials and jingles, podcasts, micro-podcasts — they all require studio space and today, it’s nice to see that we have the capacity.”

Willy broadcasts from one of Sound Park’s studios, which the broadcaster build this summer. The station makes use of a DHD RX2 console, Dalet Galaxy playout system, Neumann TLM102 mics and a Technics SL1200 turntable.

The post Music Matters to Willy appeared first on Radio World.

Marc Maes

Lincs FM Group Updates Studios With AEQ, Dante AoIP Tech

Radio World
5 years 7 months ago

With a move to a new location already on tap, Lincs FM in the United Kingdom recently updated six of its studios with audio over IP equipment from AEQ and Dante.

Working with service provider Broadcast Radio, Lincs FM installed a Forum IP Split consoles that uses Dante AoIP Network signals and works with a central Routing Network Matrix Netbox 32 MX.

All signals in the studio, except for “local” microphone inputs, are exclusively in Dante and are concentrated to/from the Netbox 32 MX. The Netbox system provides 64×64 channels program and antennae matrix at the same time as it interconnects all the studios in the network.

As a result of the flexibility of the installation, all signals in the network can be shared with any studio. Routing and summing of all network signals is done through the Netbox 32 MX, which can be executed either manually or automatically from any mixing console or with the stations group also newly acquired Myriad 5 Playout automation system. Additional features like alarms and level monitoring are also possible through the Netbox platform.

Lincs FM is now operating out of a new studio complex facility that also houses Dearne FM, Ridings FM, Rother FM and Trax FM.

The post Lincs FM Group Updates Studios With AEQ, Dante AoIP Tech appeared first on Radio World.

Michael Balderston

O’Rielly Tells MBA “We Are Playing a Long Game” Against Pirate Operators

Radio World
5 years 7 months ago

Illegal broadcasting and media modernization continue to be top of mind at the Federal Communications Commission, as evidenced by recent remarks delivered by FCC Commissioner Michael O’Rielly when he addressed the Massachusetts Broadcasters Association’s annual Sound Bites event. His speech centered on pirate radio, payola concerns and media modernization efforts, among other policy updates of interest to broadcasters.

O’Rielly noted the spread of illegal radio stations from large to smaller markets, in addition to ever-increasing sophistication on the part of unregulated operators. He said the commission is “playing a long game here, and there is reason to be optimistic,” especially now that “Senate passage of the PIRATE Act is imminent.”

[Read: NYSBA Honors Native Son O’Rielly as New Yorker of the Year]

He explained that the PIRATE Act’s fine increases are meant not only to punish offenders, but to make sure these cases get on the radar of the Department of Justice. Additionally, O’Rielly said the act will speed up and streamline the commission’s timeline to file notices of apparent liability for pirates. He also cited the forthcoming list of licensed radio operators (required by the PIRATE Act) as another enforcement tool, one which citizens and advertisers can use to distinguish between legitimate stations and savvy pirates.

However, O’Rielly conceded that legislation alone won’t eradicate the problem, so the commission is “also deploying state of the art technology to make it very difficult for pirates to escape scrutiny.”

O’Rielly also addressed the issue of payola as it relates to the current broadcast laws and streaming. The practice was outlawed in 1960, and O’Rielly said he plans to explore whether the issue persists or if record companies have instituted policies that prevent the bribery — and if so, what are these safeguards.

Payola is a legacy regulation, and he questioned whether it might not fall under the umbrella of Chairman Pai’s Media Modernization initiative. But until the issue is addressed, O’Rielly pointed out, “there will continue to be two different sets of rules based on whether listeners tune in over-the-air or stream programming online.”

In his speech, O’Rielly also proposed “a guaranteed right at license renewal for a station to supplement its Issues Programming List” in order to make the documents less “over-inclusive” out of fear. O’Rielly acknowledged the Media Bureau’s efforts to help stations come into or stay in compliance, but indicated he believes this formalized system makes more sense.

The post O’Rielly Tells MBA “We Are Playing a Long Game” Against Pirate Operators appeared first on Radio World.

Emily M. Reigart

GIK Acoustics Adds Acoustic Foam Option

Radio World
5 years 7 months ago

Acoustic treatment manufacturer GIK Acoustics has introduced an acoustic foam option for its Impression Series and Alpha Series room treatments.

Both the Impression and Alpha Series of acoustic panels utilize front plates with designs cut into them to both absorb low-to-mid frequencies while diffusing high frequencies simultaneously.

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

Available in squares measuring 23.5 inches x 23.5 inches and 2.25 inches-thick, the newly added acoustic foam option was characterized as “lightweight, versatile, affordable, and effective” by Glenn Kuras, president of GIK Acoustics.

The Impression Series is available in a dozen patterns, while the Alpha Series is available in three mathematical patterns and five different plate finishes.

Info: www.gikacoustics.com

 

The post GIK Acoustics Adds Acoustic Foam Option appeared first on Radio World.

ProSoundNetwork Editorial Staff

Community Broadcaster: All-Podcast Radio

Radio World
5 years 7 months ago

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

The recent announcement by a London radio station that it will build its full schedule from podcasts certainly garnered some attention. It comes not many months since iHeartMedia’s announcement over the summer that its stations would broadcast some of the company’s podcast properties.

If you’re a media company, these moves make sense. Since podcasts are the hot commodity at the moment — it stands to reason that radio wants to grab some of that attention. What’s stopping community radio from making more of its broadcasts to be podcast-first propositions too?

[Read: Community Broadcaster: Money Moves]

To be clear, there are a few stations that do the preproduction work typically associated with podcasting and use the finished mixdowns in their broadcast schedules. Richmond’s low-power FM station WRIR pops to mind as a station that has done this successfully. A few other stations, like WXPR, create podcasts that are aired at times. Community radio podcasting, in this regard, is not unheard of.

What are the obstacles to a community radio station going all podcast?

A station must overcome the structural issues it would have to deal with. Podcast production is a lot of work, and producing 168 hours a week of quality local podcasts is no small feat. A station could partner with local podcasters, but there are still particular broadcast and federal regulations to follow, should such podcasts become broadcast material. Rules around payola, indecency, plugola, obscenity and lobbying are just a few areas podcasters have far more latitude than a noncommercial educational broadcaster. There’s orientation and training, as well as quality assurance for everything on air. Such a commitment is not impossible. A community radio station going all-podcast could experience a unique set of challenges.

As an extension of local partnerships, and beyond, a station could opt to just air podcasts it finds online. Obtaining permission to air their work, and ensuring all podcasts meet broadcast regulations, are issues to be considered, though.

In a few other instances, whether community radio stations air all or even a few podcasts may be a cultural question. Over time, I have gotten the impression that some stations believe their brand and what people look to them for is live radio. While I think that opinion is a stretch — how much of the public, frankly, can ascertain live radio from the dozens of prerecorded “live” spots commercial radio has exposed them to for years? — the belief in live radio as “a thing” a community radio station is known for is not an isolated opinion. Implicit here may be the idea that podcasts sound polished while live radio sounds rougher, more organic or more like what longtime listeners associate with community radio.

I gently suggest that sounding less than top-flight may not be something to aspire to, however. Public tastes have grown sophisticated, across many generations and demographics. People expect more these days. A raw sound we may think is community radio may not be as appealing to others. Moreover, I can hear that aesthetic on YouTube, Instagram Live and Facebook. We may not be able to hang our hats on the “radio” sound anymore.

Podcasts to broadcasts are done in limited ways in community radio today. The barriers to greater adoption may lie in costs and having the necessary staffing. Yet the moves happening in other media, and the natural fit local podcasts and local community radio could have, should inspire all of us to dream bigger.

The post Community Broadcaster: All-Podcast Radio appeared first on Radio World.

Ernesto Aguilar

Construction Extension Request Denied Despite Hurricane Impact

Radio World
5 years 7 months ago

A Florida FM station’s CP extension request was denied after the station failed to properly prove its construction efforts were impeded by Hurricane Michael.

Back in May 2015, the Federal Communications Commission granted a construction permit to Florida Community Radio, permittee of WRBD(FM) in Horseshoe Beach, Fla., for a three-year-term expiring in May 2018. In April of that year, FCR filed a request to extend the date of its construction permit deadline by arguing that construction was delayed due to Hurricane Irma in September 2017. Also, due to the FCCs recent elimination of the main studio rule, FCR argued that it no longer would be required to build a main studio in Horseshoe Beach. Instead, it requested to apply for a studio-to-transmitter link license to deliver content from its new main studio location to the transmitter site. The Media Bureau agreed and extended the waiver of the construction permit by six months to November 2018.

[Read: FCC to Two AM Licensees: Pay Fees or Nixed Licenses Could Be Next]

Then came hurricane Number 2. In October 2018, FCR requested a second tolling based on construction delays caused by Hurricane Michael, which landed near Horseshoe Beach in October 2018. The bureau granted that request and extended the permit another six months.

FCR then asked for additional construction time to perform a structural analysis through a Request for Extension for Tolling. The station wanted to perform an analysis to determine whether to place its power lines underground instead of on a power pole and to determine the impact of a future storm on the station’s antenna.

But before agreeing, the Media Bureau asked for more specific information regarding construction delays. It wanted to see a direct connection between Hurricane Michael and the permittee’s inability to construct the station. But according to the bureau, no detailed information was forthcoming from FCR.

As a result, the bureau denied additional tolling for FCR to conduct the requested studies.

The reason? The bureau said that FCR failed to demonstrate that delay in construction was directly related to the prior storm. It also said that any electrical service studies should have taken place earlier. Plus, the bureau noted that any type of Act of God encumbrance, like a hurricane, only applies when the permittee can demonstrate that construction progress was impossible.

In a follow up response, the licensee said — for the first time — that Hurricanes Irma and Michael prevented construction of the station because they created long wait times for contractors to construct the facility. But the lateness of that response led to the bureau dismissing the petition because “it relies on new arguments not previously presented to the bureau,” the commission said.

In addition, the bureau only considers petitions for reconsideration when the petitioner shows either an error in the original order or raises new facts not known or existing at the time. “Here, FCR has neither demonstrated that the [bureau] erred in denying tolling to conduct studies on the effect of future storms, nor provided additional facts that were not known at the time of FCR’s [request].”

As a result, the bureau denied FCR’s petition.

 

The post Construction Extension Request Denied Despite Hurricane Impact appeared first on Radio World.

Susan Ashworth

Jim Natoli’s Lifelong Love Was Radio

Radio World
5 years 7 months ago

When we saw a photo of Jim Natoli’s radio-themed headstone, Radio World asked contributor Dan Slentz to find out more about the man it memorializes.

The late Jim Natoli.

Nestled in Tuscarawas County, Ohio, are the twin communities of Uhrichsville and Dennison. Here stands an AM/FM station built by a broadcast engineer.

The local industry was clay pipe; and the engineer was Ignasio Natoli, whom everyone called Jim. He was a first-generation American; his mom and dad came from Sicily.

Jim served during World War II as an Army staff sergeant in the Signal Corps, then attended Akron University; he also worked in the FCC’s Detroit office administering tests and with regional administration.

In the 1950s, according to family members, Jim took a job as a cameraman at WKYC(TV) in Cleveland; he eventually graduated to engineer over his 30 years there.

Meanwhile, in 1959, Jim and his mother Mary formed Tuscarawas Broadcasting Company with the hopes of putting an AM radio station in their community. After nearly four years, they succeeded in launching 1540 WBTC, which stood for Wonderful Beautiful Tuscarawas County. Jim continued to work for the TV station, commuting that hour drive from home in Uhrichsville and his AM station, and his other job in Cleveland.

WBTC’s building as seen in 1963. It looks much the same today.

In 1970, Jim added 95.9 FM to the AM station, with the call letters WNPQ, which stood for New Philadelphia Quakers. The station was licensed to nearby New Philadelphia; the Quakers was the team name for the high school sports.

Jim retired from WKYC in the early ’80s but continued to manage his AM and FM station with the love and passion of a parent. He never married nor had kids, so these stations were truly his love. He continued to work at them until 2016 when he turned 98; he was a daily part of their operation until an injury put him in assisted living. Jim recruited some relatives and trusted friends to keep the station running.

When he died, Jim Natoli’s niece paid tribute to her uncle through the design of a unique headstone.

He passed away just short of his 99th birthday, which would have been July 4, 2017. His relatives were willed the station and have taken on the responsibility of keeping WBTC and WNPQ on the air and growing with a small staff. The stations carry classic hits and Christian programming, respectively. Jim’s dream continues to this day.

When he died, Jim Natoli’s niece paid tribute to her uncle through the design of a unique headstone appropriate for a man who lived a life dedicated to his radio love, WBTC(AM) and WNPQ(FM).

Got an idea for a story in Radio World? Many of our best articles were prompted by reader ideas. Email Editor in Chief Paul McLane at radioworld@futurenet.com.

The post Jim Natoli’s Lifelong Love Was Radio appeared first on Radio World.

Dan Slentz

NJBA Warns About EAS Potential Failure

Radio World
5 years 7 months ago

The New Jersey Broadcasters Association sounded an alarm about New Jersey’s emergency alert system in its latest  e-newsletter, stating that “EAS failure” might occur as soon as the New Year unless something changes in the state.  

The current EMNET-EAS is more than a decade old, and NJBA President Paul S. Rotella wrote that it “has flaws that make it unreliable.” Therefore, the association is lobbying state officials and lawmakers to augment, upgrade or replace the system as soon as possible. 

[FCC Reveals 60-Day Grace Period for IPAWS Update]

In its member communiqué, the NJBA suggests New Jersey seek to apply funds from post-Superstorm Sandy community block grants toward this endeavor.

The post NJBA Warns About EAS Potential Failure appeared first on Radio World.

Emily M. Reigart

Nielsen: Radio’s Evolution Is Resonating With Consumers

Radio World
5 years 7 months ago

Nielsen’s latest Audio Today Report offers yet more data points to fend off radio naysayers. 

This report focuses on medium- and small-market radio consumers in the United States and tracks listening behaviors and related demographics. 

Nielsen Audio Managing Director Brad Kelly writes in the report’s introduction, “Radio is not simply resting on a hundred years of legacy or its enviable place in the dashboard. Radio is evolving in new and different ways that are resonating with both consumers and advertisers alike.”

Radio’s continued ubiquity in small-town USA is evident: In medium and small markets, 98% of adults 18+;  94% of adults 18-34; and 99% of adults aged 25-to-54 listen to radio monthly.

And while rural areas have a reputation in some circles for being slower to adopt new technologies, Nielsen says that consumers in these markets are “sophisticated audio users” who have also added podcasts and smart speakers to their routines. These consumers’ podcast affinity also makes sense when you consider that news/talk radio is the second-most popular radio format at 11.8% in medium- and small-markets. These listeners haven’t abandoned radio, however. 

[Smart Speakers Grow in Importance]

According to the report, 90% of podcast listeners continue to tune in to radio, and the same is true for 92% of smart speaker owners. 

Kelly also points out that radio hasn’t abandoned listeners who have adopted these new technologies: “Radio companies are developing interesting new digital brand extensions and delivery platforms including streams, podcasts, and voice-activated assistants.” That’s especially good news, considering that smart speakers were found in 29% of U.S. homes as of Q2 2019, according to the Nielsen MediaTech Trender. 

Learn more about these and other insights in Nielsen’s Audio Today Medium & Small Market Edition report.

The post Nielsen: Radio’s Evolution Is Resonating With Consumers appeared first on Radio World.

Emily M. Reigart

Reader Shares Late Issue Concerns

Radio World
5 years 7 months ago
LATE ISSUE

Paul, recently, it seems that I receive print editions of RW describing meetings or conventions that have already happened by the time the issue hits my mailbox. Has it been decided that print readers won’t attend anyway, so why give them a heads up on content? It seems that the print timing is at least a month out of sync with reality, for no apparent reason, compared with the digital. It’s not clear to me why the digital and print versions aren’t more or less synchronous, with a mailing delay for the print.

Gary O. Keener
Keener Technical Services
San Antonio, Texas

Paul McLane replies: Thanks Gary. Nothing has changed in our planning of content (and no one hates more than I to see a well-researched show preview article reach readers after the event). We’ve been experiencing shipping delays that put recent issues, one issue in particular, in the hands of readers too late. We also have had some disruption around a move of our offices from northern Virginia to downtown D.C., which now is complete. I’m monitoring though to keep our online and print content in better synch. Sorry for the inconvenience. Remember too that you can access a digital version of any current issue at radioworld.com under Resources, if a print copy is running late.

 

REMOTE CONTROLS

I really enjoyed reading the article by Tom Vernon, “Remote Controls Have a History All Their Own.” It brought back fond memories of some Good Old Days when the remote control equipment mentioned was in production. I was the project engineer for all of the analog remote control apparatus listed for Moseley Associates. Nice photo of the TRC-15; that unit sold over 4,500 units while in production.

Tom managed to write an article that covered a wide field of equipment from several manufacturers and he did it very well, accurately and completely. Congrats, Tom!

Jim Tonne

The post Reader Shares Late Issue Concerns appeared first on Radio World.

RW Staff

The Lasting Tale Of Radio

Radio World
5 years 7 months ago

Slightly more than 100 years ago, on Feb. 17, 1919, station 9XM at the University of Wisconsin in Madison broadcast human speech to the public at large.

The cover page of the book “9XM Talking” by Randall Davidson.

9XM was first experimentally licensed in 1914, began regular Morse Code transmissions in 1916, and its first music broadcast in 1917. Regularly scheduled broadcasts of voice and music began in January 1921. That station is still on the air today as WHA.

In 2019 we’re celebrating the 30th anniversary of Radio World International, but we mustn’t forget the whole story that began many years before.

TIME-LAPSE CAMERA

The first years of radio were undoubtedly flavored with a pioneering spirit, with new discoveries and technical advances. This led to more listeners and the beginning of modern broadcast radio.

About 60 years ago, radio was in nearly every home and radio engineers already had a thorough understanding radio frequency propagation and broadcast principles and tricks. So, having secured the transmission chain, attention could be shifted to indoor studio equipment.

If someone had installed a time-lapse camera in a radio studio 60 years ago, a review of all those images would display three main, well-defined periods. For the sake of simplicity, let’s consider the technical room, usually deployed at larger facilities, as part of the radio studio itself.

The first successful practical medium for music was the lacquer disc. After World War II the vinyl disc would be developed and refined into the “long-play/LP” and “45” to facilitate an explosion of music-based radio stations.

The TEAC A6600 AutoReverse, a workhorse tape recorder, provided many radio stations with hours of unattended playout.

The industry practice would distill into a two-turntable arrangement to seamlessly transition from one song to the next one while the talent on air was speaking. Adding a third turntable with disc-cutting capabilities allowed for making recordings of programs.

“Automation” first became available also for smaller stations in the shape of large reel-to-reel tape recorders, which allowed the facilities to go on-air even when no one was in the studio.

The slow rotation of tape reels, as well as their size, resembled the rotation of records on turntables. That’s right, 60 years ago radio was based on rotation.

ROTATION

This first era lasted about 30 years, up to the late 1980s. Some 30 years ago, CD players started becoming popular in radio studios. Turntables stayed there for a few years, but they were eventually blown away by CDs, which offered more reliability, a compact size and were easier to use.

Cassette changers gradually replaced reel-to-reel recorders in radio studios for unattended playout.

Reel-to-reel tape recorders suffered from the appearance of the first robotized cassette machines, which soon replaced them as backbone of “automation” systems.

By the end of the 1980s and beginning of 1990s the second period in modern radio began. The first issue of Radio World International appeared at that moment, when radio was still based on rotating devices, but the magic was becoming smaller and increasingly invisible since almost everything was bunkered behind the glowing front panel of CD players and cassette changers.

Soon after — and RWI was there to welcome that revolution — computers and digitized music reinvented both the practice and layout of radio studios.

VIRTUALIZATION

Suddenly, radio content no longer rotated. Everything became static and remote.

Radio studios still hosted the physical surfaces and PC monitors to control the whole system, but the system itself was usually installed into a separate room.

Software-based playout automation and music recommendation tools introduced a paradigm shift and dramatically changed the way radio professionals managed their stations. Digital audio formats completed the migration of radio studios to a static, software-centric model.

Just 10 years ago, a further revolution knocked at the industry’s door. Now we call this “virtualization,” but at the time the idea was just to have some software steps, each one capable of performing one of the routine tasks of a radio station’s everyday activity.

Telephone hybrids, microphone processors, mixing consoles, content players, STLs, etc., everything could run on off-the-shelf computer-based digital hardware devices, provided there was a proper network connection to the rest of the production facility and to the web.

For the first time ever, radio was able to do without single-purpose dedicated hardware, with exception of the control surfaces (since the real mixing was likely performed in the machine/server room). The next step along this path dates back to a few years ago: software developments and the availability of high-performing mobile devices, properly backed up by the ubiquitous availability of high-speed internet connection, opened the studios’ doors to virtual consoles.

Further, they allowed almost any station to set up a complete remote studio virtually everywhere. Through a single laptop PC or Mac a single person had full control of anything that could usually be done at the station’s studios or a group’s technical operations center, including airing a number of separate channels.

JUST WORKFLOW

A comprehensive virtualized approach can minimize equipment requirements. A fully featured radio station, including a visual channel and intense social media interaction, only needs a microphone, camera, headphones and a computer and a reliable internet connection.

DJ “Jivin’ Gene” spins records at the WWOZ studio in early 1980s. Photo CC Attribution-Share Alike 3.0 Unported

Radio infrastructures and studios are not just virtualized, they are now dematerialized. They still exist but they lie in a nomadic “somewhere” in the cloud.

The first 40 years of radio needed a common layout and equipment to run a radio station and a radio studio. The last 60 years have been all about evolving and transforming both that layout and equipment as well as adapting and enhancing the relevant workflow.

Today so much of traditional studio gear no longer exists in a physical shape. The effort in radio production has become a matter of “workflow.”

Yet, while hardware and software may have moved to the cloud, radio is still here. The competitive landscape of the medium has also evolved enormously. Since the ubiquitous availability of internet, a number of competing platforms have begun offering audiences new kinds of audio services.

This may scare some radio broadcasters. But one must consider that in any market segment fair competition usually enhances the quality of the end product and fosters consumer loyalty. Why shouldn’t it be the same for radio?

TALKING TO

So, what will happen to radio over the next 30 years?

In the future the concept of “audio consumption” will replace the idea of “radio listening.” The distribution mix and the fruition model of radio will probably experience a dramatic change. But we don’t have to confuse radio with its receiving device.

Radio is not just news, talent talk and music. Radio is storytelling and the ability to entertain and engage a target audience through the appropriate blend of stories, news and music.

A multitude of distribution platforms means a multitude of ways to reach our target audience. But while a customized playlist is “for” a specific listener, radio “talks to” the same listener. No matter if five- or five million people are listening, radio individually “talks to” each of them.

For many years, the sound of radio was the sound of vinyl records and turntables.

That’s the magic of radio, and that’s what radio stations have to preserve and even enhance. Using a radio station to broadcast a playlist turns that station into a music streaming service, just far more rigid than a streaming service. This is because listeners have no way to customize it.

A streaming service offering true storytelling through stories, news and music, de facto is a radio station. It’s our model with just a different distribution mix. But, again, radio refers to the content, not the distribution mix.

WHERE THINGS HAPPEN

Looking forward, the number of available stations will continue its rise with new stations targeting very specific audiences. The cost for producing content will significantly decrease, thus making it affordable to deploy many flavors of the same station, each of them targeting small or niche audience.

The overall audience numbers will probably remain similar to the present numbers, even if listening figures will be jeopardized through a much higher number of stations and channels. Future radio stations will probably be 100% virtual, with physical studio gear (if any) used for backup purposes only.

[Read: Radio World International Celebrates 30 years!]

The easiness to report from virtually everywhere, as well as to deploy a mobile studio, will move radio stations to be closer to where people meet and where things happen.

There will certainly still be RF transmitters and on-air broadcasts, as well as receivers featuring a return channel via IP to interact directly with the station. This will open new possibilities to engage the audience, offering them tailored information and content.

Overall operating cost per listener will not greatly vary in the future because the ongoing reduction in production and distribution costs will compensate for the need to produce much more content and to air more channels.

CALL FOR YOUTH

Provided radio succeeds in preserving its DNA, there is still one key item. Radio continues to lose its appeal with young listeners. Nowadays youth consumes more audio content than ever, but not radio.

This is happening in virtually every developed market, and thus far broadcasters have failed in reversing this trend.

This is most likely not because of the scarce appeal of radio content itself, but rather a matter of distribution channels and content format. Using various distribution platforms requires radio stations to properly repurpose their content to best fit each specific distribution channel. This may be the biggest challenge for radio in the future

Today’s youth are tomorrow’s listeners. According to radio listening reports per age group, their parents and relatives still listen to radio, both in car and at home. It is therefore natural that they are familiar with radio and have experienced a sort of endorsement for it.

The same thing happened to their parents, when they were young and that “imprinting” worked. The reasons why those premises are failing with today’s generation are still unclear.

Recently, the universal popularity of mobile devices across any age group drove many radio executives to trust that a well-shaped radio app could be an effective shortcut to bring radio back to the youth.

The results generally scored below expectations, probably because — once again — radio has been confused with its receiving device, while the crucial item is content.

A possible key to catching young peoples’ attention is through engaging apps and content designed and shaped in the way they want and are looking for.

 

The post The Lasting Tale Of Radio appeared first on Radio World.

Davide Moro

Kenya’s KISS FM Updates With Lawo RƎLAY

Radio World
5 years 7 months ago

KISS FM, the flagship radio station of Kenya’s the Radio Africa Group, recently installed a RƎLAY Virtual Radio system from Lawo in what it says was an effort to modernize.


RƎLAY is a mixing console that runs in a virtualized PC environment on a PC or laptop. It features a multitouch-enabled screen interface that can control things like voice processing and mix-minus. When paired with a third-party playout system or other third-party broadcast software, users can essentially run a broadcast studio through a single computer.

KISS FM designed its new studios around the RƎLAY virtual mixing console. All PC sources and outputs use AES67 as the Lawo A_line AoIP node translates microphones and other line-level sources to AES67. These are then available to RƎLAY via Ethernet and a network switch.

RƎLAY has features built-in audio shaping tools allowing for individual adjustment of all microphone parameters, including Lawo Automix and Autogain features.

Because RƎLAY uses standard AES67 networking, Radio Africa’s systems can be expanded to add more PCs and sources as their operational requirements change.

 

 

The post Kenya’s KISS FM Updates With Lawo RƎLAY appeared first on Radio World.

RW Staff

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