Radio World

An Alabama broadcaster faces a $4,500 fine for not filing for license renewal on time.

The Media Bureau of the Federal Communications Commission issued the notice of apparent liability to Autaugaville Radio Inc., saying the broadcaster failed to file by the deadline required for seeking renewal of licenses for its AM station WXKD in Brantley, Ala., and its FM translator W292HL in Troy.

The applications for renewal should have been filed by April 1, the first day of the fourth full calendar month prior to the expiration dates for the licenses. The commission said the broadcaster eventually filed prior to license expiration, but that it did not explain its failure to meet the earlier deadline.

The company now has 30 days to pay, respond or appeal. The proposed fine consists of the full $3,000 base forfeiture amount for the AM and a reduced forfeiture of $1,500 for translator.

The Media Bureau found no other issues with the license renewal applications, which it indicated it plans to approve once the forfeiture proceeding is finalized.

The post Alabama Station Faces Fine for Late License Renewal appeared first on Radio World.

Pepper 96.6 FM in Greece’s capital city of Athens has chosen to install a Calrec Type R compact console.

Station Technical Director Anastasios Labropoulos cited the console’s compatibility and flexibility with IP technology as one of the deciding factors, along with “ease of utilization; ease of upgrading software; and last but not least, the number of I/Os and faders.” He singled out the onboard mic preamps as being of “great quality.”

[See Our Who’s Buying What Page]

The small six-fader mixer and screen fit the station’s requirements. “Since we are primarily a music station, we had no need for a larger console; the current configuration of the Type R with specific I/O and faders fully covers our needs,” Labropoulos explained.

Calrec’s Greek partner Bon Studio S.A. provided key services.

Submit announcements for Who’s Buying What to radioworld@futurenet.com.

The post Athens Station Selects Calrec Type R appeared first on Radio World.

Tanita Myers is the director of news operations for iHeartMedia’s Black Information Network. She discusses the inner workings and reason for the news and information source.

She was interviewed by Suzanne Gougherty, director of MMTC Media and Telecom Brokers at the Multicultural Media, Telecom and Internet Council. MMTC commentaries appear regularly in Radio World, which welcomes other points of view on industry issues.

Suzanne Gougherty: Soon to be BIN’s first anniversary, I imagine it has been a super exciting year – being part of historical launch of the FIRST Radio News outlet dedicated to serving the Black community, please tell us a few of your top highlights?
Tanita Myers: The Black Information Network’s first anniversary is such a wonderful milestone. In fact, it’s historic. It is such a privilege to be part of a network whose mission is to inform my community on issues that affect us every day and to have our stories told by people who look just like me.

The Black Information Network came along at just the right time as America and the world was dealing with a racial reckoning. It always seemed as if the mainstream media would only report the negativity within the Black community, therefore providing viewers with a slanted perspective on the experiences within the Black community.

At the Black Information Network we get to dive in deeper to expose the roots of some of the disparities that have plagued our community; but more importantly we also have the opportunity to highlight the incredible strides, accomplishments and sheer ingenuity of what makes Black people an incredible part of the world’s fabric.

[Read: Coles Takes a Bold Step]

There have been many highlights this past year including our coverage of the historic election of Vice President Kamala Harris, BIN’s live coverage of the Derek Chauvin trial and of course the opportunity to pay homage to civil rights leaders who have helped paved the way for true progress for the African-American community.

I’m also proud of how BIN has covered international stories such as the fighting in Tigray region of Ethiopia, lack of COVID resources in Haiti and the strife of Black people around the world who have also started their own Black Lives Matter movements.

I beam with joy every day to lead an award-winning team of journalist who brings these stories to life, from our perspective in our voice.

Gougherty: You not only produce news content, you’re a host, along with an array of other responsibilities, how to you juggle day-to-day operations? And what takes priority?
Myers: Juggling day-to-day operations is easy because of the extraordinary talented team that surrounds me. They are all personally invested in making sure BIN highlights the most important stories that educate and inform our listeners. Our priority lies in finding and researching the stories about Black experiences — whether police brutality, systemic racism, oppressive laws, voting rights, opportunities for Blacks to prosper, build thriving communities and more. The old adage that “knowledge is power” is something we subscribe to.

Gougherty: When and how does your day start and end? How do you relax?
Myers: My day begins at 2:30 a.m. ET which allows me to prep for our first editorial pitch meeting at 3 a.m. ET. I also use that time to catch up on overnight emails and news to make sure we are always accurate in our reporting. The 3 a.m. pitch meeting is just one of several during the course of the day. During pitch/editorial our anchors and I discuss what stories should take priority for that day’s reporting and what angles are most relevant to the Black community. The last editorial of the day is at 7 p.m.; after which I spend a couple of hours catching up on emails and checking various wires. Somedays the news cycle moves pretty fast, so I like to make sure we’ve tapped all resources such as social media to ensure we are giving untold stories the exposure needed to invoke change or inspire our community to greatness.

Gougherty: That sounds like a busy, work-dominated schedule. Do you have time to relax or break away?
Myers: Wow, relaxation? What a great question. I really enjoy my job, so sometimes it’s hard for me to relax in the “traditional” sense. There is always news going on! With that being said, I do love to cook and listen to music, usually both as the same time. I’m a pescatarian/vegan, if that’s a real thing, so I love trying out new recipes while listening to some good music of all genres and tempos.

Gougherty: What do you feel are some of the most important issues that impact the Black community? And how do you and your team determine what content is given priority 
Myers: The most important issues affecting the Black community are varied, but usually boil down to the same buckets. Systemic racism, police brutality, economic and health disparities, creating generational wealth and education. Each is a priority and we try our best to make sure we cover the it all.

Gougherty: What were the steps you took to prepare your team for the Chauvin trail? Who was the lead reporter? Tell us about BIN’s live coverage on the ground in St. Paul?
Myers: The Chauvin trial was this generation’s “trial of the century.” We launched the Black Information Network a month after George Floyd’s murder, so we began investigating and reporting all aspects of the case from Day One. When it came time to prepare for the trial we made sure to encompass all facts so we could accurately inform our listeners of how we got to this point in this horrific crime. The Chauvin trial was more than just seeking justice for George Floyd’s murder, the Black community also saw this trial as an opportunity to gain justice for all the other cases of police brutality that were never prosecuted. Because of the magnitude of the trial, for the first time the Black Information Network went live with a daily wrap up special of the day’s court proceedings with legal analysis and reactions from civil rights leaders from around the country. Vanessa Tyler helmed our coverage with contributions from the whole entire staff to make sure we covered every angle of this story.

Gougherty: BIN is on many stations coast to coast, how is local news, weather coordinated and communicated to all the various platforms — from the iHeartRadio apps, smart TV, smart speakers, etc. and over the airwaves?
Myers: The Black Information Network is growing daily and we are absolutely excited to bring local coverage to each of those communities. We have a team of reporters who are dedicated to researching and telling the stories that impact residents in their neighborhoods. When curating the local segments, the Black Information Network homes in on state, city, municipal politics and laws that effect their everyday lives. We also make sure we provide resources that residents can use to benefit their quality of life and empower them to strengthen their communities to generate positive outcomes. We have a wonderful partnership with Total Traffic and Weather Network (TTWN) and they have a stellar team of reporters who accurately deliver traffic and weather updates to our markets.

Gougherty: Do you have a news assignment desk?
Myers: We definitely have an assignment desk, but our anchors are the real drivers of sourcing news content. Once our daily editorial meeting is completed, stories are assigned based on block type. We cover news, entertainment, sports, and money. We are also fortunate to air commentaries from Roland S. Martin and Mo Kelley that focus on the liberal perspective. Additionally, since Black folks are not monolithic, we are also air conservative commentaries from Black talk show host James T. Harris.

Gougherty: Can you tell us about feature stories? Especially the good news stories that happen often in Black communities that are often overlooked in mainstream media.
Myers: There are so many “good news” stories that are overlooked and I’m so glad that we get the opportunity to showcase the Black community in such a positive light. My hope is that sharing these types of stories with our audience will inspire others to greatness and let them know that they too can succeed or become a positive leader in their communities. We also have a feature called “That’s A Fact” — where we applaud the accomplishments of Black people throughout history and those who are making history today. It’s important for our audience to know how wonderfully talented Black people are and the positive innovating things we have contributed to the world at large.

[See More Interviews With Suzanne Gougherty]

Gougherty: How do you assess the end of a news cycle day?
Myers: Ha! The news never ends. We are a 24/7 news network and the word operates on the same clock — news never sleeps.

Gougherty: What experience and understanding of the news industry did you have before joining BIN and how did it assist with the launch of BIN?
Myers: I’ve worked in traditional newsrooms before, but I think the most relevant experience of my career was the 16 years I spent with Tom Joyner. I’m originally from Phoenix, Ariz., and when growing up the Black population was below 10% so there weren’t very many opportunities to learn about our history — just the basics that was taught in school books.

I always tell people that my HBCU is Tom Joyner University. While there I learned so much about who we are as Black people, our history, and the importance of pride in all we do. He also taught me the importance of telling our stories and being unapologetically Black. Tom values education, civil rights, economic empowerment and closing the gap in our health disparities; these are the lessons I take with me every day into the BIN newsroom. I will be forever grateful for the life and broadcast “pearls of wisdom” I learned from The Fly Jock. Without the TJMS experience, I’m not too sure I would have been able to help guide this network into its true purpose of telling our stories, in our voice, from our perspective.

The post Getting a Look Inside the BIN appeared first on Radio World.

Microphone and headphone maker Audio-Technica has a new microphone for podcasters and others, the AT2040.

A release explains the aim is to “professional broadcast-quality sound to podcasters and other content creators at an accessible price.”

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

The AT2040 is a hypercardioid dynamic mic for a tight capture pattern in less-than-optimal situations. It includes an internal pop filter and an integrated shockmount. The housing is metal for durability.

A 5/8-inch-27 to 3/8-inch-16 threaded adapter/standmount is side-attached for optimizing arm/boom-mounting.

Audio-Technica’s Gary Boss said, “Audio-Technica microphones have been embraced by streamers, YouTubers and other content creators in recent years, but previously we didn’t offer a dynamic hypercardioid microphone so finely-tuned to the needs of podcasters. … the AT2040, with its smooth vocal reproduction and focused pickup that will help take your podcast to the next level.”

Price: $99

Send your new equipment news to radioworld@futurenet.com.

Info: www.audio-technica.com

The post A-T Releases Podcast Mic appeared first on Radio World.

The author is a consulting engineer and station owner.

I’ve been in the broadcast engineering field since 1963, since the days of microphonic 6J7s in audio consoles thumping on the air to the announcers tapping the beat with his fingers, and changing coupling capacitors in ITC cart cue decoders three or four times in the same machines — you know, too long.

Well, in 1985, thanks to the Docket 8090 ruling, I happened to find an FM frequency that fell smack at my home in the woods on a mountaintop, in a community with no radio stations.

I had the frequency dropped in and applied, along with half of the East Coast. After four long years, I was awarded a CP, and my wife and I put on our very own station.

[Read More Guest Commentaries Here]

In spite of my limited knowledge of actually operating a station with programming, money, sponsors, money, insurance, money and just plain money, the station was quite successful even though we were the new guys in a market of 40 stations.

It was a lot of fun until deregulation, when the money guys bought up all of the stations they could and went for the throat of the successful stations, of which we were one.

A mom-and-pop operation is hard-pressed to go head to head with guys who give away $1,000 a day to listeners and have a sales staff of 20 cutthroat sales people, while we had three who were “nice guys.”

So my wife and I opted out and sold the station for a lowball figure just to be able to pay off the bank and get away from it.

I remember sitting in a burger joint after the closing saying to my wife, “I will never ever own another radio station again.” So I kept on with contract engineering a bunch of other stations; and all was well.

Can’t Say No
Over the years, we relocated a few times, and I wound up in northern Iowa doing engineering for a smaller group, taking care of 23 stations.

Although it was a decent job with decent pay, I was pushing 70, and years of traveling a thousand mile a week got to me. So I partially retired, keeping only the stations within an hour or two ride from home.

Then it happened. A broker had a small AM station in a small town for sale. Wow, it was a standalone AM. I love AM for the engineering opportunities and as an avid ham. It was a directional AM, even more fun.

The whole thing without a studio was on 15 acres of farmland, great. And most of all, the price was slightly more than a Ford F-150.

Wow, how could I go wrong? “If it flops, I can sell the farmland, cut the towers down and sell off the scrap iron and the equipment, and get my money back. Not only that, but it has an FM translator! Best of all worlds. This will be fun.”

At least that’s what I told my wife, who pointed out, “You said you would never own another radio station.” Well, I couldn’t pass it up.

Now, after operating for a few months, let me say that I wish the FM translator never existed. Single-handedly it has been the thorn to our total success.

Perception Is Reality
Why, you may ask?

Here we are in the middle of South Dakota, where the earth is solid sodium. The dry ground is white, the drinking water has got 530 mg per liter of sodium in it, but the ground conductivity is 30, best in the entire U.S. of A.

So this little 500-watter can be heard easily on the worst car radio 100 miles in just about every direction. The 2 mV/m contour in the lobe goes into North Dakota, about 90 miles away.

Okay, so much for this little screamer, now the FM. It’s a 250-watter at the same location as the AM. No mountains in eastern South Dakota, so it’s sitting on the prairie.

Most automobile radios can hear it 15 miles — then it’s gone.

Big deal, you say, what did you expect?

Well, most of the business people in the small town want to attract business from the other small towns around. Everyone in this town already buys from them.

So the business owner drives out of town with his car radio on FM and loses the signal before he gets out of sight of the town water tower.

To which he says, “I won’t advertise on your station, I can’t even hear it at my house 15 miles away, your coverage map lies.”

He neglects to check AM and discover that at 20 miles the whip on his car is glowing cherry red from the AM RF. So we don’t get a buy.

In other words, I would rather take my chances with 25% of the people who listen to the FM going to the AM and carrying it for 100 miles than giving the FM listeners the idea we peter out at 15 miles and never try AM.

I know it’s a different story in places like Pennsylvania, New York, Wisconsin and the like, where you can put the FM on a mountaintop and the ground conductivity is 1, so you can have a 250-watt FM that blows a 5 kW AM out of the water. But it ain’t so here.

I think my AM revitalization will involve pulling the plug on the FM and not offering the choice.

I see a lot of small-town AMs that succeed. From the service we give the town we will, but it won’t be from the business people in our city of license, it will be the people 50 miles out who never knew about the FM.

Radio World invites industry-oriented commentaries and responses. Send to Radio World.

The post FM Translators for AMs Are a Double-Edged Sword appeared first on Radio World.

Another new satellite serving SiriusXM has completed orbital testing and has been handed over to the company, according to SiriusXM and manufacturer Maxar Technologies.

“SXM-8 will provide continuous, reliable delivery of SiriusXM’s audio entertainment and information services to consumers in the United States and will expand SiriusXM’s coverage area in Canada and the Caribbean,” according to an announcement.

It was launched from Florida in June. A similar new bird went up late last year.

The new satellites have expected service lives of 15 years; they replace XM-3 and XM-4 in the company’s total service constellation of six satellites.

[Related: “SiriusXM’s SXM-7 Satellite Is in Orbit”]

“SXM-8 is the ninth high-powered, digital, audio radio satellite built by Maxar for SiriusXM,” the companies announced.

“Built on Maxar’s 1300-class platform and designed to provide more than 15 years of service, SXM-8 is more than 27 feet tall and weighed nearly 7,000 kg at launch. SXM-8 has a large, mesh, unfurlable reflector almost 30 feet in diameter that will allow SiriusXM programming to reach its radios, including those in moving vehicles.”

The announcement was made by Maxar’s Senior Vice President of Space Programs Delivery Chris Johnsn and SiriusXM’s Senior Vice President of Satellite and Repeater Systems Engineering and Operations Bridget Neville.

The post SXM-8 Satellite Is Now Serving SiriusXM appeared first on Radio World.

Thum+Mahr announced a partnership with Wolftech Broadcast Solutions.

The agreement focuses on Germany, France, Austria and Switzerland at the outset.

“In the first step, we will shape customer-specific workflows together,” said Thum+Mahr Chief Strategy Officer Stefan Mertens. “By implementing targeted SaaS solutions, we can now act even more effectively.”

Wolftech has expertise in software as a service and media management systems, among other things. It was founded in 2011 in cooperation with TV 2 Norway, which has acted as a “startup hub” for several companies. Arne Berven is CEO.

Thum+Mahr services include consulting, project management and IT integration for broadcast media. “We will distribute Wolftech’s solutions and they can count on us if they need consulting or project management know-how to work together,” a Thum+Mahr spokeswoman said.

The post Thum+Mahr Partners With Wolftech appeared first on Radio World.

If you maintain an AM directional, why not put the summer sunshine to good use and perform a little preventive maintenance (PM)?

With your transmitter off the air and the breakers and interlock in place to prevent re-energizing, use a strong LED flashlight to view the variable coil and capacitor couplings from the back of the phasor. Remember before you begin to copy down all the turns-counter indications for each control as shown in the photo.

Then while your assistant rocks the component crank from side to side, check to make sure the couplings are tight so the variable coil or capacitor rotates smoothly.

I can’t tell you how many phasors our crew was called in to readjust because the setscrews holding the crank coupling to the component had become loose, so even though the engineer had turned the crank, one turn only adjusted the component by a half or even a third of a turn.

[Check Out More of Workbench Here]

In such a case, you can see how quickly you can get a phasor mistuned. When these setscrews are loose, there’s no consistency in how much the component is adjusted as the crank is turned.

The process isn’t a time hog and may save you hours of readjustment. While you’re inside the phasor, tighten all other strap and tubing connections.

Oops!
In the May 8 Workbench, I referred to selecting tower electrical connections “metrically.” Tom Weber, a principal in Weber Broadcast Services out of Greenwood, Ind., points out that I should have written “decimally,” as in tenths of an inch.

He’s right; metrically would assume millimeters or centimeters, which we are not using. We are converting inches to a decimal equivalent!

Tom concluded his note, “Yours in pedantry.” The sign of a great engineer!

Parts Is Parts
If you’ve recently needed to buy any broadcast gear, or for that matter any electronics, you may have encountered delivery delays caused by a parts shortage. The worldwide situation is causing problems for a lot of suppliers, so keep that in mind as you plan late summer or fall projects.

To complicate things, Workbench contributors Paul Sagi and Charles “Buc” Fitch, P.E., both reminded us of a related problem: counterfeit parts, including circuit breakers.

For example Square-D, part of Schneider Electric, which is headquartered in France, makes Homeline and QO circuit breakers in Mexico; but for various reasons the opportunity for counterfeiting such material is immense.

Also be aware that used and harvested circuit breakers, especially larger, more expensive ones above 60 amps, are out there in the marketplace. Most of these were rejected because of trip problems; they may be touched up cosmetically, perhaps with new lug screws to remove tooling marks, and then sold as new.

The problem extends all the way through replacement parts in a variety of industries. In the communications business, RF transistors are especially subject to international counterfeiters.

Paul and Buc have both seen reports of numbers being stripped from similar solid-state device packages. Unfortunately these look-alikes are of insufficient capability and do not meet the high-performance specs of the number now imprinted on the device. The cheaper chips are then sold at a premium price, realizing profits of 400% or more. Profits can be even higher if the substitute device is not even an RF transistor or a “pull” or dud, none of which will meet spec.

Many entities cooperate in these crimes and profit from them. Because so much manufacturing is now done outside of North America, the provenance of parts can be very iffy. If the price looks too good to be true, it probably is. Save yourself the frustration and buy your parts from reputable dealers.

Here are helpful resources on the counterfeiting of circuit breakers. At www.ecpowersystems.com/resources/circuit-breaker, scroll down to “How to spot fake circuit breakers.” Or Google “Identifying Counterfeit Square-D Circuit Breakers” and look for the result that points to www.lanl.gov.

Last, Schneider Electric has a page dedicated to awareness and action against counterfeits. “We take counterfeiting of our products seriously and pursue every means possible to stop this illegal activity while making the industry and public more aware of this critical safety concern,” it states. See www.se.com/us/en/work/support/counterfeit.

Poof! Soundproofing!
In his engineering career, Dan Slentz has used a variety of soundproofing materials in constructing studios. But he laments that many products have gotten very expensive, forcing him to search for alternatives to keep within a budget.

One option is common mineral wool insulation, the properties of which allow for excellent sound blocking in walls, more so than fiberglass.

For studios, Dan has built double walls that do not touch but have a foam board between them. He then places mineral wool in each 2 x 4 wall. He completes the job with double sheetrock on the outside.

This can be a bear to construct, but short of bringing in a pro “acoustician,” it is a functional poor-man’s construction.

Dan has also used Troy Board (which was named after the inventor’s second son). It’s like a “shredded-wheat” board material but it’s really heavy. It can be painted, and it’s meant to block audio transfer. Check out https://troyacoustics.com/applications/broadcast-recording.

If you’re looking for the cheapest acoustic foam, try the Foam Factory. While its prices have increased lately, they tend to be less than those of similar products. They also vacuum-suck their product before shipping, so the packages arrive very small; the instant you cut it open, Poof!, it opens up and decompresses, taking about a day to recover fully.

Find more info at www.thefoamfactory.com.

John Bisset, CPBE, has more than 50 years in the broadcasting industry and 31 writing Workbench. He handles western U.S. radio sales for the Telos Alliance and is a past recipient of the SBE’s Educator of the Year Award.

Workbench submissions are encouraged and qualify for SBE recertification. Email johnpbisset@gmail.com. 

The post Workbench: How About Some PM for This AM? appeared first on Radio World.

We’re excited to bring you Radio World’s biggest ebook yet, providing a look at the state of global digital broadcast radio, with a focus on the major platforms DAB+, Digital Radio Mondiale and HD Radio.

In which countries have each of these technologies advanced the most? Where are they being considered? What should broadcasters know in 2021 about the rapidly changing car dashboard and how radio stations and metadata will appear to listeners there?

Read interviews and commentaries with leaders at WorldDAB, the DRM Consortium and Xperi Corp., each of whom assess the state of their respective rollouts.

You’ll also glean insights about digital radio, metadata, Android Automotive and other key trends from leaders of stakeholder organizations such as NAB PILOT, the European Broadcasting Union, Digital Radio UK, RadioDNS, Commercial Radio Australia, the Asia-Pacific Broadcasting Union, Nautel, 2wcom and Audi.

Read the ebook.

The post Trends in Digital Radio 2021 appeared first on Radio World.

With plans in place for the first in-person NAB Show in two and a half years, Radio World and its parent Future have announced the return of the popular Best of Show Awards for the convention.

RW’s sister brands TV Technology, Sound & Video Contractor, Mix, TVBEurope and Broadcasting + Cable will also participate.

“Manufacturers have not been sitting on their hands for the past year and a half,” said Radio World Editor in Chief Paul McLane, “and in the past month or two we have seen a rush of product announcements as they introduce products they’ve been thinking about and working on since the beginning of last year. These awards help shine the spotlight on them.”

Nominations are now open for manufacturers and service providers to submit their offerings. The deadline is Sept. 23.

The Program Guide from the most recent show in 2019, showing all nominees and winners, is available online as well.

The NAB Show, which was cancelled last year and was postponed this year from April, opens on Sunday Oct. 10.

The post Best of Show Awards at NAB Are Back appeared first on Radio World.

If you go to the NAB Show or Radio Show in October, it may be your first look at the massively expanded Las Vegas Convention Center. And you might also be able to take a ride in the Boring Tunnel Loop.

CNET posted this video report about the tunnel by Senior Editor Claire Reilly, which gives you a look:

The project, nicknamed “Teslas in a Tunnel,” opened in June based on a conception by Elon Musk. It is a three-station transportation system with 1.7 miles of tunnel, cored out by a special boring machine.

It connects the LVCC New Exhibit Hall with the familiar, North/Central/South Halls and is intended to reduce a walk of up to 45 minutes with a free 2 minute underground car ride (here’s a map). The Boring Co. would like to build it out to a much bigger system eventually.

An NAB official confirmed that the loop will be running during the NAB Show in October.

The post Get a Look at the LVCC’s Boring Tunnel Loop appeared first on Radio World.

In a move to simplify operation, BossFM, a radio station in Abuja, Nigeria, has adopted Lawo’s Rɘlay virtual soft mixer to replace its digital console hardware. This was, according to a release. Aimed at making operation “as straight-forward and intuitive as possible” for the station’s talent.

The release explained that the stations ownership said, “Showing our on-air talent and staff the basic functionalities of this novel tool took just a couple of hours. The first show presented with our new virtual setup went live that same afternoon.”

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

Rɘlay can handle 24 audio sources across its AES67-compliant digital audio network, all using a laptop computer or a connected touchscreen at a minimum. There are other tools and third-party hardware and software to expand Rɘlay’s capabilities.

Mega Cyber Plus, Lawo’s Nigerian partner, provided the integration and will handle servicing.

Send your new equipment news to radioworld@futurenet.com.

Info: https://lawo.com

The post Lawo’s Rɘlay Please the BossFM appeared first on Radio World.

Buying a new audio processor is a huge decision for so many reasons, and some of them are less than obvious. The goal of this article is to help guide you to make (or not make) the decision to change processors.

1) Go Over Your Current Airchain — You’d be amazed how many stations I have walked into over the past four decades that had terrible airchains, and by that I mean the entire audio path, from console to antenna. Many times, program audio was fed to multiple distribution amplifiers with different gain structures as the audio passed from D/A to D/A. This adds noise, and you can easily soft (or hard) clip your program audio. That “grungy” sound may not be the processor at all.

The best way to tackle this is to do a proof of your system. Your engineer or contract engineer should be able to go through this. If distribution amplifiers are necessary, the audio feeding the processor should always come from the first.

If this decision is for your AM, the bandwidth of the antenna system adds (or subtracts) from your audio. No matter how expensive the new processor is, it will not overcome poorly maintained transmission systems. I know this only too well. Do a proof on the antenna system, whether directional or nondirectional, to observe the behavior.

Remember, the radio station works as a system. The processor is one part of it.

[Read More Tech Tips Here]

2) Look at Your Source Material — You could have the most immaculate airchain from the console to the antenna, with a modern AoIP system, yet still be feeding lossy audio across that beautiful system.

This is a problem I see with many classic hits and classic rock stations, where the library was digitized in the early 2000s and disk space was at a premium. That’s not the case now.

When I was in New York City, one of my missions was to improve the audio sources. I knew the airchain was virtually perfect; it was the source material that had issues. I started to keep a log of songs that didn’t sound right. Nine times out of 10 I’d pull up the file in production and, sure enough, it was either a needle drop — you’d be amazed at how many songs were digitized from vinyl — or a low-bitrate MP3.

So I worked with programming to fix this. The powers were fixed quickly; it was the secondary cuts that took longer to source and correct (and in classic hits and classic rock, there’s the chore of getting the correct version and making sure that version hasn’t been “remastered” by the God of Clipping).

Part 2 of the mission was maintaining a consistent level for commercials, imaging, jingles and music. You may have a beef with your current processor because you’re hearing it take a long time to recover from cut to cut. If there’s a 20 dB difference between spots or a spot and a rejoin element, that’s going to happen.

Luckily our production director already had that under control. But I’ve seen some studios where a bumper pins the needles on the VU and the next element barely moves them. Processors can do a lot; but they aren’t miracle workers.

In sum: Use source better material, change out what you can and keep levels in production in check. This alone can improve an audio processor’s performance and may save you from having to buy a new processor.

3) What’s Your Price Range? — My hope is that you’ve taken Points 1 and 2 seriously. But if you still need to change the processor, the next step is to determine your budget.

Twenty years ago there weren’t many offerings at bargain prices. For me this was a good thing, as I built my knowledge and reputation by designing airchains from multiple boxes you could get for-cheap online. But as technology improved and demand for inexpensive boxes that offered more grew, suddenly there were plenty of boxes in the $2,000 to $4,000 range. In many cases, the $3,500 box can sound as good as the $12,000 box, though it has less features — it may be FM-only, or may not have the analysis suite found in more expensive boxes.

Whatever your price range, I implore you to demo as many brands in that price range as possible. You may settle on a well-known brand, but don’t ignore the firepower of the new kid in town who may go that extra mile to make you happy with your purchase.

4) More Brand Considerations — Yes there are at least a half dozen brands to look at. But how are these companies with warranty and customer service?

An engineer once told me that you should call the manufacturer of each. The one that gets back to you the fastest is probably the one who will be most helpful down the line should questions or problems arise.

Knowledge is also key. There has been a reduction of force since the start of the pandemic. This slows response time. People may be laid off, but problems aren’t. It’s important to research tech support for your new investment. My rule about tech support is to treat each customer the same. You could be in Big Rapids, Mich., or Los Angeles, Calif., but if you have an off-air emergency, it’s an off-air emergency. Support should be there for you.

5) Talk to Other Engineers — If you’re working for a large company, there probably are engineers in other markets who can give you their opinions on which processors they use and what works for them. If you’re by yourself, there are still plenty of forums on social media, with many opinions about what is best for your particular situation. Which brings me to …

6) Price Range vs. Features — You can easily be swayed online towards one brand or another when you participate in one of the many social media groups. But some recommended processors may not have the features you need.

For instance, in the budget range, there are few that offer simultaneous FM/HD processing (if you’re an HD station, you probably can and should be spending more than $3,500 for your processor).

There are other things as well. Many companies shed front-panel controls in lower-priced processors, so to maximize performance, you’ll need to use the associated PC program. Others shed algorithms and use less DSP to cut costs; in other words, they take a Cadillac and cut it down to a Chevy Cruze.

As a user, you can easily get around minimized front-panel options with a PC interface. What you can’t get around is a $3,500 processor that’s a $12,000 processor with its knees cut off. The algorithms left over will not perform as intended if other features are pulled out.

If you are in the market for a top-of-the-line box, look for features like automatic HD alignment (one model has an HD tuner in it to keep the alignment within a sample), patch points for ratings encoders, signal analysis that go beyond the basic gain reduction metering you see on every processor and, most importantly, sound.

If you find your airchain really is immaculate (Points 1 and 2), it is up to the processing to add the extra flair.

7) I Want to Spend $12K to Sound Like My Competitor — This is actually somewhat infuriating to me. Your branding, imaging, talent, slogan, logo are all designed to set you apart. So why do you want your audio to sound the same as your competitor?

I was recently in a top 10 market and was astonished at how bad the audio was. Sure enough, each station had audible PPM encoding; and competing stations sounded nearly identical, with signature textures from one brand of processing. Everyone claims they want to sound better, but in the end it becomes a race to the bottom.

This is where the “hunger” comes in. Find a dealer that gives you the most flexibility to try as many boxes as you can, once you have checked off which features are important to you. You may end up with something that sounds better than the entire market.

During the demo, call the company. If you have the clout of a major market behind you, most likely they will send their guru to work with you. That’s a golden opportunity to explore what the hardware can do.

8) AoIP Suggestions — For me? The last mile should always be AES or analog. But different brands of processors use different AoIP formats, and you can stream in and out of the processors. Some AoIP solutions are brand-specific (Livewire or WheatNet), while others use third-party solutions.

If you’ve made the decision to pick a specific brand of studio gear, and if you are satisfied with that decision and have a good working relationship with the manufacturer, it’s a good idea to look at their processing line. Good customers get better prices — the worst kept secret ever.

9) Set Aside Time to Demo — the last thing you want is your processing demo to coincide with your studio move and five other projects. Get the other projects done before you tackle the audio processing. That way, you’ll devote the time needed to make the right choice, feature-wise and sound-wise.

10) Ask for Input From Staff But Know Who Makes the Decision — The needs of engineering and programming overlap in the processor. The engineer needs reliable gear that is compliant; the program director needs a processor that will allow PPM insert points, or the encoder built into the processor.

Get on the same page with must-have features and then outline what you want from the processor sonically. Just remember not to fall into the trap of Point 7.

If there is one bit of advice I can pass on to engineers for working with programming, it’s this: If the PD has the final say in what the audio will sound like, it’s all on them. They are the ones that have to lay down on the pillow every night with the station sounding the way it does.

In the minds of management, processing has a lot to do with the ups and downs of ratings (like it or not). If the PD has set the processing, they have to answer for it. If you decide, you have to answer for it. I’m not telling you who should take the lead, I’m just letting you know how it is.

In conclusion, I’ve made the decision to buy a processor a lot more complicated than you thought it should be. But I’ve been on both sides of the aisle and have set processors in every corner of the globe. The best path to your goal is not the quick one, it’s the right one. I hope this article has given you some food for thought.

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

Mike Erickson is the president of WirelessMedia LLC, which specializes in matching the right processor with the right station. He worked on the manufacturing side for 10 years after spending 14 years at Infinity Broadcasting/CBS Radio in New York. He can be reached at wirelessmedia@gmail.com.

The post How to Pick an On-Air Processor appeared first on Radio World.

Concerns about the pandemic are the leading reason that some radio engineers won’t be going to the NAB Show in October.

That’s not a startling conclusion; but a survey by transmitter manufacturer Nautel offers some other insights into the plans of past engineering attendees.

[Read: NAB Lists “COVID Protocols” for Fall Show]

Nautel, which will have an exhibit booth at the show, surveyed past attendees of its Nautel User’s Group meetings to assess customer intentions for both October and April. NUG meetings are typically held in conjunction with the show and draw mostly engineers or people with related technical jobs.

The company received about 185 responses to its survey. The number who said they “definitely will” attend the NAB Show in October was about 28%, and another 16% “perhaps” will attend. The number who “definitely will not” attend was 37%.

Nautel noted that the “will not attend” number has grown from 15% who checked that box eight months ago, when the convention was farther out on the calendar and the impact of the pandemic in 2021 was unknown.

Among those who think they won’t attend in October, the pandemic was the option chosen most, as shown in the graphic. The second reason was “rather wait until next year.” (Respondents could choose more than one option.) Others included budget considerations and not wanting to travel by air. Some reasons submitted under “other” were international travel restrictions, uncertainty about mask policies and “too busy.”

The numbers look much different where Nautel asked about attendee plans for next spring. Thirty-four percent said they definitely plan to go, and another 34% said they perhaps will. Only about 4% of past NUG attendees who responded said they definitely plan not to be there next April.

[Read: Evanov Tries Out Hybrid AM HD Radio in Toronto]

Head of Marketing John Whyte told Radio World that Nautel conducted this survey “to make sure we’re gearing up for the event in an appropriate way, to ensure we have the right team in Las Vegas to support show attendees’ needs and make sure we can answer questions about Nautel solutions promptly.

“We’re very excited at the prospect of seeing our customers and colleagues in person once again. It has been too long so we’re hoping, like many in our industry, that October presents a safe environment for us to connect face to face,” he said.

While Nautel does not plan its usual Radio Technology Forum event this fall, it does hope to host a casual product update and AUI briefing session on the Sunday morning. It said details are pending.

The post Nautel NAB Survey Reflects Pandemic Worries appeared first on Radio World.

Cumulus Media and its subsidiary Westwood One are trying to raise advertiser awareness of radio as a platform to reach the growing online sports betting market in the United States.

Cumulus and Westwood One commissioned a study in April across the 12 states where online sports wagering is fully legalized. They said radio listeners show “significantly more interest and engagement” in online sports betting than TV viewers.

[Read: Audacy Expands BetQL Sports Betting Network]

A blog post by the company’s Pierre Bouvard provides a number of graphics and data points. He says the research indicates that, in states with legalized sports betting, younger adults and men are the most likely to be interested in wagering on sports betting sites.

Also, compared to TV viewers, AM/FM radio listeners have “far more experience with sports betting,” greater interest and greater awareness of online sports betting brands.

The survey also gave insight into which sports betting brands are most familiar; Bouvard said 70% are aware of FanDuel and DraftKings, four out of 10 are familiar with BetMGM and Golden Nugget, and eight brands have “aided awareness” ranging from 20% to 29%.

His post “Sports Betting Big Bang” contains numerous additional graphics aimed at potential advertisers about how to use radio to reach people interested in sports betting. MARU/Matchbox did the survey.

The post Cumulus Highlights AM/FM for Reaching Bettors appeared first on Radio World.

When the National Association of Broadcasters returns to Las Vegas this fall for its first face-to-face conference since the pandemic began, attendees will be asked to follow safety health guidelines and allow for physical distancing due to COVID.

Face coverings will be required for the unvaccinated and meeting rooms and floor theaters at the Las Vegas Convention Center will be capped at 75% of capacity, NAB says. The group estimates 85% of the audience is either already vaccinated or intend to be by the time the NAB Show begins in mid-October, according to its website.

“We are constantly reviewing the guidelines and collaborating with other event organizers on what they are doing and discussing daily any changes we may want to make,” NAB wrote in a recent email to attendees.

[Read: The Fall Radio Show Will Be at the Westgate]

NAB has made it clear it will closely monitor all COVID-19 health and safety protocols outlined by the U.S. Center for Disease Control and local health officials in Clark County, Nev. It will adjust its approach as needed, an NAB spokesman told Radio World.

The group’s website covers many health recommendations, including asking attendees to register at one of their satellite locations prior to arriving at LVCC. This year will feature a touchless registration and feature a technology that allows attendees to obtain credentials in a safe, touch-free process, according to NAB.

NAB Show safety measures are numerous, according to the NAB website:

• Visitors may be required to undergo health screenings such as temperature checks or other screening processes upon entry to LVCC;
• A “no contact” policy will be observed. Attendees are asked to refrain from greeting others using physical contact;
• Exhibitors will be asked to safely design booths and layout exhibit space. Exhibitors will have the opportunity to order enhanced cleaning and disinfection services for their booths;
• Hand sanitizer will be placed in all public areas, including meeting room corridors, show floor and food and beverage areas;
• Attendees can download a free download through the NAB website called COVID Trace, an easy to use mobile app that notifies users of potential exposures to COVID-19.

The NAB Show from Oct. 9–13 marks the return of major trade shows for the group. The NAB has only recently started hosting small executive level meetings at NAB headquarters in Washington.

Las Vegas area businesses returned to prepandemic guidelines on June 1, and removed all limits involving capacity limits and large gatherings, according to the Las Vegas Convention and Visitors Authority. However, Clark County health officials issued orders, effective July 22, for all employees of businesses across Las Vegas to wear masks. The employee mask requirement only continues until Aug. 17, but could be extended, according to health officials.

The post NAB Lists “COVID Protocols” for Fall Show appeared first on Radio World.

Augspurger has introduced a new line of studio monitors, the MX-Series, with the debut of its MX-65 MinimaX, a two-way nearfield monitor.

MinimaX speakers are built as mirror-image pairs that can be positioned either horizontally or vertically thanks to a rotatable, solid maple horn delivering 70 x 110 degree dispersion. Intended for traditional audio recording and post-production rooms, MinimaX has been designed to provide a main monitor experience in a near-field position and is expandable to a full-range three-way system with the addition of Augspurger subwoofers. For larger playback theaters where sound needs to travel further, MinimaX can be complemented with Augspurger’s SOLO range.

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

The MX-65 also features a 99.97% pure beryllium diaphragm, a signature feature carried through the entire Augspurger product line.

The DSP inside MinimaX’s onboard SXE Series amplifiers is accessed via Augspurger’s own DSP Tune software (available for Mac and Windows), providing complete setup and control of all parameters, including crossover, phase, group delay, limiting and EQ , allowing users to bring the speakers with them to new working environments and then fine-tune MinimaX as needed.

The MX-65 is shipping in Q4 2021, running $10,995 per pair, including Augspurger SXE Series amplification. Start your Christmas Dream list now!

Send your new equipment news to radioworld@futurenet.com.

Info: www.augspurger.com

The post Augspurger Unveils MinimaX Nearfield Monitors appeared first on Radio World.

Bill Bennett is media solutions account manager at ENCO. This interview appeared in the 2021 ebook “Remote Radio Phase II: What We’ve Learned During a Pandemic.”

RW: How will workflows and infrastructure be different in the long term?

Bill Bennett: With the pandemic absolutely accelerating the deployment of broadly distributed multi-platform workflows, engineering and content creators alike learned they can maintain high levels of quality despite being spread all over the world. 

We’ve seen how prosumer technology — USB mics, video conferencing apps, open-source audio editing software, earbuds, iPhones, etc. — are high enough in quality for most users, and can be easy to use; so I think we’ll see more of these flexible software-only, IP-connected devices and products proliferate. 

The station (and cloud for backup, playout and stream hosting) will always be the central repository of content and house the playout logic; but how that digital stream of data gets to and from the servers has now become vastly more flexible as to distance and access. 

Transmitters will always be the critical super-physical link in the chain, but you’ll see more IP links, even at the loss of an STL, so you can route audio from any playout cluster, to the tower — from the station, cloud, even a laptop if you had to. 

Humans will always be social animals, and we will need in-person interactions for sure. But there’s immense content that can be recorded, edited, voiced and programmed remotely too, as we’ve all found. The “new normal” means more flexibility, resiliency and opportunity for innovation yet to come.

RW: Which products in your lineup have played critical roles?

Bennett: WebDAD Mobile Radio Automation and iDAD Mobile Reporting have grown to be very popular. They allow browser- and app-based access to a main DAD playout system back at the station (or cloud), to record tracks, control gear, manage content and more. You can run your playout live from your home office (aka your guest bedroom), a Starbucks or anywhere with an internet connection and VPN.

RW: How well do current automation systems support remote workflows?

Bennett: ENCO’s WebDAD pre-dates the pandemic, making it a recognized and proven go-to platform for native, IP-based remote connectivity and control of DAD playout systems in the studios (or cloud platform). 

WebDAD evolves past what you’d get from remote desktop software (which is just an interactive, dynamic screengrab of a distant, existing computer), and allows you full native control over playout, tracking and editing, playlists and so forth, all from an HTML5-compliant Web browser you can run on a laptop. We engineered it so folks either in the same building who don’t have a full DAD installation on their computer, or folks working from around the world with VPN access to the studios, have that same production capability. 

That opens up some pretty powerful remote workflow possibilities.

RW: What would you say is the required level of home connectivity and ISP support to create reliable work-from-home operations?

Bennett: Home internet speeds fluctuate during the day because your traffic is pooled with your neighbors, often coming in at speeds below (or above) the tier that’s provisioned. Your speeds can be further hindered if there are three students learning from home, all via their own Zoom video classroom session, or if another family member is taking a break and watching a 4K movie on Netflix, etc.

Considering these factors, it’s better to pay for more bandwidth, if you can afford it and if it’s available in your area.

If you have a choice, go with fiber. If DSL is your only option, perhaps make sure you’re the only user (and force-reduce your video bandwidth if your software allows — or disable it entirely). 

Don’t go overkill though. Even if all those demands I mentioned were in place, you still wouldn’t need Gigabit service. Just be sure to use a modern modem and router, all with ports of 1Ge or better. 

Finally, try to keep everything wired via Ethernet and avoid Wifi. The more it’s used, the less bandwidth is available for all wireless connections.

RW: What role do commodity remote products like TeamViewer and AnyDesk play?

Bennett: ENCO’s been using these remote desktop access applications for many years, since our products run on standard Windows machines and thus offer full remote access for us to train customers or upgrade software remotely. 

But ironically, while some on-air talent discovered these tools so they can “remote back into” their computers at the station, the growth of native IP and HTML API interfaces means there’s no need to “virtualize” access to your playout computer now, you can just open a Web browser and have direct, VPN-secured access and control of your playout, playlist management, voice tracking, etc. 

Further, with optimized software as ENCO has, you can even use a customized smartphone application to control what’s on-air — from the palm of your hand. No need to virtualize; it’s a direct connection.

RW: And how do Zoom and similar conferencing platforms figure in? 

Bennett: This is interesting because at ENCO, we saw Zoom taking off as a popular and easy-to-use platform for folks using our automated captioning system for TV and meetings, so we made the strategic decision early on to develop our own custom application that integrates our enCaption AI-based captions directly into the Zoom interface, sends out captions to SDI video, embeds them as closed caption data and sends them out as HTML data for embedding in websites.

RW: What other products or platforms have taken on new importance?

Bennett: It’s amazing what you can do in a Web browser these days. With our WebDAD product, it’s possible to directly control playout, record and edit voice tracks, manage playlists, and more — natively. No software or drivers to install, just be on the same network as your playout system, either down the hall or across the Globe via secure VPN.

RW: And other considerations to mention?

Bennett: Definitely consider a dedicated PC / laptop just for video tiles, so you and your guests and collaborators can see each other (and it’s not taking up your main computer’s resources). Waving at colleagues goes a long way in keeping in sync. 

If you’re using our DAD system back at the studio, consider using X-Keys to control basic functions such as liners, beds, sound effects, etc. Those can be configured to have local home playout communicate and control the remote system.

RW: How about security? 

Bennett: When connecting to your studio (or transmitter), it’s imperative to use well-known VPN solutions for end-to-end encryption. Change ALL your default passwords to something hard to guess, and use two-factor authentication whenever it’s offered. It’s a mild added step, but well worth it.

RW: And how can talent at home assess and improve audio quality of room acoustics?

Bennett: Lots of walk-in closets became home studios too. Sure these aren’t the properly tuned for flat (or resonant) studio spaces that you’re used to, but they help. As for pets — when I had my curious cats, I’ve found two sets of doors worked best: the bedroom hallway door, and then the closet door.

The post A World of Broadly Distributed Multi-Platform Workflows appeared first on Radio World.

Chris Tobin of Brooklyn, N.Y., is being honored posthumously with this year’s Robert W. Flanders SBE Engineer of the Year award, the Society of Broadcast Engineers announced Tuesday.

The award honors the SBE member who has excelled in his or her career while furthering the mission of the society. Candidates are nominated by their peers. Tobin died in December 2020 of a heart attack.

Tobin, an SBE member for 22 years, has taken on several roles with SBE Chapter 15, the New York City chapter.

Beginning at an early age, Tobin became fascinated with radio. “As a small tot, I enjoyed the magic of the box on the kitchen table in my house,” he said in a YouTube interview. A little later Tobin got involved in broadcasting through a school radio station.

He was a self-taught engineer but also spent time behind the microphone, SBE said.

During his career, Tobin worked at ABC Radio Network, CBS Radio and Westwood One. In 2015 he became chief engineer at WBGO in Newark, N.J. He helped to develop the station’s video capacities, streamlined its operations and handled the logistical curveball thrown by the 2020 pandemic lockdown. He died while installing a new HVAC system at the station.

SBE also announced other award recipients, including:

• Telos Alliance — Technology Award for the conversion of the Axia iQ AES67 mixing console into a software version that does not require a physical surface. It is controlled by a full HTML5 interface;
• SBE Wisconsin chapters and Wisconsin Broadcasters Association — Best Educational Event for the Wisconsin Broadcasters Clinic in October 2020;
• SBE Chapter 17, Minneapolis — Best Chapter Communication for its sbe17.org website.

SBE also presents Statistical Awards in two classes: Class A for chapters with 26 or fewer members; Class B for those with 27 members or more.

• Percentage growth of new members: Chapter 106, Florida Panhandle, Class A; Chapter 17, Minneapolis, Class B.
• Highest percentage of certified members: Chapter 7, Jacksonville, Fla., Class A; Chapter 24, Madison, Wisc., Class B.
• Highest percentage of member attendance at meetings: Chapter 85, Central Western, Class A; Chapter 56, Tulsa, Okla., Class B.

The society will recognize winners at the SBE Membership Meeting and Awards Ceremony, Oct. 11, during the SBE National Meeting in Las Vegas. Award nominations for 2022 will open in February 2022.

The post SBE to Honor Tobin Posthumously as SBE Engineer of the Year appeared first on Radio World.

When the popular podcast “WTF with Marc Maron” (www.wtfpod.com) debuted 11 years ago, the iPhone was only on its third iteration and couldn’t muster downloads larger than 20 MB.

That’s an important fact in understanding the evolution of podcasting fidelity from tinny and flangey in the early ’00s, as the podcast’s producer Brendan McDonald describes, to the comparatively crystalline audio available from podcasts today.

“When podcasts were a fairly young medium, there were a lot of data concerns about them from users,” says McDonald, “people with early data plans or devices that did not hold particularly a large amount of data and did not have cloud storage plans yet. So, you had to be very mindful.”

[Read: True Crime Sound Design on “Anatomy of Murder”]

As MP3 compression technology progressed and the show upgraded to a server whose bitrate was 128 kbps, he found some listeners still preferred the original 22.05 kHz mono file, which was 32-bit at a constant 40 kbps.

Those longtime listeners can still find that format on the podcast’s website, while podcatchers and platforms like Spotify get a modern formatted file.

“I was like, if the default setting is [128 kbps] and I’m compressing down, [then] we’re getting like a VHS copy of a copy here,” he says. “Now we’re using a more standard, almost stereo MP3 style setting of 44.1 [kHz] stereo, 16-bit and 128 kbps — which is a much bigger file, but in the style that people are generally listening to podcasts now.”

No Pretense
McDonald has been with “WTF with Marc Maron” for all 1,200-plus episodes, and worked with the host in terrestrial radio in New York and Los Angeles before transitioning to the podcast format.

While he can hear improvements in the quality of the show and audio over that time period, the equipment he used to get the show to today has changed very little.

Maron, in his home studio, still tracks with a Shure SM7 microphone and a Samson MDR6 tabletop mixer with GarageBand. McDonald edits in Adobe Audition, the latest version of what was once known as Cool Edit he used in the show’s earliest days.

The only measurable changes to the show’s production, in fact, came with COVID-19. Maron and McDonald had to ease off their policy of only taping interviews in person, but maintaining the easy, conversational vibe that comes from conducting face-to-face interviews was a top priority during the upheaval of 2020.

“These interviews, and this show in general, really connect with people because the conversations feel so intimate,” says McDonald. “Marc, over the course of a decade, has gotten very good at that — basically creating an environment for people to feel like they’re comfortable and they can share with him. It doesn’t have a lot of pretense, it doesn’t have a lot of roadblocks to actual conversation, as opposed to feeling like it’s stilted or a list of Q&A. He wanted it to be personal; he wanted it to feel like two people connecting. And so that was really important to us.”

[See Other Interesting Features From Jim Beaugez]

Social distancing protocols meant that videoconferencing became a necessity. For interviews in which the subject has a home recording setup, McDonald is able to get a tape sync recording, but most audio now comes through Zoom with the Audio Hijack extraction tool by Rogue Amoeba (www.rogueamoeba.com) added to the mix. In the software’s Voice Chat mode, McDonald can select Skype, Zoom or another videoconferencing platform as the audio source and tweak the audio on the fly while Maron conducts the interview.

“It’s actually brought me back to my early days of live radio production, in that now I can actually sit on the live call with Marc and I can tinker with the sound if I need to,” he says. “It’s been more work in the last year, but we’ve been able to make it work and largely have been very satisfied with the way things have sounded.”

The post How Marc Maron’s Podcast Adjusted to COVID appeared first on Radio World.