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The offices of equipment manufacturer Inovonics are closed temporarily due to fires in its part of California.

“For those of you who have read about the CZU Complex Fire in the Santa Cruz Mountains, California, we wanted to let you know that we are fine,” wrote company President/CEO Ben Barber in an email to customers today. “Thankfully, everyone at Inovonics is healthy and safe from harm.

“The Inovonics factory in Felton is also fine although located in the evacuation zone. As a result our offices are closed temporarily.”

He thanked industry colleagues who had expressed concern, and said the company will respond to communications remotely through email for the time being. Tech support issues should be sent to tech@inovonicsbroadcast.com while sales inquires are being answered at sales@inovonicsbroacast.com.

“Order Processing: For those with pending orders, we will ship as soon as we are able and will keep you informed as information becomes available,” Barber wrote. “Stay tuned as they say in the radio biz…”

 

The post Inovonics Factory Affected by Evacuation Zone appeared first on Radio World.

It’s a good thing that U.S. radio stations now have a couple of extra weeks to explore their reimbursement options for tweaking their satellite infrastructures. Those options are part of the C Band repack supporting national expansion of 5G, and there are plenty of questions flying around about it, which is natural because there are thousands of dollars involved.

Radio World is featuring a series of Q&As with various participants around the industry. (Read recent background here).

We asked John Joslin, director of sales and marketing at satellite hardware supplier Dawnco, for his take on it.

Radio World: For the typical U.S. radio station, what is the lump sum amount that they’re being offered?

John Joslin: Most radio stations will get [approximately] $9,000 or $17,000 per registered satellite antenna.

Email a picture of the feedhorn on each dish to Dawnco, and we can identify which amount makes sense for each dish. You can make the determination yourself by looking up in the front of each dish, to see the feedhorn that the C Band LNB bolts onto. If the feedhorn has only one port with one CLNB bolted to it, your lump sum is $9K; when the feedhorn has two ports with two CLNBs bolted to it, your lump sum is $17K.

Sometimes, the feedhorn has two ports with one CLNB bolted to it and a cover plate over the second port; this is a dual-polarization feedhorn and may qualify for the $17K lump sum.

RW: Do you think these amounts are fair, too much, too little? How does it compare to the hardware outlay for a typical station?

Joslin: The vast majority of dish-registered radio stations will have tons of money left over with the lump sum, if their existing dishes are good. And even if they buy a new dish they’ll have money left over after getting the lump sum. The 5G C Band repack will require most radio stations to install less than $2K of new filters and parts per dish, if the current satellite antennas are in good condition with plenty of signal quality margin.

If the old dish is not performing well now, you’ll probably need to buy a new 3.7 meter dish package for less than $5K. For a small number of radio stations with roof-mounted dishes that need to be replaced, the lump sum may cover most but not all expenses, due to the high cost of roof-mounting structures.

RW: Do you think most stations will choose the lump option?

John Joslin

Joslin: When they know all the facts, nearly all radio station decision-makers will choose the lump sum payment, which gives them surplus money after buying all needed filters and parts. The only other option is to have the big satellite owners (SES and bankrupt Intelsat) provide filters and gear to them, which leaves no opportunity for surplus money for the radio station.

The $17K lump sum even makes sense for the few stations that need expensive roof structures to hold new dishes on the roof.

Some stations may miss the lump sum opportunity because their dishes were not previously registered, or they missed the lump sum filing deadline [now Sept. 14], or they weren’t given enough time to learn all of the facts.

RW: What happens next if a qualified station chooses the lump sum option?

Joslin: Radio stations must act quickly to decide they want the lump sum, then immediately make their lump sum filing with the FCC before the Sept. 14 deadline.

Call Dawnco or email us a picture of the dish-feedhorn, and we can help determine if the dish qualifies for $9K or $17K lump sum. We put all stations in touch with a respected Washington, D.C. area firm, who has the experience and connections to handle the lump sum filing, priced at $1,250 plus $75 per dish. Our recommended firm is very familiar with this FCC filing process. They are very likely to get stations the amount they are entitled to.

If you file yourself and make an error, you may not get what you need.

RW: What happens next if a qualified station does not opt for the lump sum option?

Joslin: When a station doesn’t take the lump sum or misses the filing deadline, their only other option is to have the big satellite owners (again, SES and Intelsat) provide filters and gear to them.

They will need to log onto the website for the big company that owns the satellite they are receiving signals from (usually SES for radio), navigate to the 5G C Band repack page, and enter a request for filters and equipment. There will be procedures to follow, questions to answer, and a wait time for obtaining answers.

At some point the big satellite company will ship the needed filters and gear, for the station to install themselves. Upon request, the big satellite company can schedule a roving crew to pass by the station for a quick installation of the filters.

RW: What option if any is available to stations that did NOT register their earth stations in the earlier window for that?

Joslin: The FCC documentation makes clear that the lump sum is not available to sites that did not previously register their satellite antennas with the FCC.

Unregistered sites can make a request for free filters to the big satellite company that they are receiving signals from (usually SES for radio). It is not clear if the big satellite company will provide filters or other gear to unregistered sites (time will tell).

Hundreds of radio stations did not register any of their dishes, or improperly registered for only some of the dishes they own. [Related: “SBE Issues Reminder for C Band Dish Users“]

Many unregistered sites are only finding out now that they made a big error, which may cost them thousands of dollars for new equipment needed to cope with the mandated 5G C Band repack. [Related: “C Band Repack Could Be Costly for Many Radio Stations“]

Many stations have expressed how they didn’t know they had to register, or didn’t realize that not registering would expose them to big costs. I guess the unregistered sites can talk to their congressmen to try for some political pressure on the FCC to extend the registration date.

RW: What support if any are the satellite operators, radio syndicators like Westwood One or networks like NPRSS providing to these stations?

Joslin: We speak to many radio station owners and engineers each day. At this point in mid-August, many individual stations are just now hearing about the 5G C Band transition, and realizing that it will affect them. The vast majority of radio stations do not realize that 60% of C Band for satellite will be removed within three years, or that filters will need to be installed in front of every single C Band LNB.

Management at the big station groups are aware of the 5G C band transition, but some are not aware of all of the details of Lump Sum compared to getting filters from the satellite operators.

RW: What recommendations are you making to radio stations about this decision?

Joslin: File for the lump sum if it is available to you. Don’t choose the option of using the big satellite companies, unless it is your only option.

RW: You mentioned confusion in the marketplace.

Joslin: Here is an interesting conversation I just had with a radio station that addresses one of the questions you asked me earlier. We presented our customer with an explanation of the lump sum opportunity. He had recently called to Westwood One, asking what he should do, regarding the 5G C Band repack. They told him to do nothing. We told him that because he had already registered his two satellite dishes, he was qualified for a $26K lump sum payment for his radio station ($9K + $17K).

Both of his dishes are in great shape, so his only cost for his rural site is $1,600 for two filters. He walks away with a surplus of $24K that he can put in his pocket. If he had taken the advice of the Westwood One representative, he would have been entitled to two free filters but zero surplus money. There seems to be some misinformation out there.

[A Westwood One official told Radio World on background that the syndicator is “not advising people/stations on what they should do on the lump sum decision. That’s their own decision to make.”  Radio World shortly will publish a Q&A with Westwood One’s Eric Wiler about the company’s perspectives on the reimbursement program.] 

RW: What else should we know?

I just saw a Radio World article stating that stations have the ability to get reimbursement from the FCC Clearinghouse using the cost catalog, which is not exactly true. Stations can ask the big satellite companies to provide needed filters and equipment.

SES or bankrupt Intelsat can file with the FCC Clearinghouse using the cost catalog, to obtain reimbursement for the cost of equipment they give to the stations. For example, SES and Intelsat will be reimbursed up to $900 for each C Band bandpass filter they provide to stations.

By the way, think what would be possible if that $8 billion bonus money to the big satellite operators, was instead equally divided by the 15,000 satellite antennas in the USA. It would be $533K for every dish!

[Related: “Lump Sum Option May Not Be Best for All”]

 

The post Dawnco Urges Stations to “Take the Lump Sum” appeared first on Radio World.

Engineers discuss the impact of the ’Rona on capital expenditures. Alfred Liggins explains why Urban One isn’t moving ahead on tests for all-digital AM. Linda Baun retires from the WBA. RadioDNS pursues a consistent look for radio in the dashboard. And Buyer’s Guide explores codecs and STLs.

Read It Online Here.

Prefer to do your reading offline? No problem! Simply click on the digital edition, go to the left corner and choose the download button to get a PDF version.

Tech Management

Infrastructure Spending Is Slammed by Pandemic

The impact of the crisis on the radio technology marketplace in the United States has been severe.

New Gear

Summer of Products!

A dozen new and recent offerings from companies like Inovonics, Moseley, AEQ, Angry Audio and Digigram.

Also in this issue:

• Snippets From “World Audio Day”
• Build This XLR Cable Tester
• RadioDNS Aims to Establish Metadata Consistency

 

The post Inside the August 19 Issue of Radio World appeared first on Radio World.

Is your radio station’s online political file in order? If not, don’t expect the FCC to believe later that you didn’t see enforcement coming.

The Federal Communications Commission Media Bureau has just cranked out yet more consent decree agreements with owners of seven stations whose license renewal applications have been held up because of investigations into management of their online political files.

This continues a recent broad campaign by the FCC that seems intended to raise awareness of the rules without yet imposing financial penalties.

The spate of consent decrees, which comes in a national election year, could also be read to suggest that many broadcasters had been out of compliance in the past before new online systems made it easier for the FCC to keep track.

The consent decrees all involve owners acknowledging that their stations were not in compliance and promising to implement programs and to report to the FCC about them over a limited period of time. The FCC in turn removes its “hold” from the license renewal applications.

Roughly 30 such announcements have been made. The FCC began last month by announcing six “big name” companies that had numerous station renewals in process. The most recent have involved companies with one or a handful of current renewals.

This batch includes Third Partner Broadcasting, Acadia Broadcast Partners, Stannard Broadcasting, Radio Hendersonville, and Dr. Pepper Pepsi-Cola Bottling Co. of Dyersburg.

[Updated: As of Aug. 24 the FCC has also announced settlements with licensees Mitchell Community Broadcast, Rose Ann Marx, Ad-Venture Media, Lafayette Broadcasting, Fleur De Lis Broadcasting, Midwest Communications and Princeton Broadcasting.]

The post Yet More Settlements in Political File “Derelictions” appeared first on Radio World.

The author is chief engineer of Monadnock Broadcasting Group and Saga Communications in Keene, N.H.

Mark Johnson is a good source for information about the C-Band repack [“Lump Sum Option May Not Be Best for All”].

That said, most of the radio syndication providers on SES-11 are staying put or changing frequencies to another transponder of same polarity. So it’ll be a no brainer.

For those in the biggest urban centers who will see 5G turned up the soonest, installing the 5G waveguide mounted filter Is a rather trivial matter.

For those not in the hottest urban areas, there will be lots more time for future filter installation.

Tweaking cross polarization and nudging aim to maximize signal quality can be done using one of the satellite receivers brought to the dish or a spectrum analyzer if an experienced engineer is on staff, but likely won’t be needed.

That said, a “Ma and Pa” station might want to not take the money and rather get full carefree service.

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

The post Letter: Lump Sum Decision a “No Brainer” for Most Stations appeared first on Radio World.

The author is president of Tom Ray Broadcast Consulting.

In 2018, it was coming time for a new main transmitter at WJMJ(FM) Radio in Hartford, Conn., owned by the Archdiocese of Hartford.

Father John Gatzak wanted to further the message of WJMJ to the community and wanted to go HD Radio. Looking at the situation, we looked to see if we could move WJMJ’s transmitter because the signal skimmed the top of Avon Mountain, causing a shadow in the city of license, and the HD coverage would have been poor, at best.

We found that not only could we move the transmitter to Rattlesnake Mountain in Farmington, Conn., but we would be able to go from a Class B1 to a full Class B.

While this was good news, we were now presented with an issue. We needed to transport three stereo channels of audio up to Rattlesnake, preferably via microwave STL. And I wanted to have an IP backup in the event of a failure of the RF side. We knew we had a shot to Rattlesnake because we had a Moseley Starlink STL repeater at the site, as we could not see the old main site from the studios in Prospect, Conn.

Linear Stereo

Looking at the systems available, we chose to go with the Moseley Starlink SL9003QHP-8SLAN. There were many reasons, not the least of which was Moseley’s reputation for building rock-solid products.

WJMJ, while being a religious station, runs a ’70s, ’80s and ’90s format, with many other genres of music mixed in including a classical block, in addition to religious programming on Sundays. So the main analog channel and the HD1 audio quality were of prime concern.

The Starlink would allow us to have a linear stereo channel with no data compression for the main channel audio — perfect.

Doing so would allow running the other two stereo channels at 192 kHz data rate, AAC audio. From experience, I know that the AAC algorithm plays nicely with the HD Radio codec. The plan would be to put Eternal World Network in Spanish on the HD2, which would be evolved into a local Hispanic channel in the near future, and to put Eternal World Radio Network on the HD3.

While both are primarily talk oriented, the HD subs are currently being run in mono — but the stereo capability of the Starlink would allow us to take those channels stereo in the future. Even at 192 kB AAC from the STL, the HD subchannels, running at 32 kB each, sound surprisingly good.

The Starlink is capable of transporting four stereo audio channels in the RF channel (or eight mono audio channels), and four stereo IP channels from one end to the other.

From the factory, the Starlink came configured with the RF channels the way I wanted them. The hard part was configuring the IP channels.

Word of warning — make sure you put the IP side of the Starlink behind a good firewall router, and open only the ports necessary. I initially was given an IP link to the outside world — naked — which worked for about 20 minutes, then the entire unit on the transmit side started rebooting, including the RF side.

Working with the Moseley tech support crew showed that our connection was being attacked with people trying to break in. The resultant overload of the IP side was causing the unit to reboot on a regular basis — we’re talking roughly every 30 seconds. Once it was behind a firewall, everything has been fine.

The audio side of the Starlink is based on Moseley Rincon technology.

My pet peeve with the system is that you need to read multiple manuals — including the Rincon manual — to learn to set up the IP streams correctly. Each stream requires setting up a profile describing the codec and data rate to be used, so you need to understand your available IP bandwidth before you start. Each stream requires its own separate IP port from transmit to receive side, so you will need to open up the necessary ports in your router to the receiver — in our case, we opened three.

Robust

Once the unit was correctly set up — and it took a little trial and error to do so — the IP streams have been solid. In fact, I put them on the air recently when we had the antennas realigned after the TV repack, as there are five TV stations on the tower we are on and there was much activity near our antenna. The streams were solid and sounded good on the air during the realignment.

The RF side of the Starlink SL9003QHP-8SLAN features 5 W of output, as opposed to the 1 W of output featured in the older versions of the Starlink system. This adds robustness to the digital signal at the receiver — in our case, the shot is approximately 16 miles.

It has been on the air almost two years now, and I can count the data errors on one hand. This is through thunderstorms, ice storms, snow and heavy rain. I haven’t gotten that panic call yet where the digital STL audio quits.

The Starlink SL9003QHP-8SLAN can be accessed through a web browser and through SNMP. The disappointing part of this is that you can only access the Rincon (audio) part of the system. You cannot control the RF side nor see the RF parameters. Moseley really needs to address this, as having this information available via web browser would be quite helpful when trouble arises.

It would also be nice if the Starlink allowed automatic switching to the IP streams, but alas, this is not the case, so we have external switching in place to do so.

A nice feature of the Starlink is that you can set up any output to be whatever audio source you desire  — IP or radio. We use the AES outputs for the analog/HD1, the HD2 and the HD3 and I feed the main channel audio AES to the Starlink transmitter feeding the backup site. I have the analog audio ports set up so that the main channel audio feeds a backup audio processor, and the HD subs feed the analog input ports on the HD subchannel processors as backup.

Overall, the value and quality we received for the money we paid, and the reputation of Moseley products and support, have given us a reliable STL that does exactly what we need. Now, if Moseley could just give us a full manual with all the answers in one place, I’ll be a very happy camper.

The Moseley Starlink SL9003QHP-8SLAN is an excellent choice for your multichannel HD operation or to just feed audio to more than one station.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

For information, contact Bill Gould at 805-968-9621 ext. 785, email sales@moseleysb.com or visit www.moseleysb.com.

 

 

The post User Report: Starlink Digital STL Solves Problem for WJMJ appeared first on Radio World.

With the COVID-19 pandemic continuing for the foreseeable future, creating clean and safe work spaces for audio pros of all professions will be a key concern for broadcast and recording studios, live music venues, houses of worship and other common spaces that use microphones and other pro audio gear that is used by multiple people. With that in mind, On-Stage has introduced its new DSA8000 Microphone Cleanser and the DSA3200 Multi-Surface Cleanser Refill.

The DSA8000 Microphone Cleanser is said to feature a formula that is both alcohol- and fragrance-free, and reportedly helps reduce the spread of bacteria and germs. Designed for safe use on essentially all gear, the cleanser does not leave behind a scent or sticky residue.

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

Packed into an 8-ounce fine mist spray bottle, the solution can be sprayed directly on surfaces or applied to a cloth and wiped on more fragile gear items, such as microphones, mixers and other electronics.

For more broad applications, the new DSA3200 Multi-Surface Cleanser Refill is intended for use in studios and venues as a bulk refill option for smaller fine mist spray bottles. The cleanser safely reduces the spread of common bacteria and germs on most surfaces.

“Studio owners, venue operators, DJs, and anyone else operating a business where microphones are regularly used, now have cleanliness front of mind,” said Jason Joyal, product line manager for On-Stage. “Our new range of cleansers is an easy way to help them stay on top of their cleaning needs and make sure everyone at their establishment stays safe.”

A longtime manufacturer of solutions for professional musicians, audio engineers, music producers, touring professionals, DJs and educational institutions, On-Stage is a division of The Music People Inc.

Info: www.on-stage.com

 

The post On-Stage Launches New Microphone Cleansers appeared first on Radio World.

Using controls developed in VisTool.

From our Who’s Buying What page comes this look into a new Lawo installation for Brazilian broadcaster Rádio Itatiaia.

The supplier says the broadcaster installed a new routing system to switch, process and distribute programming from its headquarters in Belo Horizonte. Rádio Itatiaia supports a network of 52 affiliate stations in the state of Minas Gerais.

The new system uses Lawo’s Power Core mixing engines, Nova17 routing frames and custom touchscreen controls that were designed with Lawo VisTool Unlimited graphical control software. Rádio Partes did the integration.

“Project planning began in 2018, with the goal of replacing an aging digital router with a true AES67 system that could work with AoIP equipment from a variety of manufacturers, and be easily expanded to accommodate future needs,” Lawo stated in a press release. The system uses the Ravenna networking protocol.

“Itatiaia also wanted a system with DSP capabilities to enable audio shaping of sources on-the-fly, and, being a network content provider, operational redundancy at every level.”

Redundancy is provided by two Lawo Power Core engines, each paired with a Nova17 routing frame with dual redundant master control/interface cards that are interconnected via mirrored MADI backbones, with automatic failover from the primary to the secondary system in case of a fault. Control also is redundant, with physical controls via rack-mounted KSC controller panels and then touchscreen PCs with VisTool graphical control software.

A Host at Rádio Itatiaia

A PTP grand master handles synchronization, with a Lawo A__mic8 unit providing backup clocking.

Rádio Itatiaia’s Vice President Cláudio Carneiro was quoted in the announcement saying, “The ability to integrate with our existing AoIP mixing desks as well as Dante devices using Ravenna with AES67 is unprecedented.”

Lawo posted a case study on the Rádio Itatiaia project at its website.

See more Who’s Buying What stories here. Radio World welcomes news about recent installations including studios, RF and all other technical operations; email radioworld@futurenet.com.

 

The post Brazil’s Rádio Itatiaia Has New Lawo System appeared first on Radio World.

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Stannard Broadcasting Co., Inc. enters into Consent Decree to Resolve Political File Investigation

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Third Partner Broadcasting, Inc. enters into Consent Decree to Resolve Political File Investigation

The Media Bureau and Dr. Pepper Pepsi-Cola Bottling Company of Dyersburg, LLC enter into a Consent Decree regarding compliance with political file obligations

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Acadia Broadcast Partners, Inc. enters into Consent Decree to Resolve Political File Investigation

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Radio Hendersonville, Inc. enters into Consent Decree to Resolve Political File Investigation

Rose Ann Marx enters into Consent Decree to Resolve Political File Investigation

Webcasting platform Live365 recently hosted a “World Audio Day 2020” conference, a virtual event about a range of audio topics and trends.

Here’s a sampling, with info on how to find the full archive online:

Future of podcasting: A panel discussion explored impediments to increasing podcast audiences These include the need for Android smartphone users to install podcasting client software on their handsets before they can access this content, a problem akin to buying a software-based radio with AM reception standard but where FM tuning has to be downloaded.

“When you buy an Android device off the shelf, there’s isn’t a podcast client on it,” said Rob Walch, VP of podcaster relations at Libsyn.

Rob Walch is VP of podcaster relations at Libsyn.

Having a native podcasting app matters: “The last big inflection point in podcasting was 2014 when Apple’s iOS 8 came out with a native podcast player app. That really helped podcasting get to where it is today.”

Language barrier: Attracting listeners to the Live365 Latin music stream “The Sounds of Brazil” is an ongoing challenge for station Creative Director Scott Adams. Since the songs generally are in Portuguese, selling this content globally based on the lyrics is out.

To solve this marketing problem, Adams promotes his internet radio station using tags such as Smooth Jazz, Latin Jazz and Contemporary Jazz. They give non-Portuguese speaking listeners many reasons to tune in.

“It’s all about crossover and outreach,” Adams said during a station marketing panel. “Everything has to be relatable to the listener … (They) may not be able to relate to songs sung in Portuguese, but they can certainly relate to Rio’s sun-kissed beaches.”

Create your persona: Radio station imaging was front and center in a content creation and production libraries session; specifically how effective imaging can create an alluring station persona in the listeners’ minds.

Matthew Anderson is director of custom imaging at Benztown.

To make this happen, “you need to look at your radio station as its own person,” said Matthew Anderson, director of custom imaging at Benztown.

“The voiceover that you choose and the creative copy that you write is the voice of that person,” he explained. “So who do you want to be?”

It’s like Christmas every day: The year-round popularity of seasonal music was explored in a station formats session, as explained by panelist Bud Kress. He is the owner/operator of Live365’s “That Christmas Channel,” which plays holiday music 24/7.

“We’re constantly playing the biggest hits of Christmas and more,” said Kress. Even in the “off season” between January through August, “we’re still maintaining a nice audience. There are people listening to Christmas all year long.”

Mutual harm: RealNetworks Founder Paul Glaser mused on the music industry’s inability to find common ground on content streaming, and the money-making opportunities they missed as a result, during a discussion of the history of internet radio.

“The music industry resembles nothing more than a circular firing squad in terms of how it works,” Glaser said. “What we saw play out over a 15-year process was a very Darwinian process.”

How to Watch

The event was held not long after the pandemic hit the United States hard. Its goal was to bring together voices from internet radio and AM/FM broadcasting, podcasting, monetization to legality, programming and marketing.

Live365 said thousands of people tuned in. Justin Ruoff, vice president of operations, said, “We set out to try to plan a full teleconference in just three weeks time due to the circumstances going on right now in the world. To see dozens of organizations and industry leaders, as well as thousands of webcasters and fans, pull together for an amazing day of information sharing goes to show just how special this community is.”

The panel discussions are available on YouTube. The content is broken down into topics such as Content Creation & Production Libraries; Station Formats; Station Marketing; History of Internet Radio; Ad Tech; and SoundExchange Overview.

 

The post Snippets From “World Audio Day” appeared first on Radio World.