www.beradio.com February 2006

THE RADIO TECHNOLOGY LEADER

Fast-pvcedremotes WW1 and the Winter Olympics

Trends in remote technology

NPR rings in the new year

Our commitment stands firm.Best digital systems, best broadcaster sclutions, best support.

dMarc and you.Now more than ever.

VISE US AT NRB BOOTH k1332.

A Prism Business Media Publication

www.dMarc.net888-438-72F8

Seat CA,64: Maestro

THIS IS THE NEXT BIG THING:

I i 1 0 0 0 0 0 0 0 0

141-1EH THETA

SOURCE

111410.,

.41: r.G -- -

LOCATION

+20

+14

+8

0-e

-16

-24

-32

M

T

RS

WHEATNET' FUTURE PROOF!

WHEATNET LETS YOU ROUTE THOUSANDS of bi-directionalsignals at ONCE in just 60

microseconds-allsecure, virus -proof and in just 2 rackspaces! WHEATNET

leaps way ahead of conven-

tional stacked router or IP-based designs,interconnecting up to 48 studios (each with its own independent

mix engir es and I/O resources)using just one CAT -5 wire per studio, plus providing systemwide X-Y control

from one centrallocation. You can even meter and monitor (in stereo) any signal systemwide.

REDUNDANCY?We've got that covered too: just add a second WHEATNET

and CAT -5 link from each

studio and have an AUTOMATIC standby interconnect for the ENTIRE system!

WHEATSTONEhas a proven track record for digital networking; benefit from our experience!

I. Cl

48 CAT -5 PORTS with 128 audio channels

(plus embedded control data) per port.

THAT'S 6144 TRAFFICCHANNELS IN JUST

Two RACK SPACES!

""\

GET THE POWER!

Tel 252-638-7000 / salescvihnatstono.com

copyright 0 2005 by Wheatstone Corporation

"I recommend the FlexStar' Exciter.It's an extremely reliabl.e way

to launch HD Radio broadcasting:'

FlexStarTM HDI-100 Importer HDE-100 Exporter HDX-FM/HD Exciter

Bob HenslerVice President Engineering

I II I I I I 1 I I I II I t t I I I 1 I II II I II II II I I II I 1

1 1 I 1 1 1 1 I I I II 1 f I II II I II I I I I I I II I I

Managing Content. Delivering Results.

iiiiiiiiReal Time Adaptive Correction

Provides easy verification of FCC

mask compliance.

,tARRIS

"We've found Harris' new Exciter, along with the Importer and Exporter, to be very flexible andreliable. There are more inputs on this Exciter than any other brand, allowing flexibility andminimal downtime. Plus, Harris is the first to include iBiquity's Exgine Architecture which g'vesus a simplified, more reliable installation. With the help of Harris, we now provide more streamsand channels to the Denver population without adding transmission sites. I recommend theHarris FlexStar family to other radio groups. It's as easy as new technology can be to operate

and helps us accomplish our goals."

assuredcommunications-Broadcast Microwave R F Government Systems www.harris.corn

HD Radio is a trademark of iBiquity Digital Corporation 2006.

Contents

Features

22 Trends in Technology:Remotes

by Doug IrwinThe modern way to take the show on the road

30 On Location: Toast of the Nationby Mike PappasRinging in the new year across the nation

30 On Location: The Winter Olympicsby Conrad TrautmannWestwood One covers the action from Italy

ColumnsViewpoint 00

by Chriss SchererHD Radio is the best -kept secret.

Managing Technology 10by Kevin McNamara

Unrealized job experiences

FCC Update 21by Harry C. Martin

The new costs of webcasting

Find the Mic SweepstakesGrand Prize Winner for 2005

Congratulations to Randy Nor-ris, assistant chief engineer ofSusquehanna Cincinnati.Randy's name was drawn for thegrand prize, a Neumann BCM 104 micro-phone, in the Find the Mic Sweepstakes for 2005.The Find the Mic Sweepstakes continues every month

in Radio magazine. See page 6 for details on how toenter this and every month. Find the hidden mic icon onthe cover and you could be our next winner.

RacilyTHE RADIO TECHNOLOGY LEADER

Radio Magazinewww.beradio.corn

February 2006 Volume 12, Number 2

DepartmentsOnline 06

at www.beradio.com

Field Report: Audioarts R55E 42by Chris Wygul

Field Report: Neural 5225 44by Lucy St. James & Mike DePolo

New Products 46by Kari Taylor

Classifieds 52

Contributor Pro -File 53Meet Conrad Trautmann

Sign Off 54by Kari Taylor

The early days of profanity delay

ON THE COVERRemote broadcasts are part

of radio's regular routine.However, this month we

bring you two remotes thatare anything but routine.

Cover design byMichael J. Knust

4 February 2006 Radfo magazine www.beradio.com

RemoteBroadcasting

over the InternetIS MERE

e/DSL, Cable

With more flexibility than any other codec on themarket. Tieline's latest development delivers highquality mono and stereo audio from remote locationsover the internet. This includes DSL, ADSL. Wireless,cable and satellite IP networks,

Existing G3 customers can upgrade their software totry Audio over IP free for 30 days.

Make 2 remote connections at once! Connect one IPremote and the second over POTS, ISDN, GSM or IPat the same time.

Learn how to set up your studio for wired and wirelessIP remotes and listen to Tieline Audio samples atwww.tieline.com/ip

Contact your favorite dealer today to oraanize a freedemo. Hurry. the demo schedule is filling fast!

800-950-0750

Satellite, WiFi

Tialine

Tieline Commander G3POTS. ISDN. GSM & IP Codec

www.tieline.com

Contents Online www.beradio.com

Currents OnlineSelected headlines from the past month.

Clear Channel Buys RCSRCS is also the owner of Media Monitors and Florical,amanufacturer of TV automation software. All the RCScompanies are included in the sale.

Google to Acquire Dmarc BroadcastingGoogle plans to integrate Dmarc technology into theGoogle Ad Words platform to create a new radio addistribution channel for Google advertisers.

HD Digital Radio Alliance CreatesEngineering Cooperative

The goal is to provide assistance to all the member stations. Gary Kline, corporate director of engi-neering for Cumulus, has agreed to lead this group.

HD Digital Radio Alliance Names First 28 Markets for H02 RolloutsThe alliance notes that there will be about 264 new HD2 channels. The alliance members have also agreed

to offer the multicast streams commercial -freeduring the rollout.

Find the mic and win!Tell us where you think the

mic icon is placed on this issue's coverand you could win a Heil mic

courtesy of Transaudio Group.

TIPWe'll award a %different Heil

mic each monthduring 2006.

Enter by March 10.Send your entry to

radio@prismb2b.com

*1#

This monthenter to win a

Heil Sound PR -30

UDIO

BROADCASTINGwww.transaudiogroup.com

No purchase necessary.For complete rules, go to beradio.com.

Harris to Open Miami OfficeThe new office allows Harris to better serve itsCentral and South American andCaribbean customers.

Broadcast Electronics to Host HDRadio Seminar

The engineering seminars are specifically de-signed for consulting engineers and will be heldFeb. 28 and March 2.

SBE Moves to New OfficesThe society moved into its new home on Feb. 3.The new office is a block from the old one.

Site FeaturesCurrents Online Weekly E-mail

Get the Radio magazine headlines delivered toyour e-mail box every Monday morning.Subscribe today for the latest radiotechnology headlines.

The DAB Answer Series is OnlineEach quarter, Insight to IBOC covers a specificaspect of digital audio broadcasting. The lastinstallment was in the May issue. The completecontent of each issue is available online as well.

6 February 2006 Ra_Lilo mauazine www.beradio.com

1=11111.111*

Can a broadcast console have a fan club?

"The more I learned about Axia, the

more impressed I became with tneir

routing system and consoles, and

how well their network topology

was designed. We ordered nine

studios, and we love it. Our

operators keep raving

about how easy thingsare to operate. Even our

listeners tell us how good

WOR sounds!"

- Thomas R. Ray Ill, CPBE, Vice President /Corporate Director of Engineering, Buckley Radio

"We liked Axia consoles so much

we installed them in a second

studio. Then a third. Then a whole

second cluster. And Axia

cost about half what some

companies wanted us to

spend. My colleagues are

so impressed, they want

Axia consoles in their stations, too!"

- Jorge Garza, Chief EngineerUnivision Radio, McAllen, Texas

"The announcers tell us how much

they love working with the Axia

consoles... It's great to be

able to setup and save

multiple configurations

that can be recalled at a

moment's notice. I don't

know why we hadn't gone thisroute earlier. Where we're installing

new equipment, we're onboardwith Axia."

- Owen Martin, Director of Engineering,Newcap Radio, Alberta, Canada

"Axia's Ethernet links are switched

connections - no hubs. With guaran-

teed bandwidth, and some clever

clocking mechanisms, latency

simply .sn't an issue. Wig- regard

to cost, we found a significantdifference between Axia

and the other options we

examined. Going with

Axia cut our costs byroughly 33%... "

- Ethan Torrey, Chief of Research & Development,Minnesota Public Radio

"I've worked with ots of equipment

in the past 30 years, and Axia is

by far the easiest system to install

and get up to speed with.

There are just a few cables

instead of hundreds; the

entire installation - with

testing - took just oneweek."

- Rudy Agus,Chief Engineer, H -Favor BroadcastingLos Angeles, California

"The jocks took to the new Axia

consoles like fish to water. Show

Profiles are their favorite

part, because they can all

have custom board set-

ups. Since the first studio

was installed, we've add-

ed a new producton and interview

studio, and we plan on building

three more studios. It'll be all Axia,

all the way to the transmitter."

- Marc Johnson, Chief Engineer, WEGL-FMAuburn University, Auburn, Alabamax .....

www.AxlaAudio.com

Viewpoint

Missing something

ach year in January, the consumer elec-' industry gathers to show every-

mg-and I mean everything-relatedfield. The convention itself is huge.Las Vegas, it covers all of the Las

Vegas Convention Center, all of the SandsExpo Center and occupiesspace in severalhotels. If you think that NAB convention isbig, you should see CES sometime.

The last CES I attended was a few yearsago,and I was looking forward toseeing thelatest and greatest of everything electronicfor the consumer. I was only able to spendone day on the convention floor, which ishardly enough time to see everything, soI focused my attention on one piece oftechnology: HD Radio.

In January 2005, 21 radio group ownerscommitted to convert more than 2,000 sta-tions to HD Radio. At the end of 2005, theHD Digital Radio Alliance was formed topromote HD Radio through radio broad-casters themselves. By the time 2005 ended,more than 600 stations touted having HDRadio transmissions on the air.

All this attention to HD Radio soundedgreat. When I began making my plans tovisit the CES, I looked forward to seeingthe large presence that HD Radio wouldhave relating to all the recent news. I had

heard that many manufacturers woulddisplay HD Radio receivers, and I

anticipated seeing the buzz thatHD Radio would finally receivefrom the attendees at the CES.

Unfortunately, the actual HDRadio presence was bland. I

was looking for HD Radioand I had trouble finding it.Imagine if I were looking forany new technology, like theconsumer press editors fromWired and Rolling Stone

were. I wonder if theyactually found it.

I started my CES visitin the CES InnovationsAwards exhibit. These areproducts that are sup-posed to represent the top

technology at the convention, so I thought it was a goodplace to start. Of the hundreds of products shown there,there was only one that featured HD Radio:the Polk Audio!sonic Entertainment System. Good news for Polk and HDRadio: it won the top award in the Audio Componentscategory. Unfortunately,the mention of HD Radio was justpart of its features. HD Radio didn't stand out to me.

I moved on to other parts of the Sands and then the LVCC.I had an exhibitor list of booths showing HD Radio receiv-ers, so I plotted a direct course to see what the showingwas like. This is when I realized that if I were not lookingfor HD Radio I probably would have never found it.

My first stop in the LVCC was the Ibiquity booth. You'veseen a similar display at the NAB convention: the whitecube in the center with info and a display of HD Radioreceivers.Th is time,there were several vehicles in the boothshowing HD Radio technology as well. It was a nice try,butit didn't stand out. CES is a marketing blitz. Every boothhas lights, sound and tricked -out cars, and many of themhave plenty of other attention -getting decorations.When I visited the booths of the HD Radio receiver

manufacturers,) was disappointed. At most of the booths,the HD Radio unit was tucked in one corner. Most ofthe booth staffs knew little, if anything, about HD Radio.However, those that knew something were busy pushingtheir other products.

After the convention I talked to Peter Ferrara,the presidentof the HD Digital Radio Alliance, about the disappointingpresence at CES. He told me that the focus of CES is theopportunity to sit down one-on-one at high levels andhave meetings with the manufacturers and help them getfurther in the game.

I suppose that approach is good as far as getting hard-ware to the store shelves, but in the meantime, more than100,000 people still know nothing about HD Radio. CESwas a chance to show them that terrestrial radio was justas important today as it ever was. Instead, the attendeesare further convinced that digital radio's future is withSirius and XM, and portable digital audio is with mediaplayers and cell phones.

Chriss Scherer, editorcschererorprimediabusiness.com

E-mail: radio@primediabusiness. cornFax: 913-514-7201

8 February 2006 Ranks magazine www.beradio.com

ce,--ividrtEx

aAC

ACCESSYour Pass to

Amazing AudioFrom Anywhere

Broadcast quality, real-time audio over the publicInternet. Really. It works.

ACCESS delivers mono or stereo over DSL, Cable, Wi-Fi,3G cellular, satellite- plus some services you may not haveeven heard of. Given the challenges of the public Internet,it's no small boast to say that ACCESS will perform in realtime over virtually any available IP connection.

Want to learn more?

Contact Comrex to get a cREE booklet that explainsthe ACCESS BRIC technology and how it differs fromtraditional IP codecs.

I Is -

Toll Free: 800-237-1776 www.comrex.com e-mail: infopcomrex.com19 Pine Road, Devens, MA 01434 USA Tel: 978-784-1776 Fax: 978-784-1717

0401\ aif Eli WY%ftIntill11.11641111.

Mannino Technology

The value-added engineerBy Kevin McNamara, CNE

It has always been my impression that en-gineers are some of the most underratedpeople employed in a station. (To be fair,there are still a handful of owners and man-agers who appreciate the role occupied bya qualified broadcast engineer, but theseare the exception.) This industry -wide at-titude has been prevalent for as long as Ican remember.

It wasn't always that way. In radio's first30 years,engineers were held in fairly highregard. During that time,TV was beginningto penetrate some of the larger markets;

newspapers were radio's only real com-petition in respect to news delivery. Radiowas busy establishing itself as a reliableand credible medium that could deliverreal time news stories and entertainment.It was less focused on the revenue aspectsand more toward ensuring that the qualityof its on -air product,technical and content,was competitive and the best that theycould put forth given their resources and

budget. Even in smaller markets,where maybe only onestation existed, owners paid attention to the quality ofthe product. If you ever had the opportunity to dismantlean old facility, you would see evidence of the workman-ship-how the wires were bundled carefully with lace,the neatness of the layout and in the documentationprepared (typically full blueprints.)

Engineers were perhaps the larger part of radio's earlysuccess: they designed, built and installed the facilities;they ran the audio boards; they did the production; insome cases, they were the air talent and general manager.As the industry matured, it move toward a different oper-ating model. Radio reached, and was increasingly used,by a large portion of the population, garnering a largeshare of advertising revenues. New stations appeared andcompetition tor those advertising dollars increased. Nowstations,whilestill realizing the need bra reliable technicalproduct, have shifted their focus to developing the on -airproduct and creating a superior sales force. It was dur-ing this period that I believe the role for an engineer wassomehow diminished and relegated to a smaller group ofpeople that worked in the background.

In 2006, those attitudes haven't changed a lot, which isironic because the engineer probably plays a much moreimportant part in the station's operation than ever before.Beyond the traditional responsibilities of maintainingstudio and transmitter facilities, engineers are also han-dling the computers,telephones and data networks,not tomention the occasional request to do carpentry,electrical,plumbing and fixing the station vehicles.

The value you addHave you ever stopped to think about the added value

that you bring to your employer? You may not be requiredto do all the items listed, but you can be sure that you aredoing more than simply maintaining studios and transmit-ters. I've seen recent salary surveys that place broadcastengineers at or below what you might expect at any numberof possible careers where you already have a reasonablelevel of experience. When considered in these terms, itis clear that a competent broadcast engineer brings atremendous amount of value to a company.

I'm not convinced,with the current breed of the charactersmanaging radio stations,that you would be able to make acase to your employer that you deserve additional moneybased on your skill-set,because after all,they're doing youa favor giving you the job in the first place, right?

Identify your skillsWebster's defines the word "skills"as"proficiency, facility

or dexterity that is acquired or developed through trainingor experience"

10 February 2006 Rad!o magazine www.beradio.com

breaking down barriers

actual neightmm inch

For more information

10 visit www. klotzdigi....al.com or call 678-966-9900

DIGITAL RADIO ON -AIR CONSOLE Full Audio Networking

Any s.gnal a -,ywhere

Complete format store, name ani recall system

Dynemic control matrix

Dy--rmics and EQ control Pconerful M x -Minus capacilifies

+Level meters fcr all buses and selected inputs

+Taithack+Macro programming+`/::ice prccessing preset+13 -character channel came cAsplays

+l tra slim low profile design - only 1" thick,

+Tsble-too mounting, no turn ture cutouts required

+Split or straignt conso e options

+GUI based Autoconfic Setup Tool

* Starting at $10K11Including surface, audio engine and audio platform

AEON - the latest innovation from the market leader

DIGITAL

Managing Technology

I'll guarantee that you have developedskills that you may not have realized haveadded value to a current or future employer.Take a few minutes to think about the fol-lowing skillsyou have no doubt developedbeyond the obvious (network administrator,circuit designer, facilities manager).Theseare all marketable skills, though you mightwant to consider additional education,training and certifications. Here are a fewyou may not have considered.

Project manager. As an engineeringmanager or chief engineer,you have prob-ably been involved with building new orupgrading facilities. In that role,wereyou in-volved with the initial design,working withoutside vendors (architectural,mechanical,contractors) or managing the successfulcompletion of the project? Project manag-ersare required in all industriesand tend tobe some of the higher paying professions.You should consider the Project Manage-ment Profession (PMP) certification fromthe Project Management Institute (www.pmi.org). It is the globally recognizedorganization for project management

training and certification.Procurement manager/purchasing agent. You're prob-

ably involved with evaluating,negotiating and purchasingequipment. This is basically the job of a procurementmanager. Every company is in the business of purchas-ing materials and equipment. The Institute for SupplyManagement (www.ism.ws) offers the Certified Purchas-ing Manger (CPM) certification, which it claims was thefirst professional designation for purchasing and supplymanagement.

Project controls analyst. This is also referred to as cost en-gineering. In the course of planning and working through aproject,you are evaluating better, cheaper, faster, stronger,more efficient methods of performing certain tasks, typi-cally resulting in a savings for your employer. This is classictime/value of money analysis. For example, this could bethe analysis of necessary resources needed to completea project vs. the effect time may have on the business orwhat equipment is necessary to accomplish a certain end.The Association for the Advancement of Cost Engineering(wwwaacei.org) offers five certifications in this field.

These are just some of the skills you probably have ac-quired. I hope this has given you some incentive to moreclosely evaluate the experience and abilities gained in yourpresent position, and possibly turn them into real added -value strengths that will ensure your future growth. #

McNamara is president of Applied Wireless, Cape Coral, FL.

Design ))) Build ))) Installation

Ram Broadcast Systems builds studios formost of North America's major networks,group stations, and news organizations.

Ram offers comprehensive studio design,fabrication, systems integration, andcomponents. Put Ram's 35 years ofexperience to work for you:

Studio Design Et Fabrication Pre -Wired Systems Broadcast Furniture Switchers Metering Amplifiers Wire Ft Cable Racks Accessories Used Equipment And More!

Radio and Television Studios

12 February 2006 Rad4o miluaziLue www.beradio.com

e ruary o t e 'a .,o magazine

IBOC Installationsbile stations transition to III) Radio, there are several decisions that

Wneed to be made that relate to generating the digital signal. Separateantennas, high- or low-level combining and other options exist, and the

decision to use a particular method is determined by each installation. In somecases, a particular choice may be obvious. For other operations the choice maynot be so clear. Radio magazine asked several stations about the options theychose and why.

Cox Radio -Tampa WSUNSplit-level combiningRoswell Clark, CSRE CLINT MCSE,director of technical operations

Cox Radio -Tampa installed IBOC onthree of its six Tampa FM stations during2005. Plans were considered in generalterms in the preceding years and the sta-tion took into consideration the eventualinstallation of HD Radio whenever majoritems for the stations were purchased.

Despite the best efforts leading up tothe actual installation date, changes intechnology and remaining limitations inresources at the time of implementationdirectly affected critical decisions. ForWSUN, physical space in the transmitterroom was a premium. The station needed

to replace a backup transmitter, and there is only one antenna at the site. For-tunately, just prior to the installation, advancements in RF combining methodsallowed creative solutions to be pursued. Split-level combining allowed usto keep the existing analog transmitter in service, and the Harris Z HD Radiotransmitter supports can also be used in an analog -only mode (called C -mode),which allows it to also serve as a backup analog transmitter.

Another space saver is the Dielectric Dibrid switchless combiner. It takes theplace of three discreet switches and the HD Radio combiner. An added benefitis the glitchless transition between modes at the push of a button.

Cumulus Broadcasting, Harrisburg, PA, WNNKSeparate antennanar.e.cupplee, regional engineering coordinator

WNNK uses a Dielectric DCR-M interleaved antenna for analog and digitaltransmission. It features two bays for analog and two bays digital. The separateantenna method for IBOC was chosen for several reasons.

The station needed to replace the main antenna. The old one had failed so itmade sense to install something for IBOC at the same time. Tower loading wasnot an issue because the IBOC antenna portion was not nearly as heavy as themain analog. The station also owns the tower, so there were no lease issues.

The digital antenna is fed with a 7/8" Heliax, which did not add significanttower load, nor was it expensive. The analog antenna uses a 3" Heliax.

Except for low-level combining, all the combined systems require a capitalexpense of a second transmitter. Generally speaking, power levels over 10kWTPO do not make sense to run low-level because of the inefficiency of the

nswer ems

The Art of SurroundThis is part two of the article that ap-peared in the November 2005 issue ofInsight to IBOC.By Alex Kosiorek

ith the latest product an-nouncements for the con-

sumer, it looks like surround -sound broadcasting and HDRatio are making more headwayin tne radio broadcasting arena.However, there are still manyquestions to be answered andmany tests are underway to ad-dress the concerns of surround,which include the challenges ofdownmixing and the concernsabout the three major propo-nents that are vying for accep-tance. It's too early to addressthe proposed MPEG surroundtechnology, as its standardizationis not yet complete and hard-ware -based encoders/decoderswill take some time thereafterto develop.

As you may know, the threemajor proponents (Dolby Pro -logic II, Neural Audio 5225 andSRS Labs Circle Surround) taked screte multi -channel surroundcontent and encode the multiplechannels of audio into a stereomix for transmission on standardtwo -channel delivery systems.The surround -encoded two -channel stereo mix is called acownmix and referred to as Lt/Rt.Conversely, upmix is the termused to describe the surroundmaterial that is decoded from thetwo -channel stereo (Lt/Rt) mix.Because of this downmix/upmixprocess, none of these systems

CM111.111Wci on page 3

InsideOpen Mic: Peter Ferrara 4

Growth of Digital Audio 6

A special supplement to

"I recommend the FlexStar" Exciter.It's an extremely reliable way,

to launch HD Radio"broadcasting."

FlexStarTM HDI-100 Importer HDE-100 Exporter HDX-FM/HD Exciter

Bob HenslerVice President of Engineering,

111111111111111111111111111111111111111111111111111111111111

Managing Content. Delivering Results.

Real Time Adaptive Correction

Provides easy verification of FCC

mask compliance.

"We've found Harris' new Exciter, along with the Importer and Exporter, to be very flexible andreliable. There are more inputs on this Exciter than any other brand, allowing flexibility andminimal downtime. Plus, Harris is the first to include iBiquity's Exgine Architecture which givesus a simplified, more reliable installation. With the help of Harris, we now provide more streamsand channels to the Denver population without adding transmission sites. I recommend theHarris FlexStar family to other radio groups. It's as easy as new technology can be to operateand helps us accomplish our goals."

assuredcommunications-Broadcast Microwave R F Government Systems www.harris.com

HD Radio is a trademark of iBiquity Digital Corporation 2006.

IROC installations

transmitter. The sepa-rate antenna approachis the most efficient-thedigital transmitter onlyneeds to overcome theline loss. In this case,the analog TPO is 23kW(on a 25kW transmitter),and the IBOC transmitterruns 240W. As an addedbenefit, the effect on theac load and power billwas minimal. Also, themain (now analog) trans-mitter did not have theheadroom to overcomethe combiner losses.

I considered Split-level combining at the time, but it wasstill on the drawing hoard during our installation.

Cincinnati Public Radio WGUC-FMLow-level combiningDon Danko, CBRE CB1VT, VP engineering and operations

The decision for WGUC to adopt and start broadcastingan 1BOC signal was a direct result of long-term strategic

planning that started b(fore Ibiquity was formed.WGUC uses low-levelcombining to sum theanalog and digital signalsbefore it feeds the finalamplifier. This methodresults in a one -trans-mitter design to meetthe licensed transmitterpower output (TPO),and it eliminated theneed for a big, external,high-level RF combiner.The benefits of this typeof system are less trans-mitter power consump-tion, less cooling load

and less equipment cost. It's less equipment to install andreduces the space needed within the transmitter room.

Low-level combining was the perfect solution for WGUC.Various factors were considered in this selection but themost import one was WGUC's TPO. WGUC has an effectiveradiated power of 15kW, but with a five -bay antenna at 880feet height above average terrain the station is licensed fora TPO of 7.1kW. When the station made the decision toinstall HD Radio equipment two transmitter manufacturerswere shipping an HD Radio exciter and a solid-state trans-mitter that could produce the necessary power for WGUCto meet its required TPO. We chose equipment from Harris.Site preparation was completed and within two months thenew transmitter arrived. The delivery truck pulled into thefacility at 8 a.m. on July 26, 2003, and by 5 p.m. that dayWGUC was the first public radio station in Ohio to broadcastan HD Radio signal.

The art of surroundcon United from page 1

create a t-tre discrete multi -channel upmix identicalto that of the origina content, however, some sub-jectively do a better job than others depending onthe content and can complete the task of deliveringthe surround conten-. quitE impressively. Addi:ion-ally, unlike the older versi 3ns of these systems, allof the proposed systems p -ovide full bandwidth andstereo imaging to the rear channels.

Two of these technDlogiE s, Dolby's and SRS Labs',use a matrix encodiig/de:oding method that alterchannel evels and prase relationships to create thedownmi K. Neural Audio's 5225 method implementsmany o these matrix techniques to offer legacysystem :ompatibility, but it also embeds steeringinforma-ion into the downmix to create a reliableupmix. -he question that remains is whether or notall these systems ar-a cross -compatible as is in prac-tice today; allowing one ti) encode with one systemand decode with another, providing the consumerwith a satisfying s urroi nd experience that wasoriginally intended Last fall, thorough subjectivelistening tests began to a nswer this question, withfurther tests in the next few months to veri'y thepreliminary findings.

Finding destinyRegardless of wh ch system is used, including the

MPEG system, creaing a lownmix will be inevitable.Though there are valid arguments to use stereo artis-tic mixes alongside the surround broadcasts, manyobstacles would have to be overcome. These includethe prc liferation o- the matrix decoders already inthe market and the del.very constraints that willcontinue to exist. Then tiere is an often -overlookedcomplication that the so tg structure of many of thecommercial surroJnd-sound discs simply do notmatch their artistic stere ) counterparts. Bundle thatwith the time align Tient ssues of content and blend-ing of analog to digital signals, and it's obvious thatdownmixing will be in r lace for some time.

Because of this, carefully watch what occurs withthe resultant downmix, regardless if one takes con-tent from commercially available discs or createshis own. Because these systems are taking 5.1 (orsometimes 6.1) channels of discrete surround mate-rial and encoding it into two channels of audio, thephase relationshi as, delays, equalization and othereffect; that exist in the discrete -channel surroundmix can cause comb f Itering and in turn, loss ofdefin'tion of instrumentation and vocals in thedownmix. If you are working with classical mate-rial that has mos-ly ambience in the rear channels,the resultant downmix should have few problems.However, many surround titles include full instru-mentation directed to all speakers, immersing the

continued on page 6

the 1)-1B Answer Ser es is ar ongoing series of supplements thatcoven. the technology of digital audio broadcasting.

Insigb to !BOG - a supplemm t to Radio magazine. February 2006.K©2006 Prism Business Med a. All rights reserved.

Insight to IBOC - a supplement to Radio magazine February 2006 3

Open MicInside the HD Digital Radio Alliance

fter the CES convention, Radio magazine talked to Peter Ferrara, presi-dent of the HD Digital Radio Alliance, about the new group's plans.

Radio: The founding radio groups have committed more than $200million of on -air inventory to promoting HD Radio. What other advertis-ing is going to be used to promote HD Radio to consumers?

PE: I'm not sure that the Alliance will utilize other media directly, al-though I think that as we move forward in connection with our retail andautomotive partners' advertising, HD Radio will take a presence in that.

But for us, radio reaches 96 percent of all Americansevery week. I don't really think that we need anythingmore that has the kind of reach or marketability likeour own medium.

Think of it this way: of those other people buy ourtime to promote their products. We will promoteradio on the radio to people listening to radio. Itdoesn't get much better than that.

FerraraRadio: There are concerns that the Alliance is

involved in unfair practices by assigning formats to stations. What'sreally happening?

l'F : We want the owners [to join this effort]. This is not an exclusiveclub. We have everyone in here from the size of CBS and Clear Channeldown to two markets forABC and an independent owner in Philadelphia.The Alliance is open to anyone and everyone who wants to step up toparticipate in this. And they all should.This is an industry effort.This isnot an individual company effort. That's why it exists.

Radio: Are there established deadlines for the Alliance's goals?

Pr: I don't think that deadlines would be appropriate. It's very difficultwith a new technology and the adoption of a new technology to set adefinitive line and say that by x date we want to accomplish y.

We have a four -prong strategy.The first part is that we have to workwith the receiver manufacturers to help them get into the game anddevelop a radio that is available at a lower price point that will appealto a broader audience base. The second part is to establish and workin the retail channel. We have to find ways to get these radios on thestore shelves in large quantities and in ways that the consumer haseasy access to. Right now that does not exist.The third part is the OEMand automotive sector. This is vitally important to the success of HDRadio.

The last part-and arguably the most important-is raising consumerawareness and ultimately consumer demand for HD Radio. That's thereal driver of this.

I said to a number of people at CES that it's interesting that the broad-cast industry is doing this, because the broadcast industry is the lastbeneficiary of getting HD Radio into the hands of the consumers. It'sthe ultimate beneficiary, but the chip makers, the receiver manufactur-ers, the retailers and the automotive industry will make money beforewe do. This is a real push for the radio industry to be on a side of thebusiness that is really not our business. If we don't take this approachit's just not going to happen fast enough. A

11111111111.11111111111111

11100 installationsCox Radio Miami WFLC,WHQT, WEDR, WHDRReverse -fed combinerMitch Wein, chief engineer

After 20 years it was time to replacethe 10 -station Miami FM master antennasystem. HD Radio implementation wasan integral part of our new systemdesign. After reviewing various systemdesign proposals, the Miami broadcast-ers-representing five major broadcastcompanies-voted unanimously for theERI eight -bay, 32 -element, multi -sta-tion directional antenna and combinersystem. This system provided the mostefficient and cost effective transmissionscheme for simultaneous IBOC andanalog operation with an optimizedanalog and digital pattern.

The master system is divided intotwo multiplexed branches with fivestations on each branch. The stationsare strategically grouped to eliminatethe need for group delay compensa-tion modules. Each station injects itsIBOC signal via a 7/8" transmission linethrough a circulator into the dummyload port of its respective analog com-biner module. Further enhancement ofthe IBOC signals was achieved by us-ing ERI constant -impedance bandpassfilters with inductive loop coupling,providing a flat frequency response andmaximum bandwidth for the reverse -fed digital signal.

The two branches and parallel 6'/8"transmission lines carrying analog anddigital signals are mixed when theyreach the antenna power divider.Each power distribution circuit feedsthe respective slant left and slant rightradiators. This combining schemepermits the use of low -power (200Wto 300W) IBOC transmitters to pro-vide comparable analog and digitaloptimized radiation patterns withoutadditional HVAC, electrical and gen-erator requirements.

In addition to the four Cox stationsthe antenna also hosts non -Cox stationsWMGE, WPOW, WHYI, WMXJ, WMIBand WAMR. A

4 February 2006 Insight to IBOC - a supplement to Radio magazine

Multicasting.

It's like trying to fit

well, you know.

Omnia Multicast with SENSUS codec conditioning, OmniaBess Management system and distributed look -aheadlimiter significantly improves the sound of HD multicastand other bit -reduced streams.

Management has decided to multicast. Which seems like a

terrific idea - until you consider just how little bandwidth

each channel will get. How will the sound of your station(s)

survive these shrinking bitrates? Omnia can help.

New Omnia Multicast with SENSUS' restores the fullness

and depth that bit -reduction steals. Our DSP gurus

teamed up with the codec experts at Telos (the folks who

introduced broadcasters to MP3 and MPEG AAC). Together,

they developed a unique suite of tools to pre -condition audio

for HD Radio' multicasting.

SENSUS technology enhances punch, preserves presence, and

reduces artifacts. Even heavily bit -reduced channels (like

multicast) can be significantly improved by Omnia running

SENSUS. And like all Omnia processors, Omnia Multicast

delivers the smooth, clean, pure signature sound that grabs

your listeners and holds them hour after hour. No wonder the

top stations around the world choose Omnia over all other

processor brands.

Multicast like you mean it... with Omnia Multicast.

OTTelos CompanyDia

OmnaAuda com

The art of surroundcontinued front page 3

listener in the multi -channel experience, it is possiblethat the downmix may have problems.

Two things to avoid are delaying the rear channels ofany material before passing them on to the encoder,and placing the vocal in the front and rear channels. TheNeural Audio 5225 and the upcoming MPEG Surroundsystem use special algorithms that alleviate many ofthese problems in the downmix quite effectively.

The use of the low frequency effects (LFE) channelis often overlooked. In most downmix scenarios-es-pecially music-the LFE signal is used sparingly if itused at all.The LFE was originally created by the movieindustry to provide dramatic effects to the listener.Therefore, if you transfer material and there is exten-sive use of the LFE channel, monitoring the downmixand even the upmix is crucial. Overuse of the LFE cancreate too much bass, loss of bass or other undesirableeffects, especially on poorly calibrated home theatresystems. The LFE channel should not be used for thebass content of the main speaker channels, but ratherallow the bass management of the playback systemsto distribute bass appropriately. There are guidelinesavailable from Dolby's and SRS Labs' websites as wellas from the Producer's and Engineer's Wing of Record-ing Academy at Grammy.com.

There are still other issues of debate concerning sur-round sound encode/decode solutions for HD Radio aswell as standard analog broadcast. For instance, theincreased amount of L -R (left minus right) energy that

Note: LFE and bass management are notthe same! The LFE channel is part of theplayback functions of recorded media suchas DVD. Its function and purpose is oftenmistakenly used for bass management control.Bass management is a separate functionthat takes bass frequencies from the mainsurround audio channels and redirects themto the subwoofer, as many smaller monitors..are unable to produce low frequencies.

the systems are producing and the effect it may haveon the analog side of the FM broadcast chain.

Next time, I'll review tests that are underway toaddress this, provide analysis of the amount of L -Renergy each system produces, and a comparisonof the different surround encode/decode systemsproposed for HD Radio.

Kosiorek is the audio recording, mastering en-gineer at the Corbett Studio at Cincinnati PublicRadio.

11.1111.. Mehl .11111., in on dt,/,1,11.(1,,,

Twice each month, our e-mail newsletterIBOC Update - Insight on Digital Radio brings

you the latest in digital audio broadcasting.Subscribe today at beradio.com.

Steady rowth for digital audioWhile terrestrial racliu con inues to develop and market a digital transmission system, other digital audio services,

including satellite radio, Internet radio and podcasting, are competing for the same potential listeners. Consumer buy-ing research shows that personal electronics sales will continue to increase in the coming years. Consumer acceptanceof HD Radio is a prime concern for stations adopting the technology.

According to Forrester Re-search, the number of house-holds that use digital audioin some way will steadily in-crease over the next four years.Figure 1 compares the adop-tion of various forms of digitalaudio within these households,including HD Radio.

Digital audio usage withPCs and Internet radio willtrack the number of house-holds. Broadband usage isexpected to grow at a fasterrate, which will likely facilitatethe Internet radio, podcastingand media player adoption.Meanwhile, satellite radio's

120

100

-oz, 80CD

2 60o= E0 40

20

0

2003 2004 2005 2006 2007 2008 2009 2010

- U.S. Households

- PC

Broadband

-Online radio-",-MP3 player

- Satellite radio

-Podcasting- HD Radio

Figure 1. Forecast of U.S. household digital audio adoption.

growth will slightly trail the trend.Podcasting and HD Radio are expected to grow in a similar trend, although they will lag the growth slightly through

2007 before joining pace with it.

Data Source: The Future of Digital Audio, 2005, Forrester Research

6 February 2006 Visight to IBOC - a supplement to Radio magazine

HD RADIO?

I'M GOING WITHMOSELEY.My challenge is to make the right STLchoice for today, as well as for tomorrow.

With Moseley, it's no problem.Check out their Starlink SL9003Q-

2SLAN, the first STL to provide AES digitalaudio and Ethernet data over the traditional950 MHz band.

Or add a bi-direc-tional Ethernet LANextension and serialdata link to a newor existing STL withthe license -free 900MHz Lanlink 900D.

For T1 lines orlicense -free 5.8 GHzlinks, the StarlinkSL9003T1 STL/TSLtransports bi-direc-tional AES digital audio, Ethernet LANextension, remote control, and telephones.

Your best connection to the future isa smart STL choice today. Take it fromme, Moseley will insure that your stationis ready for HD Radio and the new digitalservices of tomorrow.

Give the digital STL experts at Moseleya call for more details.

MoseleyDave Chancey 805 968 9621Bill Gould 978 373 6303www.moseleysb.com

olutions or II

Your Single Source for Broadcast Solutions"

our IBOC Needs from E-

From the beginning, ERI has been a leader in the research anddevelopment of IBOC FM technologies. Join us as we continue towork toward developing new products for this excitingtechnology.

EDLYNX" Dual Input Side MountFM Antenna for IBOC Operations

The Electronics Research LYNX- Dual Input Side Mount FM Antenna is designed specificallyfor FM IBOC applications. This new antenna is capable of transmitting both the analog anddigital FM signals without requiring a high loss hybrid combiner and maintains high isolationbetween the digital and analog transmitters. The design meets the current FederalCommunications Commission requirement for informal notification of IBOC implementation.

MASK -960 IBOCSpectral Compliance Filter

ERI has kicycloped a compact arrangementof our famous FM 970 band pass filtercavities to address the specific nerds of FMIBOC broadcasting. ERI's mask filterconfiguration can provide the rightresponse for any requirement.

Low/Medium/ High PowerHybrid Combiners

The quality and reliability of ERI's standard (plan. Ill

wave hybrids have been adapted for use as an 11B0(Hybrid Combiner. The iB0X- 10 dB HybridCombiner is available in two versions:

Low/medium power version for analog FM powerlevels up to 30 kW High power version which is rated to handle up to80 kW of analog FM power.

FELECTRONICS RESEARCH, INC.)

Call Toll -free at 877 - ERI - LINE Visit Online at www.eriinc.com

FCC Update

Webcasting royalty fees in playBy Harry Martin

new proceeding has begun to set the music copyright roy-alty fees that stations streaming on the Internet will pay torecord companies and recording artists for 2006-2010. Thenew fees are not likely to be finalized until late in 2006,but,once set, they will apply retroactively to Jan. 1,2006.

A total of 41 parties have signed up to participate in therate proceeding. These include radio broadcast associa-tions,including NPR and the NRB; more than 10 large radiogroup owners;large Internet -only webcasters not affiliatedwith on -air radio stations;satel lite radio companies; I nternetmedia companies such as Yahoo and AOL; webcastingservice companies, which provide a variety of servicesfor large numbers of on -air and Internet -only webcasters;and the two principal combatants: Digital Media Associa-tion (DIMA), the trade association for large Internet -onlywebcasters and big Internet media companies; and SoundExchange,which represents,collects copyright royalty feesfor,and distributes the fees to 1,000 record companies and12,000 recording artists holding copyrights for 85 percentof the music recordings sold in the United States.

II A new startA three-month negotiation period ended in May 2005

without a settlement between record labels and webcasters.That set the stage for the submission of written fee proposalsto the Copyright Royalty Judges (CRJ) in October.

DIMA proposed much lower royalty fees than those cur-rently paid. It proposed that webcasters pay 5.5 percentof revenues, which it said was essentially equal to theroyalties webcasters pay to music publishers and song-writers through ASCAF BMI and SESAC. Currently, onlysmall webcasters pay fees based on a percentage of theirrevenues. As alternatives, DIMA proposed that webcast-ers continue to be subject to the current rate structure,

Dateline:April 1 is the deadline for radio stations, LPFMs

and FM translator stations in Delaware and Penn-sylvania to file their 2006 renewal applications.

Also by April 1, radio stations (but not LPFMsor FM translators) in Delaware and Pennsylvaniamust file with the FCC their biennial ownershipreports and annual EEO program reports, andplace their annual EEO reports in their publicfiles and post them on their websites.

April 1 is the filling date for biennial ownershipreports for radio stations in Indiana, Kentuckyand Tennessee.

Stations in Texas also must place their annualEEO reports in their pubic files and on their web -sites by April 1.

which provides for a fixed price per hourof music streamed or a fixed price persongstreamed. DIMA proposed a per-hour/per-listener fee of 0.38 cents (compared withthe current per -hour fee of 1.17 cents) anda per-song/per-listener fee of 0.025 cents(compared to the current per -song fee of0.076 cents). Large and small webcasterswould pay the same fees.

Sound Exchange countered with a pro-posal for a large increase in royalty fees. Itproposed that webcasters pay the largerof: (I) 30 percent of revenue; (2) 0.0019cents per-song/per-listener; or (3) a per-hour/per-listener fee of 0.0247 cents forbroadcast music simulcasts, 0.0019 centsfor non -music broadcast simulcasts, and0.02945 cents for Internet -only webcasts.An adjustment factor of 25 percent wouldbe added for all webcasts not proven tohave been transmitted without any witelesscomponent. For webcasters generatingrevenues, this would work out to payingSound Exchange a total of 37.5 percentof revenues.

The on -air broadcasters proposed a flatannual fee, regardless of the number oflisteners, for streaming. The fee would bebased on the on-ai rstation's market positionand BIA revenue rank. In the five largestmarkets,stations would pay $8,000 annually,mid -size stations $6,500 and small stations$6,000. Fees for stations in smaller marketswould be lower, with rates for markets101 to 200 ranging from $500 to $1,000.Stations webcasting at least 95 percentnews, business, talk or sports would pay alower flat annual fee, ranging from $750 inthe top -10 markets to $250 in the smallestmarkets. Stations webcasting at least 25percent news,business,talk orsportswouldbe subject to a different fee structure. Theminimum fee for partial -year streamingwould be $250. All fees would increase 4percent per year.

If no settlement is reached within a fewmonths, the CRJs will issue a decision.

Martin is immediate -past president of the FederalCommunications BarAssociation and a memberof Fletcher, Heald & Hildreth, Arlington, VA.E-mail martin@fhhlaw.com.

www.beradio.com Radio magazine February 2006 21

T

Ifierii4iaioLoaqv

.When the event is held in unusual places

and situations, it's radio at its best.By Doug Irwin

5 uccessfullycreating a remote broadcast is mucheasier now than it ever was before. As recentlyas 15 years ago there were only two options for

a remote broadcast: buying an audio line (or lines )from the telephone company or using a radio link(probably a 450MHz system). Switched 56 and ISDNwere in their infancies, and there was no equipmentavailable to make use of them. For all intents and pur-poses there was no Internet; no cable or DSL. Go backeven farther (a little over 20 years) and you'll recall thatto talk with the studio from the remote site we used atelephone (a regular dial -tone) and a long piece ofwire to hook it up. A stereo music remote requiredthe station to order two lines, which also required thestation engineer to visit the remote site ahead of timeto test both lines for continuity, frequency response andphase response. The telephone company used to callthis "stereo conditioning."

I'll admit that I don't miss that part at all.As technology has progressed ,the telephone company

has found more and more ways to use the same oldcopper wires buried in the ground so many years ago.In Seattle we still use 8kHz audio lines for the homegames of the University of Washington Huskies becauseit sounds better and it's easy to test remotely. We stilluse dial -tone for POTS codecs,too. ISDN is ubiquitous,although there is more and more talk of it disappearing.Part of the reason for that,) suppose,is that the telephonecompany wants to use the same copper wires to carrymore and more data,such as DSL. Fortunately, codecsthat use DSL and Wi-fi are now available for use.

And don't forget about the old-fashioned radiosystems.New versions of the same old analog radio systems arestill made and still serve a purpose. Cellular telephonetechnology has evolved aswell and has greater potentialfor use in carrying out remote broadcasts.

The current stateCurrently,Tieline has introduced the I -mix G3,which

is a complete remote broadcast package with a built-inmixer. The I -mix has an expansion slot that can accom-modate another POTS codec,an ISDN codec or a GSMmodule. The POTS codec plug-in can be used with thebuilt-in unit to bond two analog phone lines togetheiproviding mono,stereo or dual -mono audio feeds witha 15kHz frequency response. The ISDN codec uses

22 February 2006 Raullo magazine www.beradio.com

Model 2600Bandpass

Filter

Shively Labs° 411FM end C

From Multistation to MulticastinQuality signals require quality compone

0118F -9CField Flange

of Howell Lab. :pries. I,dgton. ME 04009 USA

(207) 647-3327 (888: SHIVELY

s*esgshively.ccm

- An Employee -Owned Gonpany -

Model 9413PowerSplitter

318F-62Adapter

1411't

www.shively.c

L_A

Model 6813FM A-tenna

p

Snap, Crackle, Pop?Dropouts?

Intermittents?

O

0

finlYEiE Fnncti.-E

114t.stri,ap Anah.:e-Digital WatcncolClozkiSamPle CovikerEitScoPeListortion Vet(--

.,..,

DA795

Digital Auch An 1,,c, O

Solve Digital Audio Problems

Pro

Digital AudioAnalyzer

sales@sercore.com www sencore.com 1-800-736-2673 or 1.605.329.0100 3200 3e core Dr -,e Sioux Falls. SE 57107 USA

www.berEdio.com Ratlfo magazine February 2006 23

41 -$ 0

le* * IaTieline1 -mix (,

0.711,G.722, MPEG Layer 2 or Tieline'sown music algorithm. The GSM

module provides 7.5kHzofaudio bandwidth on

the standard GSMnetwork or 15kHz

NI%

Comrex Access

7.11 et LI aaN:

Musicam Netstar

over a high-speedHSCSD GSM net-work. (The GSM

module communi-cates with a standard

two aono og oo oG oo lo

41i

POTS codec on the far end.) Tieline's IP softwaremodule gives the I -mix the capability to connectto wired or wireless LANs. (To use the I -mix with a

Wi-fi network the user simply provides a mini Wi-fi bridge,and thenconnects it to the I -mix via the RJ45 Ethernet connector.) Audioperformance over an IP connection can go as high as 20kHz,stereo,non -compressed, although this requires a data rate of 2.5Mb/s.

Comrex has many years of experience in building equipment forremotes over plain old telephone circuits, and, not surprisingly, itscurrent line includes all the features and functionality that you wouldexpect. The Matrix is the company's flagship product. The studioend would typically be the rack -mount unit;the Matrix Portable is theunit typically used in the field. It features a remote mixer with onemic-level input,one mic or line level input,a headphone output anda line -level out. Typically the Matrix uses an on -board POTS codecthat can provide up to 15kHz of duplex audio response dependingon the quality of the POTS connection. However,the user can alsoadd modules to the Matrix such as the Portable ISDN module, theMatrix GSM module or the Matrix Telcell module.

Comrex is also finalizing a new product called Access,wh ich takesadvantage of the increasingly diverse set of connection possibilities:POTS,DSL,cable DSL,802.11x (Wi-fi),3G data networks,high-speedcellular data networks and the public Internet. It uses the Com-rex-developed BRIC (Broadcast Reliable Internet Codec) and willperform at several user -selectable quality levels. HE-AAC and AAClow -delay are also available for use over robust networks.

Musicam is a long-term player in the field of POTS and ISDNcodecs. One of several such codecs is the Roadrunner, which is acompact, portable ISDN codec with a built-in mixer. The unit hasthree-inputs;two at mic level,and one that switches between mic andline level.The unit can deliver 20Hz to 20kHz audio bandwidth with

STUDIO FURNITURE

astic surface & trim designghest quality materials

modular for flexibilityprecision craftedprofessional featuresmany options available

This studio

furniture line isengineered for studio decors where non -wood trims are a design goal. Available in awide variety of colors, this furniture willcomplement any size market application. Themodular design enables the furniture to beordered in almost any configuration that canbe imagined.

970-461-0730 www.arrakis-systems.com

24 February 2006 RaMo mauazine www.beradio.com

With construction strong enouch tohancle the weight of a Mercedes, the1/ t, - oper.ators

- 11'=-r f 4.1; f 4Artja-r

Stands up to Drive Time.When your listenership is at its peak and your operators are goingfull throttle, it's nice to know the Mosaic digital console from Logitekwill stard up to heavy use. The Mosaic was designed with extra -rugged panels and frame, which lets you relax even if someonestarts getting a little rambunctious with the board. Its sturdy design,easy -to -use controls and advanced features ensure theversatility and operation you need for your facility.

MosaicWhere art meets technology

The Mosaic is a scalable, flexiblecontrol surface for the Logitek Audio Engine,a digital router that streamlines your installationsand simplifies complex audio tasks. For more informationon Logitek's Console Router Systems, visit or website or call

us today.

Logite< Electronic Systems, Inc.

5622 Edgernoor Houston, TX 77081 U5/713.664.4470 1.800.231.5870

info@lcgitekaudio.com www.logitekaudio.corr

© 2005 Logitek Electronic Systems, Inc.

LogitekConsole Router Systems

J111") `LE_LI

APTWoldnet Tokyo

-11.

14-4

AEQ Swing

Audio TX Communicator

a SNR of 84dBwhen using bothB channels ofthe ISDN circuit;it can achieve15kHz audio band-width with only

one B channel. TheRoadrunner offersthe choice of G.722,Musicam enhancedLayer 2 and MPEGLayer 3 algorithms,with connectionrates from 56 to128kb/s.Musicam also

manufactures its own codecthat will work via IP: the Netstar.This unit can send and receivehigh-fidelity audio, contactclosures and ancillary datavia ISDN, dedicated data linesor IP It contains the standardalgorithmssuchasG.711,G.722,MPEG Layer 2 and MPEG Layer3 as well as MPEG AAC andMPEG Layer 4 AAC-low delay.

Like the other IP codecs,this unit can deliver uncompressed,20kHzaudio with near -zero delay if the IP connection supports it.

The APT Tokyo is yet another full -featured, multiple algorithmcodec. In addition to MPEG Layers 2 and 3,G.711,G.722 and MPEGAAC,it also includes APT proprietary codecs such as Standard Apt -xand Enhanced 16,20 and 24 -bit Apt -x. This device features a built-ininverse multiplexer that allows it to use as many as four ISDN circuits,and hence up to 512kb/s data rate. It can also be used over a LANor WAN, by way of its Ethernet connector or via USB.

AEQ makes several audio codecs, including the Eagle and theSwing. The Swing is a portable codec with a U -interface and S -in-terface and the standard ability to use one or both B channels ofan ISDN circuit. It includes a built-in mixer and headphone amp,and also a digital telephone hybrid. The Eagle isa rack -mount unitthat features a dual ISDN interface (U and S); standard algorithmsfor use with a single B-channel,such as G.711,G.722 and MPEG; thestandard capability of bonding both B channels for the full 128kb/sdata rate; and the capability to use one B channel for a plain oldtelephone. It comes with two back -lit displays: one for dialing andone for menu configurations.

Audio TX sells a software package called Communicator thatallows the user to turn a PC or a laptop (with an audio card andan ISDN card) into an ISDN codec. The software (compatible withWin 98, NT, Me or XP) includes algorithms for MPEG Layer 2, Layer3, G.722 and G.711. and can connect with other manufacturers'codecs. The Communicator can also be used over IP throughphysical connections such as a LAN,Wi-fi and DSL.

The Scoop Reporter E -Z from ATA is another portable remote

WELCOME NAB All'

r)J

ENDEE

COMPUTERIZED STUDIOS, LLC

S TO OUR HOMETOWN

LAS VEGAS!CONVENTION: APRIL 22 - 27

Visit us at the Las Vegas Convention Center,and let's talk about saving time and moneyon your next stt..dio build with our patentedtechnology. Complete studios for radiostations, Internet radio, and schools.

8275 South Eastern Avenue, Suite 200 Come test our system and see special eventsLas Vegas, Nevada 702-938-0475 at our booth in the Radio Exhibit Hall.

info@efronstudios.com www.efronstudios.com Booth: N40826 February 2006 Radio_mauazWei www.beradio.com

Resource GuideManufacturers and suppliers ofcodecs, codec accessories and

RPU equipment

AEQ954-581-799:www.aeqbroadlial. L( ont

AEV+39 051 950 3E0www.aev.rwt

ATA Audio973-659-0555WW%V.ataat.rio.coil

Audio Protressiog Technology(APT)

323-463-2%3www.aptx.com

Comrex800-2:37-' 776www.concex cool

Energy-Onix888-324-6www.energy-o

Harris800-622-CIC: 2www.broackaitharris.com

Marti Electronics217-224-96,30www.martiElectronic.i.com

Mayah Communications+49 0 811-3.7,-17-0www.mayah.com

M110 UK+44 1_12560200www..socfigt.c.com

Musicant USA732-739-560wwwir usiumusa.com

Nicom619-477-6298www.r iconusa.com

OMB America800-662-41172www.omb.com

Orban510-351-. 500www.onan.com

Allen Osborne Associates80E-49.5-3420wwvL,A0,31,:p,

Software Authority877-51'4 -9494mdw.saft-e..areauthority.com

Systembase+.:4 1-'47 861123wwit.wstembme.com

Telos Systems216-341-7225wwwtElos-systems.com

TFTE0.1-347-3383v.w..t

Tiehine Technology388-211-6989

33.3-682-7013willburt.com

package, and it has an ISDN and POTS codec built-in. The unit includes athree -input mixer (two mic and one selectable mic/line) and two headphoneoutputs. MPEG, G.711 and G.722 algorithms are included.

The Orban Opticodec 7000 is a portable device that includes an ISDNcodec with the standard algorithms -G.711, G.722, and MPEG Layers 2 and3. The Opticodec's unique feature is that it includes a built-in digital audiorecorder and editing system.

TelosSystems'latest ISDN codec is the Zephyr Xstream,which now includesthe MPEG4 AAC low -delay algorithm. The Zephyr Xport is its POTS codecthat can be made into an ISDN codec as well with the inclusion of the field -installable ISDN option.The Xport usesAAC Plus audio coding for POTS con-

ti-_&"""

Audi( VAULT

"I re -boot once a yearwhether I need to or not.

Bullet-proof reliability. That's why Chris Collins, I.T. Manager/Program Director of

The Radio People in Monroe, Louisiana, relies on AudioVAULT. BE has the most

rigourous testing and quality control program in the industry, so every AudioVAULT

software release is thorough y tested, stable and reliable. With future -proof

flexibility and goof -proof ease of use, AudioVAULT adds up to a proven

investment that lets you focus on programming and profits.

Broadcast Electronics, Inc. 4 100 North 24th Street, Quincy, Illinois 62305-3606 U.S.A.Telephone: (217) 224-9600 Fax: (217) 224-9607 E -Mail: bdcast@bdcast.com

.,,c1cast Electronics, the BE logo and AudioVAULT are registered trademarks andRadio Guaranteed is a trademark of Broadcast Electronics In:

www.heradio.com Railluinduazthe February 2006 27

Broadcast Sales:Mid -South Sales OfficeBob Mayben> bobmayben@usa.netVoice (877) 391-2650

Central Sales OfficeBernie O'Brien> bernieob@earthlink.netCell (731) 695-1714

West Coast Sales OfficeDoug Tharp

dougt@scmsinc.comSales (866) 673-9267

Mid -West Sales OfficeMary Schnelle> marys@scmsinc.comSales (513) 899-3036

South -Atlantic Sales OfficeArt White> whitearthur@bellsouth.netSales (770) 632-1295

North-East Sales OfficeJim Peck> jpeck001@scmsinc.comSales (315) 623-7655

South-West Sales OfficeTyler Dallis> tylerc@scmsinc.comOffice (877) 699-9151

ProAudio &Commercial Sound:Southeast SalesRic Goldstein> ricg@scmsinc.comOffice (877) 640-8205

Orban Opticodec

nections; MPEG AAClow delay for ISDNconnections madewith an Xstream onthe far end; and itsG.722 option allows itto communicate withother G.722 coders aswell. The unit offersa built-in mixer withmic and line -levelinputs, and indepen-

dent headphoneoutputs that canlisten to receivedaudio and monitormixes.

Off the wirePerhaps you are

doing a remote 500yards away from thenearest telephone company demark and there are no POTS lines,ISDN or DSL. Perhaps there are no coffee shops nearby and thus

no Wi-fi. Or, maybe you just want to skipwire altogether and use a radio shot foryour remote. Well,you're in luck becauseRPU equipment is still made.

TFT offers the 8888 RPU transmitter andthe 8889 RPU receiver.The system includesfrequency -agility, selectable deviation onthe transmitter (with 20W RF output) andselectable bandwidth on the receiver. Thereceiver can be controlled remotely withDTMF tones,so that its operating channeland IF bandwidth can be changed. Thetransmitter includes a built-in mixer withthree mic or line -level inputs;a send/returnloop for connection to an external audioprocessor; a built-in peak limiter, and aheadphone output for monitoring of thelocally mixed audio.

Marti has recently introduced a new RPUtransmitter-the SRPT-30. This unit comeswith two (factory selectable) frequencies;four front -panel mic level inputs (line levelinput available on DB connector on theback of the unit) going into its built-inmixer; and up to 30W out. The SR -30 is thecurrent model RPU receiver.

If you get stuck in a situation that thereare no phone lines and no way to get anRPU shot out of the remote site, then youcould be saved by the Marti Digital Cell -cast. It uses a radio link through a digitalcellular system for its connection back tothe studio; a GSM version is also available.The unit includesa four -channel mixer,withline in and line out connections.As broadcasters compete with other

content providers it is becoming clear thatthe remote broadcasting is unique to radio.It's a great way to have interactivity with theaudience and it often makes clients happyas well. Having a reliable and functionallysimple remote system is quite often the keyto success of a radio station's engineering

rtdepament.

Irwin is director of engineering at Clear Chan-nel, Seattle.

INC.YOU KNOW WE KNOW 0

seNs 61.4(.04,2 ivtoject4 otactiisq- (414 adifeet,

A. ead.rowte4 Dteue4 cued7ecitaolofet Setuoefri

Ed. Nike,67.41.1-C CT Witter .Toll FREE: 1-800-438-6040

1-704-889-4508Fax: 1-704-889-4540

CORPORATE SALES OFFICE Pineville, N.C.

E-mail: sales©scmsinc.com/www.scmsinc.com

Telos Xstream ,a

Photo on page 22: Greg Sage of KMXV-FM,Kansas City.

28 February 2006 Radio magazine www.beradio.com

I"'

EMZW4,..$

(D 0 tikE. =1M.4.".

r.)

Looking totouch yourlisteners?

NI IV TS..

`1110:17:,`,. ,,,,

APHEX MODEL 230 MASTER VOICE CHANNELIntroducing the Aphex Model 230 Master Voice Channel, the most powerful processor ever designed specifically for 'joke.

Voices will be bigger, more present, more inmate, more intelligible and more consistent. Its comprehensive complement of exclusive

proprietary features firings these benefits to any voice - from a thundering bombast to a whispering waif - without changing its essential guafity.

IPA 1,49 MA.a S.P.C.L,G.

-6:1'

06( 514,117

IMPIF

,11.11.

Every element of the Model 230 is superior to any other voice processor's similcr function...

The RPA tube preamplifier provides warmth, image and detail.

The Easyrider (ompressor controls output levels withut pumping or breathing.

The logic -Assisted Gate won't false trigger or cut off words.

The Split Band De -Esser effectively cuts sibilance with3ut duNng.

The Big Bottom and Aural Exciter add resonance, depth, :rewrite and clarity.

The parametric E0 -ekes care of any frequency anomalies with surgical precision.

Post -processing insert point, -10dBV and +4dBu analog outwits, 24/ 95 digital outputs on AES3,

S,'PDIF and Optical word clock I/O, ani a cough swi-ch with soft mute allow the Model 230 to

be easily interfacec into any system.

So if you are looking to touch your listeners, you should be lookinc at the Aphex Model 230.

www.aphex.com7005 Aphex System. All Right-. Reserved. Designed and manufactured in the USA

GenuineAPHEX

In late September I was asked if I would like to broadcastfrom New Orleans for the Toast of the Nation NewYear's Eveevent. The idea that New Orleans was going to be in anyshape to support a coast -to -coast NPR broadcast was hard

to comprehend, but if NPR wanted to do it, I was game.I flew to New Orleans for the technical walkthrough on Oct.

25. The show was going to be live from the legendary Tipitina'sClub. Tipitina's was fully resplendent in a wrap of plywood overthe doors. A makeshift spray paint sign announced that NPR wasgoing to broadcast there on New Year's Eve. Despite the outsideappearance, the club's inside was in good condition.

There was a huge amount of logistical work be done to makethis happen. First and foremost was figuring out how we weregoing to transmit the show to NPR master control. Jane Holmes,manager, Remote and Mobile Services at NPR, contacted BellSouth and ordered six ISDN lines and one POTS line with sym-metrical DSL. As a backup, we planned to use a satellite uplink,but that would increase the costs significantly.

The walkthrough complete, I flew back to Denver with a list ofneeded items. The first item was a modular office trailer. In the26 years that NPR's New Year's Eve Toast of the Nation had beenbroadcast,the hosting had always beendone from NPR in Washington. Thisyear, NPR wanted us to host the wholenetwork from New Orleans. The trailerwould house an announce booth anda place for producers, transmissionequipment, communications equip-ment and a 5.1 surround mix location.Unfortunately, office trailers were inshort supply. I was laughed at morethan once when I called rental places

to rent a trailer. I was told that nothing was available and that noone would commit to a delivery any more than three weeks priorto our event date. I had nightmares that three weeks out we wouldnot be able to rent an office trailer, so my plan B was to rent twomotor homes in Denver, load all of our equipment in them anddrive them to New Orleans.

Because demand was so high, rental fees for everything werealmost 300 percent higher than normal,which stretched an alreadytight budget to the limit. Additionally,Tipitina's power was marginaland wasn't capable of supporting the broadcast village we weregoing to build. Finding a generator in an area that was aleady shortof generators resulted in more calls to generator rental houses andmore laughter. Again,the standard answer was to call three weeksprior to the event to see if anything is available. Plan B was to rentone in Denver and tow it to New Orleans.

Hello telcoIn the meantime, Holmes acquired the six ISDN

lines and a POTS line with DSLand installed them tothe phone pole outside of the club. I had e -mailedher a picture of the phone pole in question to make

I

sure we didn't have any issues as to which pole I wanted the linesinstalled or. Everyone laughed at the pole picture, but the lineswere installed where I wanted them.

While waiting for genset and modular trailer dates, I needed toobtain a mixing console, codecs, codec preconditioning equipment,surround encoders and a bunch of communications equipment. Ihad seen the Digico DS01 consoles in action on the James Taylortour and at the Surround III seminar at the October AES conven-tion. We were going to broadcast three acts from Tipitina's with ashort period of time between them,and having a console with totalrecall and full 5.1 facilities was a must.

I'm not a fan of most digital consoles for several reasons, but theDigico DS00 was the first console that I felt comfortable enoughwith to risk a show of this level.

Digico was will i ng to loan one to us, but suggested the DS00 insteadbecause it is better suited for broadcast than the DS01, which isdesigned for sound reinforcement. Digico shipped the console to

ST

A

KUVO the week before Christmas so wecould configure the I/O for the 40 AES-3inputsand outputs and 16 analog inputsand outputs and test it. We had the I/Oinstalled, the console configured andall the inputs and outputs (digital andanalog) tested in a couple of hours.

Harris loaned us a pair of APT Tokyocodecs to feed Washington. I planned onsending three feeds to NPR: announcerson a mono L2 128kb/s feed, music instereo using theApt-x enhanced codec at384kb/s and a backup that I could routeto the announcers or the music feed us-ing Apt -x enhanced at 256kb/s. KUVOhas an APT Milano, which I planned touse for the music feed and I was goingto use one APTTokyo for the announcersand another for the backup.

Lots of sourcesBecause we used so many AES-3

sources, I needed lots of AES-3 distribu-tion amplifiers (DA). ATI loaned usa pair of DDA112-XLR AES-3 DAs for

transmission. I used my Z -Systems 16.16 router to handle all ofthe transmission routing.

We also needed wireless mics and IFB equipment, along withadditional microphones outside of my collection, so my next callwas to Sennheiser and Neumann USA. Sennheiser provided a pileof 3000 -series wireless equipment along with SK -5200 hand-heldtransmitters with Neumann KK105 capsulesand in -ear monitoringsystems, which we used for IFB.

I needed an additional Neumann KU -100 stereo dummy head(aka Fritz) mic for field sound gathering as my KU -100 was goingto be hung in the rafters of Tipitinas. Neumann supplied an ad-ditional KU -100 and a pair of KM -184 mics, and Neumann Berlinsupplied pairs of TLM-193 and TLM-170 mics. Everything arrivedat KUVO on Dec.19.

Communication was significant for this event. We needed eightIFB channels,three channels of RTS PL with four channels ofTelexSSA -424 digital two -wire -to -four -wire hybrids,two stage announce(SA) and a telephone hybrid for communication between theWashington director and New Orleans director. I needed three IFBmaster panels and a backup. My assistant at KUVO,WiII Barnette,went through all of the IFB equipment testing and repairing asneeded, along with checking all 12 of the RTS-325 TW PL beltpacks and headsets.

The plan for the announcer palace was to make the systemtotally independent from the rest of the facility. There would bea separate mixer, analog -to -digital (A/D) converter, ISDN codec,Neural Ultralink and AES-3 DA, and this would be stand-alone soa failure in the rest of the facility would not take the announcersoff the air. In case of a failure with the announcer codec or ISDNline, I could route the output of the announcer A/D to any of thesurviving codecs, and I also had the analog outputs of the MidasVenice 320 console cross -patched into two of the analog inputs ofthe Digico giving me a couple of ways to make sure that at leastwe would have announcers if the world came to a halt.

At the other end of the trailer was going to be the 5.1 mix room.We packed all of our equipment including 40 tracks of DirectStream Digital HD recording on my Genex 9048 with EMM Labsconverters and 40 channels of Grace Design 801R and 901Rremote -controlled microphone preamps. We figured we wouldneed upwards of six 70GB Ultra 320 Seagate Cheetah Ill AV -ratedhard drives to record the event and Sony AIT Ill tapes to back itup. We arranged to rent additional EMM Labs converters becauseI only had 24 track's worth.

The idea was to put the Grace preamp by the stage and run theoutputs into the EMM Labs A/D converters. We would feed theDSD outputs of the EMM Labs Converters into the Genex 9048and take the AES-3 outputs into the Digico. A Rosendahl DigitalAudio Clock Server would provide master clock for all convert-ers and the Digico.

Neural Audio provided Ultralink codec preconditioners for allfeeds to NPR DC.The most critical of these feeds was the announcerISDN line. The spoken word is tough on codecs because thereis no place to hide the codec artifacts. Additionally, I wanted touse the Neural 5225 system to encode the 5.1 signal.

!Finding a homeThree weeks from Dec. 31 we found a modular office trailer

and a 40kW silenced generator. I got my first night full night'ssleep on Dec.20 after the contracts were signed and all vendorscommitted to our delivery schedule.

The truck from KUVO Denver was loaded and left the morn-ing of Dec. 26 and arrived in New Orleans on Dec. 27. I flew toHouston on Dec.27 and drove to New Orleans, as direct flightswere impossible to attain.

www_heradio_com Rad!o mauazine February 2006 31

The new RadioMillenium Digithas many plus+ even more mi

Pluses (+)Mic/Line/or Digitalon input withfull simultaneousanalog and digital outputs

Minuses (-)so configurableanalog and digitalmix -minus outputs

Systemsal Consolesnuses...

Contact (!)Radio Systems, Inc.6oi Heron Drive Logan Township, NJ 08085phone: 856-467-8000 fax: 856-467-3044www.radiosystems.com

or any Radio Systems dealer

I5 391 3('

CRANE

Once in Houston, I called thetrailer vendor to make sure ev-erything was set for our trailer

to arrive at 10 a.m. at Tipitinas.Things started to go wrong at this

point because the trailer vendor realized that our trailer was sit-ting in Dallas and 1-adn't been scheduled to be trucked to NewOrleans, and there wasn't a driver available to drive it. Of course,the vendor didn't have the trailer size we needed in New Orleans.I began having visicns of us mixing the show on the sidewalk infront of Tipitinas and putting the announcers in the back of ourrental cube van. Many calls later the vendor found a larger trailerfor us to use. The problem now was that the trailer would hangout into the street by a couple of feet. But, at least it's better thanmixing on the sidewalk.

The original plan was to park the trailer at 10 a.m.on Dec.28 andthe generator at 11 a.m. The generator showed up at 10 a.m. andthe trailer arrived at 11 a.m. This resulted in the generator beingsited at the wrong location,which we didn't discover until the trailerarrived. We enlisted as many bodies as we could find to push the4,000 -pound generator to the correct location. It wasn't pretty butwe got it in the right spot and nobody got hurt doing it.

The trailer arrived and was parked and leveled. Only then couldI walk into it and determine, much to my horror, that the vendorhad shipped us a trailer with a different floor plan. The floor planwe needed had an office on each end with an open center sec-tion. The one they shipped only had an office at one end leavingus with no place to put the announcers. After several terse callsback and forth to the vendor, they came out the next morning andconstructed a wall with a door for the announce position.We had a tight scledule to complete the announce position

The announcer position in one end of the trailer. It's not thefanciest place but it worked perfectly.

because NPR and WBGO wanted the announcers to feed spots toWashington on Dec. 30. We went ahead and built the announcerpalace and hoped that the wall construction would be where weneeded it.

Because of the flocr plan issues, we had to put the announcersat the end of the trailer nearest to the generator, resulting in a fairamount of acoustical noise. The NPR folks weren't all that happywith the amount of noise the mics picked up.

While I was dealing with the floor -plan issues,Will Barnette and

34 February 2006 Raab) magazine www.beradio.com

This trailer housed the broadcast village.The vehicle was slightly wider than origi-nally ordered and stuck into the street.

Dave Kunian constructed the 5.1 mixing room,and John Mikity organized a maintenance areain the back of the cube van and coordinatedthe cable runs from the trailer to the stage. I

powered the ISDN equipment and tested all sixISDN lines. One of the SPIDS was programmedwrong at the central office, so I called BellSouth to fix it.

On Dec.30 we continued to build the varioussystems. The mic preamps were placed in theclub, wired and checked all the way throughto the Genex and Digico. I had most of thecommunication equipment up and running,including the two -wire -to -four -wire hybrids thatwere interfaced to the Digico so Markos couldtalk directly to the stage by hitting a talk backbutton on the console. I also provided a 50WUHF base station with external antenna alongwith three hand-held radios for roaming.

A balance of powerKUVO has used a Furman IT balanced

power system for the last three years for allevents. I have found that balancing power re-sults in a 6dB to 8dB improvement in the noisefloor of the system. I had forgotten that the Fur-man units provide over -voltage protection untilabout 2 p.m.when the technical power systemshut itself off. Initially,l couldn't figure out whathad gone wrong because within seconds thetechnical power was back on line. I noticedthat the technical power had turned off but therest of the trailer was running. I also noticedthat the lights had gotten quite bright and whenthey dimmed the technical power returned.I jammed my Fluke meter probes into an acoutlet in the trailer and measured120Vac. I setthe meter to record minimum/maximum andwaited to see what was happening. About 10minutes later, the technical power went offlineagain. The multimeter read a max voltage of175Vac. We had a generator with a major volt-age regulator problem.

The good news was that the Furman savedall of the technical equipment because theover -voltage system disconnects the ac if the

input exceeds 140Vac. Without this, we might have cooked abunch of equipment.The generator vendor dispatched a tech tocorrect the problem, and the generator behaved itself from thatpoint forward. But I never took my eyes off the Fluke, which ranin min/max mode for the next 72 hours.

While I am getting gray hair by the volt with the generatorproblems,the rest of the crew completes building all the facilitiesand performs a full check. Friday morning, Dec. 30, rolls aroundand the ISDN SPID problem is resolved. I can check all the lineswith NPR master control. NPR has run out of facilities and weare limited to running the backup at L2 joint 128kb/s instead of

The Word is Out - iMediaTouch is thefastest growing Automation System...

...wondering whyBroadcast Automation Software

With three new installations a week, iMediaTouchkeeps beating out the competition.Why are we so hot?

"We looked at many differentsystems and kept getting drawnback to OMT's iMediaTouch!I spoke with programmers andengineers that use iMediaTouchand those that use othersystems...NO iMediaTouch usercould come up with a systemdownfall. That's a powerfulstatement!"Chris Maestle - POVerstandig Broadcasting

HD -2 Multicasting

RDS & Pad Interface

Instant website integration

Ncn-Stop Broadcasting

Group Wide -Area solutions

-sk. New On -Air Interface

Call ourToll Free Sales DeskToday 888-665-0501

Download a Free Trial Version@ www.imediatouch.com

Visit us online for more information - www.imediatouch.com

ergInventing Radio Trends

www.beradio.com Ratko magazine 'ebruary 2006 35

Apt -x enhanced at 258kb/s.Ad-ditionally,NPR wants to checkthe lines using Prima codecs

on the announcer and backup.Because the Prima codecs don't

have a data handshake, the APTTokyos have to be manually toldthat there is a Prima on the other end and then re -booted. We geteverything configured and dialed up and everything runs finewithout any drop -outs or data problems.

Day of the showOn NewYear's Eve and we arrive on -site at 9 a.m. The bands are

scheduled to load in at 10 a.m. We are going to record and feeda parade through the streets of New Orleans to Washington. Ourcrew and the band's crew start building the stage. The plan is tosound check from the last act to the first act.We didn't get a fullsound check from the last act, and the second act didn't havea full complement of musicians. Additionally, the first act wasmissing the main musician for the sound check.

I attach the KU -100 to a 7' pole and feed a Marantz flash recorderand begin recording the brass line in the parade. After the per-formance,) gave the flash card to Josh Jackson for editing and toFTP to NPR.The DSL,which up to this point had been screaminglyfast, is now so slow we can't FTP the file in time. NPR Master dialsour ISDN lines and we ship it in real-time until I get a call fromNPR asking why the feed is in mono. A check of the APT Tokyoshows that it is connected with G.722. A call to NPR Master andI find out that today they are using Telos Zephyrs instead of the

We were greeted by this make -shift sign. Fortunately, the club'sinterior was completely intact.

Primas we used on Friday. The Zephyrs have the data handshakebut because the Primas don't, we had to manually configure theTokyos. I reconfigured the Tokyos for auto handshake, reboot,thenhave Master reconnect. Luckily, we manage to get it there just intime. At 5 p.m. we go live with the announcers to NPR.

The doors opened at 8 p.m. and the first act was onstage at 9 p.m.The sound check issues haunted us. The second act decided to singinto the horn mics br the whole set. And the third act sax playerwasn't happy with the monitor mix (because he didn't show up tocheck it during sound check) and it fed back a couple of times.

This is one of those once -in -a -lifetime events and I know thatthe satisfaction of putting New Orleans back on the map after thedevastating hurricane made all the effort worthwhile.

Pappas is chief engineer of KUVO-FM, Denver.

12000MODULAR CONSOL

8, 18, & 28 0+ MAI

ONLY... 1406

121(18-12

44.695 tY1SRP

0.461.0730skis-systems.com Arrakis

36 February 2006 Rat0o magazine www.beradio.com

DIA INSPIRATION MEDIA INNOVATION MEDIA EDUCATION MEDI

Produced in Patnership with

A Conferene Program of

BROADCASTII iag@DEC tqudWg

CONFERENCE

The NAB Broadcast Engineering Conference is the venue where industry leaders provide the largest. one -of -a -kindresoarce for professional technical education in the world. Streng:hen your competitive advantage in the rapidlycharging broadcast environment with cutting -edge techniques and smart solutions designed to inspire and innovate.

Choose from over 24 sessions offering new and expanded content on the hottest broadcast engi leering topics.all designed to expand your expertise with opportunities to network with your industry peers.

This year's must -attend conference will arm you with the knowledge for success. Register Today!

Oppartunity x 3 - the NAB Broaccast Conference Package includes the NAB Broadcast Engineering Conference,

the NAB Broadcast Management Conference anc the NAB Business, Laii and Regulation Conference.

THE WORLD'S LARGEST ELECTRONIC MEDIA SHOW

CONFERENCES: APRIL 22-27EXHIBITS: APRIL 24-27LAS VEGAS CONVENTION CENTERLAS VEGAS, NEVADA USA

WWW.N4BSHOW.COM AVIV

Prtnethrinslie go By Conrad Trautmann, CPBE

Fascinating, fast and freezing, but not frantic.For two weeks in February,Torino,Italy,is the center of wintersports activity. Westwood One, the radio rights holder forthe United States, began planning for this year's coverage

during the 2004 Summer Olympics in Athens. While on -site inGreece, we kept a running list of things we wanted to upgradeor change. That list grew to be three pages long. It became anessential guideline for the planning and budgeting process thatcommenced when we returned from Athens.

We kept the remote kit together and duplicated most of theAthens setup because there was only about a year between thetime the equipment returned to the United States and the timestaging needed to begin for Torino. In the interim, we stored theequipment off -site so it wouldn't be touched or picked throughfor other projects. We needed to purchase a few more comput-ers for Torino, but we will re -deploy all of the computers used inTorino throughout Westwood One once they return because bythe summer Olympics in 2008 they will surely be obsolete.

During the summer months of 2005 we ordered the equipmentthat we would need. This included an expansion to the SAS 32KDrouter from a 64x64 system to a 96x96 system. In Athens,we filledthe router and discovered that there were sources that we hadnot planned for. Most of this added capacity was used for a fulleffects feed from every venue. Athens was the first time that wehad such a feed for every venue since we have covered the Olym-pics. Previously,we would take the effects feed from a TV feed orsimply leave a microphone open courtside. The difference nowis that the host broadcaster has a full effects feed. The swish of askier flying down a hill will be much clearer during the coverage.All of those additional feeds needed extra inputs on the router.In addition, we've expanded our coverage in Torino by adding aradio row. Each of our affiliates now has a dedicated output ofthe router for its own use.

High regard for qualityOnce again, all the audio is produced uncompressed and

transmitted to the United States using digital linear audio cardsover a T-1 circuit. We purchased new T-1 equipment from Harris

Site surveys were ccmpleted inNovember.

Intraplex and are using PT -350 cards for transmission. We purchasedEdirol R-1 digital recorders for our reporters to use for interviews,which record WAV files. In Athens, our producers and editors ap-preciated the speed at which they could transfer a file from a digitalrecorder to a computer for editing. In the past, they would roll aninterview into the computer in real time from DAT or Minidisk.Now it's simply a drag -and -drop procedure. It also improved thequality of our coverage,because we can get to air much faster withinterview audio.

As mentioned earlier, our coverage has expanded in Torino withthe addition of radio row, in which we host affiliate radio stationson -site at the International Broadcast Center (IBC). We're hostingstations from NewYork,LosAngeles,Detroit and Washington,amongothers. Like our setup at the Grammys or the Final Four,we providea full remote setup formixer,two microphones,The computer has Inter -that controls an outputeach affiliate access to amsource on our router. Plus,it has editing software so theaffiliate can edit our audio orits own for playback through themixer. We also provide transmissionto and from New York over the 1-1.In the United States, a station can dialinto a dedicated ISDN codec in NewYork to retrieve the audio directly forthat station.

We built three control rooms and one studio inTorino. One control room is dedicated to ouraround -the -clock short -form coverage. Thesecond, identical control room acts as anemergency backup to the first and is usedfor production of the play-by-play coverageof hockey. The last control room is pairedwith a studio for our long -form daily

Studio A begins to take shape asthe equipment is installed.

each affiliate,which includes aheadphones and a computer.net access and a soft -panelof the SAS router. This gives

38 February 2006 Ratffo magazine www.beradio.com

wrap-up show and any miscellaneous production. The controlrooms use Logitek Roc 10 consoles, which have been serving uswell since they were purchased for our coverage of the 2000 Sum-mer Olympics in Sydney,Australia.

This is the second Olympics for our Enco Dad Pro 32 system. Itsdebut was in Athens. Being able to load all of our formats in ad-vance, have commercials instantly flow into a schedule and beingable to make changes on the fly really added to the efficiency ofthe production over previous Olympics. The Westwood One com-mercial traffic system produces an ASCII text file of our log andEnco engineers wrote a routine that allows the log to be importedinto the system. The Enco is programmed for each of our threeprogram streams (long -form, short -form and play-by-play) andautomated to turn the faders on and off on the audio console andstart our sounders at the exact times needed. We synchronize thecomputer clocks to SMPTE time code from a GPS master clock.Because we are synchronized on time, we set the formats to startthe broadcasts exactly on time. It takes control for the announc-ers, especially on the short -form reports. They don't need to worryabout pushing anything except the button to start the commercialat the end of their reports.

First-hand surveyOn Nov.11 and Nov.12,2005,Westwood One Vice Presi-dent of Sports Chris Castleberry and I visited Torino to

survey the site of the IBC and the venue sites. Thatgave us an opportunity to work out any last-minutelogistical details prior to shipping our equipment.

We spent two days in Torino, the first day visit-ing the event venues located in the city of

Torino and the secondvisiting the mountainvenues.

The city hosts most ofthe indoor venues, such as

the main Olympics Stadium,ice hockey and speed skating.

This is where the IBC is located.The IBC is one of the most excit-

ing places to be if you're in themedia, because this is literally the

hub of all feeds for the Olympics TVand radio coverage to all countries.

Walking down the main hallway in the IBC,you pass thebroadcast facilities of every major broadcaster in the world. At the

LoCAlloidaviIBC,all of the venue feeds are brought back to a main distributionpoint. From there, the feeds are run through distribution ampli-fiers and are handed off to the various media organizations. Wevisited our space in the IBC to make sure that the rooms werebuilt as we specified and to measure the space to make sure ourequipment would fit.

During our visits to all the venues we checked the broadcastlocation. In most cases,we could stand in the spot where our crewwill be during the games,which enables us to see the vantage pointof the event. This is important for our announcers so we knowhow they will be able to view the actual events for live coveragepurposes. We look for an unobstructed view. We also check ac-cess to the broadcast location. In some cases, we may have oneannouncer covering multiple venues, so access in and out canbe important with regard to the timing of getting from one placeto another. Also, we check the transportation logistics to makesure our staff knows how to get around. Some of the mountainvenues,for instance,are not served by coach buses because of thetight turns in the roads leading up the mountainside. Crews needto transfer from the coach bus to a smaller shuttle to get to wherethey're going. The mountain venues are at least a one -hour tripwest of Torino; a little longer to the farthest venue.

Taking inventoryOur equipment uses 137 road cases and was shipped Dec. 9

for delivery on site to the IBC at the beginning of January. Ourengineering team arrived on site Jan. 16 for its 45 -day trip. Thefirst two weeks were our setup time to build the studios, run thewires and turn everything on. During the third and fourth week theproduction staff arrived and learned how to use everything as itbegan preparation forthe opening ceremo-nies. And then we'relive for just over twofull weeks. We fot ndour breakdown ta <esone full day with f.)urpeople packing.

Set up at the IBCduring the first twoweeks is made easierby prewiring all :heequipment before itleaves New York. Al-most everything re-mains in the rcad

Edit position

igyked and ready to go.

Equipment ListDell computersDixon NM250-MKIIEdirolEnco Dad Pro 32Genelec 8020Harris Intraplex STL PlusFostex 6301BLogitek Roc 10 and Audio EngineMarantz PMD660Metrosource softwareRhode NT2SAS 32KDShure SM58Symetrix 425, 528ETelos Xstreams

>lhe firal touches aremade ro control room A.

www.beradio.com Raiff') mauazine February 2006 39

1,7113Prirgigldcases once it arrives on site, which makes direct wiring of theequipment in NewYork possible. Once on site,cables run from thestudios back to the transmission room. We used multipair CAT -5that breaks out to an RJ45 panel in each room and multipair audiocable to Amphenol connectors for the audio runs. The transmis-sion room is located in a room adjacent to our studios in the IBC.Our design approach is to build the space as if it were a radiostation. Four studios and the edit workstations all come back tothe transmission room via home runs. All of the venues are alsobrought back to the transmission rooms via four -wire circuits.Thehost broadcaster manages everything from the venue to the IBC.Each venue has a mixer and headphones that are controlled onsite by a technician dedicated to the facility. From there it is sentover the four -wire circuit to us. We transmit a mix minus with IFBfrom the IBC to the talent, and that is selectable depending onwhich studio or editor has the program live at that time.

Everything runs in and out of the router that also serves as theintercom system.The main program outputs feed theT-1 equipmentto New York. We have metering and monitors across the outputsfor a final assurance that we are actually transmitting. Symetrix425s are placed inline as a final limiter in the chain before it hitsthe T1; No processing, just limiting to prevent overshoot anddistortion on the line.

Finally, a"barker" is put on the transmission paths from the IBC.It appears as a source on the router that is fed with a consumerMP3 player set to loop. It was the least expensive alternative. I

Trautmann is senior vice president of engineering for Westwood One,New York.

TO SUCCEED,YOU NEED THE RIGHT .-JCONNECTIONS. /ivA$ I6416 COBRANET SOUND CARD

ASI2416 MODULAR

COBRANET INTERFACE

A WINNING CONISINAIINNI. Pair our ASI6416 CobraNet PCI sound card with ourASI2416 Modular CobraNet Interface, and you're set to make a lot of great newconnections. Our Built for Broadcast'" ASI6416 CobraNet PCI sound card has all the

great features of our 6000 series, like MPEG compression, MRX multi -rate mixing,

and TSX time scaling. You can record and play up to 16 24 -bit audio streams. But

that's just the start. Tether the ASI6416 to our rack -mountable ASI2416 ModularCobraNet Interface via a simple Ethernet cable, and watch your connections multiply.

Slide in any combination of 4 function -specific I/O modules, then pair them with 3

kinds of interchangeable connectors to give you functionality no single card canmatch. To get connected, call +1-302-324-5333 or visit www.audioscience.com.

cotrakosa nmemad, damn trot

CobraN

TimelinePlanning for the Olympic broadcast begins

several months in advance.6-1-2005 - Ecuipment list finalized and budget ap-

proved during month of June.7-1-2005 - Ecuipment ordered. This provides an

eight -week window to get everything toNY in time for staging.

8-29-2005 - Ecuipment in NJ storage unit is transferredto NY Broadcast Center for staging. Thisprovides 11 weeks to set up and test every-thing prior to shipping.

10-15-2005 - Oaerations/engineering meeting in NY toreview all details of broadcast.

12-4-2005- Equipment loaded and shipped to Torino.SFipping normally takes six weeks, butniie weeks are to allow for the three holi-days: Thanksgiving, Christmas/Hannukaharid New Year's.

1-16-2006 - Tech team arrives on site to begin installa-tion. This allows the same amount of timebefore of opening ceremony that was allot-ted in Athens, which was perfectly timed.

2-10-2006 - Opening ceremony.

More onlineAdditional information and photos

from the Olympics are onlineat www.beradio.com

Your Best Move!Make ERI part of yourbroadcast strategy.

Visit us inBooth N2406at NAB 2006

ELECTRONICS RESEARCH, INC. EAU'Your Smile Source far Broadcast Solutions' 877 ERI-LINE www.eriinc.com

40 February 2006 Radeo magazine www.heradionm

A

Remote Replaythe technology behind WestwiliodiOneDixon Systems NM -250 MKII

Dixon Systems is please() to have had its NM -250 MKII News-room mixer chosen for use at the Olympic Games in Torino.It's a proven performer in hundreds of radio and televisionstations in North America. The beauty of the NM -250 MKII isthe simplicity of its controls.A bottom row of pots (conduc-tive plastic) control levels There are two microphone inputsas well as inputs for a phone hybrid, computer sound cardand two +4dBm balanced line inputs. There's also a 1/8"frontpanel -input jack to add a field recorder. There are just toomany features to list them all here! Please visit our websiteto find out more and see why even non -technical talent canbe up and running in no time.

www.dixonsystems.com416-261-3773

What is the

Remote

Replay?The Remote Replay provides an

up -close look at the technologyin use at the remotes featuredin Radio magazine On Locationarticles.The highlighted manufac-turers are leaders in the industry,and the Remote Replay allows them to showcase theirproducts and services.Turn to the Remote Replay for the insight on today's

leading products and services in use at the top eventsbeing covered in radio.

ADVERTISEMENT

7-;:-"x:

ENCO Systems DAD Pro 32One size doesn't

fit all, but one prod-uct just might - DADfrom ENCO Systems.From networks likeWestwood One, CNN,and ESPN to large,medium and smallmarket radio facilities,

DAD is a perfect fit.Combine easeofuse, incrediblepower and greattech support in

one package and you're looking at DAD.There aren't any 'do-overs' in live broadcasting,and that's

why DAD is at the Olympics as well as thousands of facilitiesall around the world that rely on ENCO Systems. FiercelyDedicated to Audio Automation -it's not just a slogan,it's theway we do business.

www.enco.com800-ENCO-SYS

Logitek ROC consoles

From the ROC to the Mosaic,Logitek consoles have stayingpower. Now attendingtheir fourth Olympic games,our ROCconsoles continue providing solid,stable performance. Likethe new Mosaic console (pictured with the ROC above),the ROC console is a flexible control surface for the LogitekAudio Engine, a full -featured digital audio router. Logitekconsoles are built to last, and even though the ROC is nolonger available for sale, its legacy of durability continueswith the Mosaic. See for yourself why Logitek is the choiceof discriminating broadcasters-both on location and inthe studio.

__BMW nia

www.logitekaudio.com800-231-5870

Fellary 2006 41

.11.1111116.111.

Field Report

Audioarts R55EBy Chris Wygal

oiler ra stations are known for eclectic.11)

programming, inexperienced air talentand cino spills on the equipment.

most control consoles can't dog about bizarre programming and

cappuccino spills, there is a console that'seasy to operate and accommodating togreen broadcasters: the Audioarts R55E.

In July 2005, Liberty University was readyto revamp the master control room andnews room at 90.9 The Light, the student -operated FM facility. The goal was to create

was in order. When the GM asked what type of controlconsole would best meet the needs of the station,withouthesitation I pointed him to the R55E.

User friendlyThe R55E follows a traditional modular layout that is famil-

iar to seasoned broadcasters and easy for new broadcastersto understand. Assigned buses on each channel includeprogram,audition,mono and pre (a pre -fader output bus).Each channel can be cued to a built-in speaker in the meterbridge. The green LED timer on the bridge aids in keepingstop sets brief,and is triggered by turning the mic channelson. The meter bridge also contains two traditional backlitmeter sets. One is dedicated to program, and the otheris switchable between the external input and the assignbuses. This is a great teaching tool. As soon as the R55Ewas installed, I had the switched meter on external andthe students could see the difference between the rawprogram output and the processed air feed. When theyactually saw what on -air processing looks like I could seelights coming on in several heads.

I happened to be at the studio when the first studentstarted his air shift on the R55E. I was amazed at howquickly he assigned each channel to program for phonecalls or for recording. He plugged in his headset,and quicklyfound the external monitoring assignment and chose tomonitor his show off -air. In short,the R55E is intuitive. The

student had experience on the facility'sold console,but within minutes was readyfor his show on the R55E. The clean,modular design offers plenty of assignand monitoring options, but it doesn'toverwhelm a board operator.

Performance at a lanceFlip -up meterbridge

Illuminated LED switchesLogic programming dipswitchesTwo stereo, two mono program busesOptional tdephontcaller input

two identical control rooms that could golive to airor be used for training.The stationtrains more than 50 students per semester,so the traffic in and out of each controlroom is considerably heavy. Within threeto four weeks of enrolling, students havetheir hands on the controls in practice oron the air. Because of the training natureof the facility, the heavy on -air schedule,the need for a low learning curve and thebudget consciousness of administrators,a solid small- to medium- market console

Engineer friendlyFrom an installation perspective, I

was pleased with the termination andhook-up process. Each input module

is connected through supplied DB-25 connectors, whichhouse A and B audio inputs and logic connections. TheDB-25 connectors come with pins and a crimp tool. I

measured and pigtailed all the DB-25s before installationand finished 12 input modules, two output modules anda line selector module in about four hours. The use ofDB-25 connectors makes the entire process fast and easy,plus the modules are simply unplugged if one ever needsto be moved or replaced.

Each module features left and right trimpots just underthe meter bridge, so level tweaking is done quickly andeasily. Near the trimpots is a set of dipswitches that al-low for easy muting, talkback, tally and logic assignmentchanges. There is no need to dismantle the R55E. All

42 February 2006 Radfo magazine www.beradio.com

changes are completed by simply lifting the hinged meterbridge. The modules pop out of the mother board easily.If, for example, you want to move the main mic modulesimply pop it out and move it (of course, powering downthe console first is suggested).

I installed an optionally ordered line selector modulefor the R55E and hardwired it to the B side of channel 12.Using the selector spares several channels. The station hasdirect feeds from several facilitiesaround thecampus for sports and church broadcasts.These feeds all come into the line selectormodule. The students just punch up "VinesCenter"on the line selector module and thebasketball game comes up on channel 12B.Essentially, with the line selector the R55Ebecomes a 29 -input console.

The R55E 12 -module chassis takes up lessspace than the previous console so the stu-dents are happy with the added desk space.Instructors are able to familiarize studentswith the operation of the console in a littleless than an hour. Since the installation, Ihave not received any phone calls about howthe console operates, so it's easy to assumethat the students have mastered the R55E ina brief amount of time. In addition to theeasy learning curve,the console improvedthe overall sound of the station.The console has more than met the

needs of 90.9 in that the installation wasseam less,the students quickly learned howto use it and the administration liked theprice. With several available options, theconsole is customizable,and any medium -market radio station will fall in love with

Audioarts

252-638-7000

252-635-4857

www.wheatstone.com

sales@wheatstone.com

Editor's note: Field Reports are an exclusiveRadio magazine feature for radio broadcast-ers. Each report is prepared by well -qualifiedstaff at a radio station, production facility orconsulting company.

These reports are performed by the indus-try, for the industry. Manufacturer support islimited to providing loan equipment and toaiding the author if requested.

It is the responsibility of Radio magazineto publish the results of any device tested,positive or negative. No report should beconsidered an endorsement or disapprovalby Radio magazine.

the design concept and service they'll getfrom the R55E.

Wygal is the programmer, engineer and Webdesigner for WRVL in Lynchburg, VA.

Product Showcase

Sine Systems -,

Model DAI-2 Dialup Audio Interfaceperform unattended remote broadcasts

DTMF operated controller with relay outputsfully programmable output on any key press

momentary and/or maintained relay outputstour logic inputs with programmable output

balanced audio input and output with ALC

615.228.3500more information: wwwsinesystems.com

xpec rom Your AM Transmitter

INS =MIMED 00,12111E.

0111111111=11 411111.=1.

41111IMM

Armstrong Transmitter X-100CB1KW 14D Radio ready AM Trarsmit!er for under $10K

Built with dual hot-swappable 600Watt R F modules capable of 150%moculation, X -1000B can bringthat major market sound to yourradio station. Engineered with thelatest technological in lovations,X -1000B offers high -eliability,built -ii redundancy and it is HDRad o" ready.

Best of all, our customers tell usthat the money they save running

0

" the X -1000B pays for itself with

Mk ARMSTRONG

Tel 315-673-1269 / sales@armstrongtx.corn / www.armstrongtx.00 01

savings in electricltv andmaintenance costs over an oldertransmitter ...and as a bonus theyget exceptio-tal reliability and thatmajor market sound for free.But, don't take our word for it.Ta k to our customers already on -the -air with the X -1000B. Call oremail for a users list and decidefo- yourself why owning thistransmitter is a no-brainer.

elD Ratio ts a neostored trade mark of thgenty 09tal Corporabon

www.beradio.com Ratifo magazine 43

Field Report

Neural Audio 5225By Mike DePolo and Lucy St. James

IMF

hen tdio One first installed HD Radiotransmitters for its stations in Philadelphiaand began broadcasting a digital signal,theengineers at its stations were impressed bythelack of multipath and increased stereoseparation. The question was,"Would thisbe enough benefit to catch the ears oflisteners?" Several Radio One stationswere adding 5.1 to their broadcasts, but itwasn't clear how the Philadelphia stationswould handle this conversion within theirall -analog facility. Beyond that, the grouphad only recently completed constructionon an analog facility,and was not ready fora digital conversion.

Performance at a glanceAES-3 I/O

32kHz to 48kHz sampling rate

Uses watermarking technology

Transports surround with two -channels

Remote control via RS -485 and USB

Accepts external word clock

An engineer's viewAftersome investigation I spoke with Ken

Wallace, the chief engineer from our sisterstations in Detroit. He told me that Detroitrecently added Neural Audio 5.1 capabil-ity to one of its studios. When he told methat the stations had begun producing 5.1digital content almost immediately afterthe installation of the Neural processors,while using their existing studio consoles,I was intrigued. I contacted Neural Audioto find out how the Neural system wouldmesh within our existing stereo facility.

Neural explained that its approach allowsproducers to work their usual magic withstandard editing software (adding a fewmore channels, of course), and then theNeural system downmixes the content to a

watermarked stereo file as the final step.The output of theNeural 5225 Downmix can then be treated as normal stereofor storage on our servers, where it is played back later forbroadcast to our listeners.The files also maintain surroundencoding for easy portability in exchanging stereo filesthrough e-mail or FTP with our stations in other markets.At the consumer receiver end of the chain, the music andcontent can be listened to in mono,stereo,matrix surround,or 5.1 surround using the Neural Upmix decoder.

Neural arranged to come to Philadelphia to help withthe installation in our production studio.Our studio uses aProTools Digi002, which natively was not designed for 5.1production. With the addition of an RMEADI8 Lightpipe toAES converter, we had more than enough channels of I/Oto accommodate the extra channels needed for surround

sound. We then attached the Neural 5225Downmix via the RME converter.This configuration allows individualtracks to be routed from Pro Toolsto each of the 5.1 audio channelswithin the Neural 5225 Downmix.

The Neural 5225 Downmix thenreturns the stereo watermarked version of the 5.1 mixthat can 1p2 recorded onto a separate track in Pro Toolsor directly bused to our Wheatstone console for storagein our automation system.

To monitor our newly created 5.1 content, we installed aNeural 5225 Upmix unit. This box was wired to the stereoconsole monitor outputs and then directly to the Blue Skyamplified speaker system. This was an easy way to monitor5.1 without defeati ng theWheatstone's microphone mute andcontrol room volume control.With the addition of two Neural5225 boxes and some speakers, we were ready to go.

A producer's viewAs production director of Radio One Philadelphia, it took

a few minutes to get used to the newly added surround chan-nels. Initially, I created a checklist to remind me of importand I/O settings until I got used to working with six channelsrather than two. But it didn't take long for me to understandthe added benefit of Neural Surround Sound.

It was clear to me when two of the top sales execs wereescorting a couple of ad agency clients though the studios.I had just finished a promo and they were blown awayby the energy, motion and movement of the piece. Theyhad no idea that you could create that kind of sound onthe radio. Surround Sound gives new life and attention tosweepers, promos and production.

Technically, it is a breeze to set up a session in Pro Toolsusing Neural Surround Sound. After opening a new session,(I have a template that starts with eight tracks includingfour mono tracks),I move to the setups menu and open I/O

44 February 2006 Radio magazine www.beradio.com

Setups. In the output mode I open Import Settings. Neuralalso places a surround.pio setting in Pro Tools, which isthen highlighted and opened.Then,1 name the outputs inthe interface with the corresponding channel.

Setting up sessionsFor instance, the center speaker would be the mono

voice tracks, the front speakers would be tracks four, fiveand six, the rear speakers would be track seven-left sur-round-and track eight-right surround. I pick and choosewhich tracks are designated with each speaker. You canhave as many right and left surround speakers asyou need.The only negative for me right now is that my current ProTools template only allows mono channels to be routedto the rear surround speakers, but I've been told that thiscan be easily reconfigured.For now it does,however,workwonders forcrowd noises,allowing them to creep up fromthe rear speakers, just like in a real concert.

After setting up the outputs I add the final track. This isdone in ProTools by selecting the File menu and choosingAdd Track,OneTrack,Stereo,Aux 1. The input of this trackis "Watermark Stereo;" the outputs are one and two. Byusing this approach,everything that issent,even to clients,is watermarked with Neural Surround Sound.

Imagine crowd noise, sound effects and productionelements moving from front to back and left to right.Sweepers swirl in sound, making the calls stand out.Thisis the impact programmers will demand and expect fromdigital radio. It was easy to use and brought an addeddimension to my work.

Once digital radio gets off the shelf and in cars, ser-

vicing the listeners with surround soundproduction will be the norm. Having asystem that works easily with Pro Toolsand delivers incredible sound can giveyou a running start within digital radio.

DePolo is chief engineer of Radio One Phila-delphia, which includes WRNB, WPHI-FM, andWPPZ-FM. St. lames is the production director.

Neural Audio

425-814-3200

425-814-3204

www.neuralaudio.com

info@neuralaudio.com

Editor's note: Field Reports are an exclusive Radio magazinefeature for radio broadcasters. Each report is prepared bywell -qualified staff at a radio station, production facility orconsulting company.

These reports are performed by the industry, for the industry.Manufacturer support is limited to providing loan equipmentand to aiding the author if requested.

It is the responsibility of Radio magazine to publish the results ofany device tested, positive or negative. No report should be con-sidered an endorsement or disapproval by Radio magazine.

BSW is the soledomestic U.S. dealerfor Arrakis X -mixer products

1E5SW800.426.8434www.bswusa.com

DIGITAL CONSOLE

11141401.10to

10 AND 14 04ANNEL MODELS

DIGITAL AND ANALOGIO

TELEPRONE INTERFACE

STARTS UNDER I 5, 495970-461-0730 vvwwarrakis-systems.corn

www.beradio.com Ratifo magazine Febriary 2006 45

New ProductsBy Kari Taylor, senior associate editor

CD playerHH BCDP-88: A 1RU CD player, this unit offers24 -bit Delta Sigma D/A converters, analogand digital connectivity and the ability tosync to Word Clock at any frequency from32 to 96kHz. Discs are tray -loaded, not via

401111 0, MAIM

a slot in the front panel. Compatible with8cm and 12cm discs, the system plays CDand MP3-CD from CD, CD -R and CD-RWdiscs,with the capability to play unfinalizedCD-R/RW discs and indicate error rates viathe front -panel display.

310-319-1111; fax 310-319-1311

twnthhhasuom; salessittlessa.com

-BMW

CD copying and printing systemPrimera TechnologyBravo XR DiscPublisher: Thisunit automates theprocess of record-ing and direct -to -disc printing of 50CDs or DVDs at a time.A robotic arm transportsthe discs to the drive to be burned, and then moves thediscs into the integrated 4800 dpi color printer. All suppliesand the finished discs are accessible from the front of theunit, which allows it to be placed on shelves or mountedin 4RU. Two Bravo XR systems can be stacked and oper-ated from one PC. Each unit includes a copy of PrimoDVD burning software from Sonic for PC and Charismac'sDiscribe Software for Mac users. Sure Thing CD LabelerPrimera Edition labeling software is also included forgraphic design.

800-791-2112; fax 163-415-6611

wwwpiona.com; sales@pimeia.com

Audio processorOmnia Audio

Omnia Multicast: The Omnia Multicast audio proces-sor with Sensus technology helps HD Radiobroadcasters deliver multicast audio. Sensusis a suite of audio enhancement tools thatpredicts the effects of the HD Radio codec andcounters problems. The processor features a48kHz,24-bit audio processing platform with384kHz internal sampling rate and a three -band dynamic peak limiter with a feed-for-ward/feedback design and intermodulationdistortion reduction,pluswidebandAGC.Theunit also offers bass management EQ withas much as I2dB of bass boost and acceptsdigital inputs from 32kHz to 96kHz.

216-241-3343; fax 216-241-4103

wwwornniaaris.cm; ishemmainda

Acoustics FirstMaterials To Control SoundAnd Eliminate NoiseBlockAid" Control On A Roll

Vinyl Barrier to block noise. Increases wallmass without increasing its depth..125 inch, STC = 27

Lightning blockStormin ProtectionProductsCase Ground: This system preventslightning from coming up the case ground.Attach the black wire to the equipmentcase ground or metal frame. Attach thered ground wire to the grounding systemor the rod attached to the unified ground-ing system.

888-471-1038; fax 121-548-0861

www.steniaprstactisalsastonaiapstedise@eardiduet

46 February 2006 Raiff(' magazine_ www.beradio.com

Audio editing softwareAdobe SystemsAudition 2.0: In Adobe Audition 2.0, anew low -latency mixing engine with ASIOhardware support allows greater creativeflexibility, with real-time effects and inputmonitoring. Automatic delay compensationprovides synchronization while mixing anunlimited number of tracks, including asmany as 80 simultaneous input and outputdevices. The mixer panel allows users toset up the type of routing needed using inputs,outputs,sends and buses.Parameter automation can be recorded and adjusted in the mixer itself,orin the new automation lanes in the timeline. Users can also add 16 sendsper channel. Use CPU power more efficiently by creating sends on severaltracks that go to a bus with a reverb or other effects applied.

800-833-6681; fax 408-531-6000; www.adobe.com

Sound effects libraryMediatone Music

Noisefuel additions: Eachof the Noisefuel products iscreated by a team of sound de-sign specialists and packagedas one or two CD-ROMs, withcontent being provided in WAVand MP3 formats. The newesteditions to Noisefuel are The

Sci-Fi Collection, Foley Footsteps and Transitions,Whooshes and Swipes.866-252-7788: fax 912-389-9901: www.mediatonemusic.corn: info@studiocutz.com

Find the micwinner

December issueCongrEtulations to

Jeff Reynoldsof KVNF Publ c Radio in Paonia,OH. His name was drawn from

the correct entries for theDecember issue. He won theSabro Som SF F pop filter fro

Transaudio Group.

The mic icon was above the operator'shead, siceways on the CD player.

TMNSAUDIO

BROADCASTINGwww.transaudiogroup.com

No purchase necessary.For complete rules, go to beradio.com.

Broadcast Devices, Inc.

Got composite, need AES?

txti -

!.."

The Total Digital Solution...

SI

bdi

El ow

Broadcast Devices(P) 914.737.5032(F) 914.736.6916www.Broadcast-Devices.co-ri

Our solutions to composite distribution include theCDS series composite audio switchers and the CMP-300Composite Audio Mixer/DA. Use your existing cornpos-ite STL or stereo generator ti drive AES input exciterswith our new optional CTD-1 plug in module for theCDS series switchers! Don't buy an external silencesensor either! We put one it the CDS-302 for youalready. We have the total solution for your distributionneeds! We provided an RBDS loop through for applica-tion of RBDS to two exciters with one generator!

Today's digital broadcasting environment calls fora digital solution. The AES-302 features a two inputdigital switcher with automatic switching upon silenceor digital errors. Digital radio means you need moreoutputs than ever. That's why we incorporated a fouroutput digital DA in the AES-302. We didn't forget aboutanalog either. There is a higi quality analog output ofthe selectee input available too. Many solutions in onepackage make the AES-302 indispensable for yourtransmitter or studio switching.

www.beradio.com Raultomagazine February 2006 47

Control Freaksrwmair

SRC -8 IIIThe SRC 8 111 iomputr interface to the real world. Connect° through an RS -232 or RS 422 sena pat the SRC -818 can noel.), your PC scftware program that any of 8 opto-solated ncuts have been opened or cosec and allowsyour software to control eight SPDT. 1-arte relays Cominnication we the SRC -8 III can be accomplished via shortburst* type ASCII or teary commands born your PC (computer mat). Also. tee units can be aerated in a standalonemode (mastertslave model to lam a "Rekay extension cod' with 8 -channels of ccntrol in each direction. The unit can-,-.mmunicate at data rates up to 38400 The SRC -8 It may be expanded to 32 inputs a 32 outputs

Osier 0_011

SRC -32The SRC -32 is a corpora Maze Is to real ward Cornecton trough an RS -232 or RS422 semi pot the SRC -32 cannotify your PC software prockarn that any of M-cpecaly isolated roes have been opened cr doses and aloes par softwareto cared sixteen SPOT Wimp relays and an ardbonal 16 .rpm oleo er capes Correa/Warn we tee SRC -32 can beaccomplished ve shut toast bee ASCII a bray corn -raids from we PC (compeer anode) Morro ails can be operatedin a standabne node (maser/slaw mode) to tarn a Relay Mention cord' vie 32-chanzis d cared in each drecaonThe rant can oommunaste at data rakes up to 38400 The SRC -32 may be expanded to 128 ions v 118 outputs

tinyPOWERED BY BROADCAST100/S.

TOOLS

SRC-2/SRC-2xf he tiny TOOLS SRC -2 interfaces two cpecally sorated inputs andtwo SPST relays to a RS -232 or USES port, able the SRC -2x doesthis via a 101100baseT Ettemet port Both the SRC -2 and SRC -2x can nobly a ulna PC mbar* program that any of two optical yebbed Inputs have Coen opened or dosed and slava your softwareto control raa SPST, 1 -amp 'slays. The SRC -2x is also able to sendan email when beer of the We inputs change state The user mayaiteadd up b48ASCII step par input end 16 user defined saingsper relay. Garnett/300n with the SRC -2(x) is accomplished viashort 'burst. teal ASCO casmands from the user's PC. Also. twounib may be operated ea street: me mode (master/slave mode;to form a'Relay exteneke cord- with two channels of conedin each cbection. The SRC -2 con, -Labs using RS-232 at baud rates up to 9E00 e SRC -2x via

rid

...a) he ,a ,O, ,tea oh ',he

op!.onr..1R4

lin t I111

.. '70WO. a.t

mu .4 a/ ambis

ESS-1The ESS-1 amides a cost-effective, small profile solution for standard seeal-to-Ethernet-onnecevity Designed with the broadcaster in mind. the ESS-1 is equipped we extensiveaF1 protection lt S ideal for applications requiring data support for both RS- 232 and RS -422eommunications The ESS-1 allows any device win a serial port. Ethernet connectivity andis ideal as a sera) balgeitunneeng or applications where a COM port. TCP Socket UDPSocket. or UDP Mulecast functionality is needed The small profile of the ESS-1 makesmstallation hassles `::::

AVR-8The AVR-8 s a voce remote control system that automatically reports changes detected or, anyri es ash starts Tuts to a remote telephone ander pager After speaking a greeting messagethat may identify he source of the cal, the AVR-8 ten speaks a unique message for each statusinput The WY May customize each team -recorded message. After ware. the AVR-8 s readylc receive maniocs hough you telephone keypad Functons include teeng theAVR-8 to reporton the input stale of any o(the eight status routs, commanding the AVR-8 to pulse any are of eslcur SPOT relays ix 750 ms anaor turning any one of the relays on or off When a relay mermaidis given, the AVR-8 speaks the relay 'name' followed by the 'on' or 'off messagea

w

WRC-4The try TOOLS "MCA is a fresh approach to renale site montangand control to prNieng an inexpensive solution to Internet enabingyour present iefete control system. The WRC4 combated withweb access end your favorite web browser brings you the followingfeatures; A powerful bait -in web -server with non-rola& memory;10/100base-T Etemei port lour each caannels of 10 -bit analogpouts at a lame meaning range: opecalysolated status (contactclosures or .see nal wears) inputs: nerrnally roan dry contactrelays, open collector eatputs, front panel status inicators. a single(tort pane temperature sensor and 4-ernall alarm notificationaddresses. The WRC-4 S also SNMP enabled. The WRC-4 taxcarefully been WI proofed. while including are aucessones othermanufacturers consider optional. The WRC-4 .s supplied withRemovable screw temiirels and loaded with a grineic web page thatmay be easay edled by the and user

VAD-2The my TOOLS VAD-2 S a user programmable eo-rout mg -mawvaceipager &Ito dialer we integrated Avec silence -tenser designedfor dial out paging and/cr voice message neeficaboa The VAD-2equipped at body errata -tinges and stereo steno sew, when,when tripped. tall sequential), dial a pager andier uV to fourdeferent proxerunters at pay back auser tradedmessage a:rascal:1g in the eared ilea

DYAD -2 ass preades Maniamp relays for te

control of externalequipment.

?

- \ \I\

Manufactured withPride in the USA

Time Sync PlusThe tiny IDOLS Time Sync Pius provides four separate GPS tenereferenced outputs lhe first is a SPST relay which pu:ses at1200. 2200, 42:00, 54.30 each hour and is user programmablein each of four locations for any minute and second each hourThe second output is an active high driver with a IGO his pulseeach second, while the third output is a 4800 -baud. RS -232 serialport providing a time zone adjustable hours. minute and secondslime code. The forth output provides an active high dnver in theESE TC-90 serial time code format. Indicator LED's are prowledto display power/valid GPS data, programming mode and hmesync relay operation A Gamin 12 Channel GPS receiver withembedded antenna S suppled.

SOLING TOOLSFOR BROADCAS

BROADCASTt o o IsPh: 360.854 9559 Fax: 360.854.9479

support@broadcasttools.comwww broadcasttools com

48 February 2006 litalitumauazine www.beradio.com

Transcom CorporationIflm fi HU Transmitters

Fine Used AM & FM Transmitters

Authorized Representatives for all major equipment manufacturers

USED FM TRANSMITTERS EXCITERS1.5 KW 1983 BE FM 1.5A New 20 and 30 W synthesized2.5 KW 1984 Continental 814R-1 exciters

5 KW 1982 Harris FM 5K Used Continental 802A

6 KW 1995 Henry 6000D7+ KW 2005 Harris Z16 HD10 KW 1988 BE FM10A NEW TV TRANSMITTERS

10 KW 2001 Henry 10.000D-95 Special Discount Pricing On:

12 KW 1996 CCA 12.000G VHF and UHF TV Antennas (10w

20 KW 1978 Collins 831G2 to 10kW)

20 KW 1985 Harris FM2OK TV STL

20 KW

25 KW25 KW

1991

1980

1982

Harris HT 20CSI -T -25 -FA (Amp Only)

Harris FM25K

USED TV TRANSMITTERS5 kW UHF Harris Diamond CD Solid

30 KW35 KW

19861990

BE FM30A

Continental 816R -5B

Slate10kW VHF NEC PCN 121330kW UHF RCA TTU-30A

50 KW 1982 Harris Combiner w/autoexciter- transmitterswitcher USED MISC. EOUIPMENT

USED AM TRANSMITTERSBird Dummy Load. 10 kWBird RF Thruline Wattmeter. 50S

1999 Omnitronix 1000A Solid State1 KW Denon 720R Cassette Player1 KW 1983 Harris MW1A SQI!d State Potomac Phase Monitor AM195 KW 1985 Continental 315R1 w/sampler5 KW 1982 Harris MW5A Potomac Phase Monitor 1901 Digital10 KW 1986 Harris MW1OB 2 Twr12 KW 2000 Nautel XL12 Solid State Sola Voltage Reg. 60hz 1 KVA50 KW 1985 Continental 317 C2 s -phase

Please go to our web site for updated listingswww.fmamtv.com

Retuning and Testing AvailableCALL US FOR A QUOTE!

2655 Philmont Ave. Suite 200. Huntingdon Valley, PA 19006800-441-8454 215-938-7304 Fax: 215-938-7361

Mini Mix 8AProven...Affordable...

-,i'q1.11/M1111161t

1101/1--j4,

800.327.6901www.autogramcorp.comMIS

EASY ORDERING INNANOSECONDS

With a 1,7( 0+ page catalog of theNEWEST information 4 times a year. anddaily updates to over half a million

ucts on-line. you can depend onouser for easy ordering in nanoseconds!

ouser.com (8001 346-6873

MOUSERELECTRONICSNEW ProductsNEW Technologies

Suppliers

atb company

!PAWNS I blecoaasects i Power Eactromecnanical I Test. lads I

Mew FCC CertifiedS11)`' FM Stereo Transmitter

GET ON -THE AIR. STAY ON -THE -AIR!V SOW RF output, continuous duty!V Auto protect with auto soft fail &

auto restore!V Automatic battery backup!V Digita display of all parametersV Perfect for LPFM and Translators, as

well as stand-alone exciters

What's thebottom line?To stay on -the -air'The PX50 was designed withthat in mind! Auto monitoringof all parameters, with auto-matic power reduction andrestore on VSWR and tempera-

ture errors! No more down time, AND no more trips to the tower site! Plusthe PX50 is FCC Certified under parts 2, 73, 8 74 (ID: PF3PX50) and IndustryCanada approved (IC: 4318A-PX50) so you will never have to worry about non-compliance! Get on the air QUICK_.and STAY on the air, with the PX50!

ramseyRAMSEY ELECTRONICS, INC.590 Fishers Station Drive Victor, NY 12564800-446-2295 585-924-4560www.ramseyelectronics.comProviding Value And Performance For Over 30 Years!

To advertise in Radio Magazine, contact:

Scott Slocum913.967.1358 sslocum@prismb2b.com

Joyce Nolan610.701.9993 inolan©prismb2b.com

www.beradio.com Ranh) magazine February 2006 49

r EININI RA KBROADCAST FURNITURE

Custom Image Room Furniture

MI'

Why Onanirax? Excellent collaboratIve custom design ability,

so Viii get exactly what mml wantII Unique co mbrnanoln of style. functionality

and monotmcs Fanatical attention to detailIN 15 years of experience

100% satisfaction guaranteed

P 0. Box 1792 Sausalito, CA 94966800.3323393 415.3323392 FAX 415.332.2607

www.oninitax.com info@omnirax.com

r

Tower 1?ii-re-scv-en'f-anol we olon'e-have a backiip

Crouf2006 Crouse Kiryttey C o

Broadcast EngineeringPropagation Software

Longley Rice in Hawaii Using Terrain -3D."

I

Professional software packages for FCCapplications and predicting coverage.

. Create stunning "real -world" coveragemaps and interference studies usingLongley-Rice, TIREM, ITU-R P.1546-1,PTP, FCC and others with Probe 3TM

.s Search FM channels under spacings andcontour protection using FMCommander TM

IM Prepare AM skywave and groundwaveallocations studies and map FCC contourcoverage using AM -Pro TM

Plot STL paths and coverage over 3Dterrain with Terrain-3DT"

oft The leader in broadcast(OMMUNICATIO \ engineering consulting

Cammuslomimm Swam ar4 softwareFiselarerfem CammehInm

www.v-soft.com 800 743-3684

ill1W4M'S /if 1( I LOWATTS

Transmitting & Audio Tubes

Semiconductors

TaylorEimac

A mperexMA/Com

Immediate

Shipment

from Stock

MotorolaToshiba

ThompsonMitsubishi

Se Habla Espanol We Export

760-744-0700 800-737-2787Fax: 760-144-1943

www.rfparts.comEmail:/4aini,

rfp@rfparts.com LIDarairliA

No, Problem!I'll call

Proatio6o co

B-KON FLASHER

RANII II

NIA4'

ICMOLT"

K N

IIIIICOM

1 2 3'Nam.: -db` "Ina

Home office: 800-433-2105C -K Colorado: 800-257-6233C -K Mid America: 877-223-2221C -K Missouri: 800-955-6800

A

Stocking SSAC flashers,alarm relays,

and H&H beaconsand sidelights.

PROAUDIO.COMCROUSE -KIMZEY COMPANY

50 February 2006 Rodeo mauazir www.beradio.com

.11.1 -

Remotc Broadcast Solutions!!!ciec.saitwerica. noA/I

PC1069/11/1/c Input

(C"

,X

MIcTEI - MIc/Llne to TElEphonE Interface

D Outputs & Inputs for telephone handset, cellular phone orbalanced line level at up to +10dBm.

1> Operates up to 36+ hours on two 9V alkaline batteries.

fl High c uality, user-switchable, internal limiter prevents clipping.

External power input with silent, auto -switching bzttery backup.

Individual gain controls for send, receive and heacphones levels

(illiriaMalliaEIZEICE13C21223

aiS9eiThai7110123322, Florida 32609.

rcw

TelTap - Pocket-SlzedManual TElEphonE Coupler

i) Can be used as a phone tap or a passive rianualtelephone coupler.

F). Send or receive telephone audio.

Mute Switch disconects all audio to or fromthe phone line, but leaves the TelTap connected.

Compact size & low cost makes the TelTap a greatremote kit addition for main or backup capabilities.

G1 info on these 6. othergreai remote products atwww.circuitwerkes.com

Total Walk -AwayJock AssistSatellite Music FormatsBuilt -In Voice TrackingBuilt -In Digital EditorBuilt -In Music: SchedulingInternet Voice TrackingNo Proprietary HardwarePlays MP2. MP3. WAV,WMA

www.DigitalJukeBox.com

Cal Us Toll Free at 888-OnAir-99

Outside the USA 740 -282 -SOFT

30 Day Money Back Guarantee

Wants DealersFor DOMESTIC and OVERSEAS sales

We manufacture quality FMBroadcast transmitters, exciters,

power amplifiers and LPFM

5 Best dealer prices in the industry5 Excellent dealer & customer support5 All products up to lkW in stock5 2 year warranty on all parts and labor5 Designed & Manufactured in the USA

Call 408 448 3342www. ptekpower. corn

www.beridio.com Rant° magazine_ Fe)ruary 2006 51

Career Help Wanted Equipment Financingto:

II-I-

For Sale

OE3

Where can I find... a new job?

an engineer?

AcousticsFirst=re 888.765-2900

Full product line for sound controland noise elimination.Web: http://www.acousticsfirst.com

RangeMaster TransmittersLPAM AM band radio station

919-367-0607License free with 1-2 mile range' Great Senna

www am1000rangemaster corn

NATIONAL SALES MANAGER

Audemat-Aztec Inc - Miami, FL (www.aude-mat-aztec.com) continuing its expansion inthe US market, has opening for a NationalSales Manager.

Audemat-Aztec offers a large range of prod-ucts for radio and TV broadcasters that in-cludes World -class RDS encoder, Monitorirgunits for HD Radio, AM, FM and TV, Mobilemetering units and transmitter remote con-trol. Audemat-Aztec has won a total of 9awards over the last 5 years at NAB.The successful candidates will be in chargeof developing sales and needs a technicalbackground to perform demonstrations. Can-didate must have experience in Broadcast(Radio and/or TV) Product sales and be reacyto travel across the country (approx. 50%travel).We offer competitive compensation, healthbenefits, above -average paid vacation andgrowth opportunities.

Contact:Sophie Lion Poulain - Operations and

Communication ManagerPhone: 305-249-3110 Ext: 201

Email : Jobs@audemat-aztec.com

Confidentiality of correspondence will be pro-tected. Audemat-Aztec is an equal opportu-nity employer.

A7Audemat-AztecBroadcastingInnovation

NEED MONEY For Your Equipment? We Con HELM

IF you're loolung for equipment loosing solutions, your wash .1 ow.Flesoble payment plans wilt, Tax benefits.

Difficytt credit - No Prob,ens, Sort Up/Ntee Business linoncong

s.r.r 24 nor appkurv, oppovrtitwo EIG ow/ liono r rears NO Wom.t

Comeau. New le K, rat peofer,

MUSICcrtall -Fee: KO -674-4083 wenenntskoeo;cOettoissom

Professional Services

Structural Analysis

ICsiElectronics Research, Inc

7777 Gardner RoadChandler, IN 47610

(812) 925-6000www ERlinc corn

RadloTHE RADIO TECHNOLOGY LEADER

Check us outon the Internet!

WWW.BERADIO.COM

Rad!THE RADIO TECHNOLOGY LEADER

www.beradio.com - radio a orismb2b.com

Editor - Chrtss S,Iterer,CPBE cs,hcrer@prismb2b.comTechnical Editor, RF - John Battison, PE., hatcom@bnghtner

Senior Associate Editor - Kan Taylor. klaylor@prismb2b.comSenior Art Director - Michael J. Knust, mknusl@prismb2b.cornArt Director - Robin Metheny rmetheny@prismb2b.corn

Technical Consultants - Harry C. Martin, Legal

Kevin McNamara,CNE, Computers and Networks

Mark Krieger,CBT/B0C, Contract EngineeringRuss Berger,Braddcast AcousticsDonald L Markley PE., Transmission Facilities

Senior Vice President - Peter L May;pmay@prismb2b.romGroup Publisher - Jonathan Chalon,jchalon@prismb2b.comMarketing Director - Kirby Asplund.kasplund@pnsmb2b.comVice President of Production - Lisa Parks, Iparks@prismb2b.comSenior Director of Production - Curt Pordes,cpordesigprismb2b.cornGroup Production Mgr.- Julie GilpinAilpin@prismb2b.comProduction Coordinator - Nick Stroup,nstroup@pnsmb2b.comClassified Ad Coordinator - Sarah Goulding, sgoulding@prismb2b.comVP Audience Marketing - Jerry Okabe, jokabe@prismb2b.corn

Audience Marketing Dir - Barbara Kummer. bkummer@prismb2b.comAudience Marketing Mgr - Sonia Rader. sraderpnsmb2b.com

MEMBER ORGANIZATIONS

Audio Engineenng Society Society of Broadcast Engineers

Member:American Business Media.The Missouri Association of Publishers

missour, association of publications

A Prism Business Media Publication

PRISMBUSINESS MEDIA'Prism Business Media, Inc.President/CEO - Jobil Flo ich.firench@prismb2b,cornCOO/CFO - Andrea Persily, apersily@prismb2b.corn

SUBSCRIPTIONS: Free arid controlled circulation to qualified subscribers.Non-qualified personsmay subscribe at the following rates (prices subject to change): USA and Canada, 1 year,S50.00.2years, S95.00,3 year, 5140.00. Outside the USA and Canada, 1 year, S600,2 years, $125.00, 3 years.$185.00 surface mail ( I year,SI05.00, 2 years, 5205.00, 3 years, $305.00 airmail delivery). For sub-scriber services or to order single copies, write to Radio magazine, 2104 Harvell Circle. Bellevue,NE 68005 USA; call 866-505-7173 or 402-505-7173; or visit beradiacom.

POSTMASTER: Send address changes to Radio, P0. Box 2100, Skokie, IL 60076-7800 USA.

ARCHIVES & MICROFORM: This magazine is available for research and retrieval of selectedarchived articles from leading electronic databases and online search services, including Factiva.LexisNexis.and Proquest.For microform availability; contact ProQuest at 800-521-0600 or 734-7614700, or search the Serials in Microform listings at proquest.com,

REPRINTS: Contact FosteReprints to purchase quality custom reprints or e -prints of articles ap-pearing in this publication at 866-436-8366 (219879-8366 outside the U.S. and Canada). Instantreprints and permissions may be purchased directly from our website; look for the RSiCopyrighttag appended to the end of each article.

PHOTOCOPIES:Authorization to photocopy articles for internal corporatepersonalar instructionaluse may be obtained from the Copyright Clearance Center (CCC) at 978-750-8400.0btain furtherinformation at copyright.com.

PRIVACY POLICY:Your privacy is a priority to us. For a detailed policy statement about privacyand information dissemination practices related to Prism Business Media products, please visitour website at prismb2b.com.

EDITORIAL BUSINESS and CORPORATE OFFICE: Prism Business Media, 9800 Metcalf,OverlandPark, KS, 66212; 913-341-1300; beradiacom, prismb2b.com.

Copyrigit 2006. Prism Business Media Inc.All Rights Reserved.

List Rental Services Editorial ReprintsMarie Briganti FosteReprintsWalter KarlPhone: (845) 732-7054 Phone: (866) 436-8366Fax: (845) 620-1885 (219) 879-8366marie.briganti@walterkarlinfousa.com

52 February 2006 Ratifo magazine www.beradio.com

Sales OfficesNational Sales ManagerScott SlocumPhone: 913-967-1358; Fitz: 913-514-3789E-mail: sslocum@prismb2b.com

Europe/UKRichard WoolleyPhone: +44 1295 278 407;Fax: +44 1295 278 408E-mail. richardwoolley@btclick.com

Classified AdvertisingJoyce NolanPhone: 610-701-9993; Fax: 610-701-0580E-mail. Molan@prismb2b.com

Online Sales & MarketingSamantha KahnPhone: 212-462-3401; Fax: 913-514-7006E-mail: skahn@prismb2b.com

Advertiser Index

Contributor Pro -fileMeet the professionals who write

for Radio magazine.This month: On Location, page 38.

Conrad TrautmannCPBE

Sr. Vice President,Engineering &Technology

Radio NetworksNew York

Trautmann over-sees radio engineer-ing, telecommu-

nications and Information Technology forWestwood One, which includes WestwoodOne Radio Network and Metro/ShadowTraffic. He is active with the SBE and is cur-rently serving a term on the national boardof directors. He is a past chairman andcurrent treasurer of SBE chapter 15 in NewYork. He was recognized by the AmericanSociety of Business Publication Editors forhis November 2000 Radio magazine FacilityShowcase on Sirius Satellite Radio.

Racily1010 tCHNOLOOV L .....

Written by radio professionalsWritten for radio professionals

Radio, Volume 12,Number2,ISSN 1542-0620 is published monthlyand mailed free to qualified recipients by Prism Business Media9800 Melcalf,Overland PartES66212-2216 (wwwprismb2b.cornPeriodicals postage paid at Shawnee Mission,K.S.and additionalmailing offices. Canadian Post Publications Mail Agreement N..40597023. Canada return address: DHL Global Mail, 7496 BarhRoad. Unit 2, Mississauga, ON LT4 112. Additional resourcesincluding subscription request forms and an editorial calendarare available online at beradio.com.To order single copies call866-505-7173 or 402-505-7173.

POSTMASTER: Send address changes to Radio. PO. Box 2100Skokie, IL 60076-7800 USA.

Acoustics First

Aphex Systems

Armstrong Transmitters

Arrakis Systems 24, 36, 45

AudioScience 40

Autograrr 50

Broadcast Devices Inc 47

Broadcas' Electronics

Broadcast Tools

Circuitwerkes

Comrex

Crane Song Limited

Crouse-Kimzey

Digital Jukebox

Dixon Systems

Page Advertiser AdvertiserNumber Hotline Website

.46, 53....888-765-2900 vozomacousticsfirst.com

29.... 818-767-2929 www.aphex.com

43.... 315-673-" 269 www.armstrongtx.com

Efron Computerized Studios, LLC

Enco Systems

ERI-Electronics Research

Harris Corp. Broadcast Div.

Klotz Digital Audio Systems

Logitek

Mediatouch

26 702-938-3475

41 800-ENCO-SYS

970-224-2248 www.arrakis-systems.com

302-324-5333 www.audioscience.com

800-327-6901 www.autogramcorp.com

914-737-5032 www.broadcast-devices.com

27.... 217-224-9600 www.bdcast.com

48.... 360-854-9559 www.broadcasttools.com

51 352-335-6555 wwwcircuitwerkes.com

9.... 978-784-1717 www.comrex.com

34 715-398-3627 www.cranesong.com

50 800-433-2105 www.proaudio.com

51 740 -282 -SOFT www.digitaljukebox.com

41 416-261-3773 www.dixonsystems.com

www.efronstudios.com

WWW.enco.com

20,40,52 812-925-6000 www.ERlinc.com

3, 14....800-622-0022 www.broadcast.harris.com

11 678-966-9900 www.klotzdigital.com

25, 41 .. 800-231-5870

35 888-665-0501

Moseley Associates 19.... 805-968-9621

Mouser Electronics 49....800-346-6873

NAB 37 202-429-5336

Omnirax 50 415-332-3392

PTEK 51

Radio Systems 32-33 856-467-8000

RAM Broadcast Systems 12....847-487-7575

Ramsey Electronics 49.... 800-446-2295

RangeMaster Transmitters 52.... 913-367-0607

RE Parts 50....800-737-2787

SCMS, Inc 28....800-438-6040

Scott Studios 1....888 -GET -SCOTT

Sencore

Shively Labs

Sine Systems

Society of Broadcast Engineers

Telos Systems

TieLine Technology

Transcon Corp

V -Soft Communications

Wheatstone

23 .800-736 2673

23. .888-SHIVELY

43. .615-228-3500

52. . 317-846-9000

7, 17. .216-241-7225

5 . 888-211-6989

www.logitekaudio.com

www.omt.net

www.moseleysb.com

www.mouser.com

www.nab.org

www.omnirax.corn

408-448-3342 www.p7ekpowercom

www.radiosystems.com

www.ramsyscom.com

wwwramseyelectronics.com

www.am1000rangemaster.com

www.rfparts.corn

www.scmsinr.com

www.scottstudios.com

www.sencore.corn

www.shively.com

www.sinesystems.corn

www.sbe.org

www.telos-systems.com

www.tieline.com

www.fmamtv.com

www.v-soft.com

49 800-441-8454

50. 800-743-3684

2, 55, 56 252-638-7000 www.wheatstone.com

This index is a service to readers. Every effort is made to ensure acturacy. but Radio magazine cannotassume responsibility for errors or omissions.

CD33=_O:7)

a

www.beradio.com Racifo magazine February 2006 53

Sinn OffBy Kari Taylor, senior associate editor

:1=CO

OD

In 1981,tape loops were common

technology for use as a profanity delay.Thus,a snapped tape was a common prob-lem for radio engineers. Eventide's BD955broadcast delay offered a digital memory

Sample and Hold1 in 5 people

worldwide listens tomusic on his cell phone

Source: TNS Research, www.tns-global.com/gti2005.

to replace the tape loops. Theunit's "auto catch-up" featureeliminated the need to fill thedelay period. Instead,as the Dump button was pressed,the delay instantly went to zero and the objectionablematerial was deleted. Then the BD955 automaticallyrebuilt the delay as the program continued.

When not in use as an obscenity delay, the systemcould be used as a production tool. Any delay from6.5 milliseconds to the unit's maximum could be setfrom the front panel,so the engineer received a varietyof reverb,doubling and other vocal and musical pro-duction effects.The unit was available with maximumdelays of 1.6, 3.2 and 6.4 seconds and with 15kHz ortelephone -compatible 7.5kHz response.

That was then

According toa magazine ad for theZenith tubeless pocket ra-dio, the Royal 500 offered seventransistors, "up to 15 times morevolume than radios of equivalent size and up to30 times more sensitivity to bring in more distantstations7The radio provided 400 hours of batterylife from one set of mercury batteries.A user couldalso operate the radio for a"fraction of a cent anhour" on four long -life penlite batteries.

Introduced in 1955, the Royal 500 was 5.75"Hx 3.5"W x 1.5"D and weighed 19 ounces. It soldfor $75.

54 Febmary 2006 Roglio_nlisuazine www.beradio.com

This Little Unit

Can Do BIG Things!ft is e e ect HD Proces or:

-40811111110111allor

riP'Ffij\n UP rs-Vi'l IT]l)

The Vorsis AP -3 digital processor isthe ideal tool to shape your sound

exactly the way you want it-cleanly and efficiently.

Built around a multi -band compressorwith complementary AGC, the AP -3replaces a whole rack of dedicated

units. VORSIS pre -conditions yoursignal (-IPF, LPF, notch filter, de-esser,

expander), then let's you apply 3 -bandAGC/compression and 4 -band para-metric EQ (signal chain reversible)

before going through a final stagezero -overshoot peak limiter.

With real-time spectrum densityreadouts and full metering, our

included PC graphi:. interfacesoftware makes opera -ion of the

AP -3 direct and easy, offeringcomplete control of all audioparameters, presets, monitor

functions, system settingsand security-all through

a single 111-45 ethernetconnection that lets

you control one ormany AP -3 units.

TMTAILOR THAT SOUND V.17aL7i7 4ofmt7-tel 252-638-70001 salestivorsis.com / www.vorsis.rom Copyright 0 2005 by Wheatstone Corporation

Buying the Right Networked Audio Systl

JUMP! We have the NET you can TRUSTYOUR ENTIRE COMPLEX depends on

the reliability and longterm support of the digitalnetwork. WHEATSTONE has the hardware, thesoftware, the GUI, the op manuals, and mostimportant, the support TEAM. We'll get you upand running on time-without budget surprises.

OUR NETWORK SYSTEM: It's not just a pro-duct; it's an entire line-CONTROL SURFACES:we've got eleven to choose from; CARD CAGES:three different sizes to optimize your budget andstill allow for future expansion.

DIGITAL AUDIO ISN'T EASY, and reliablenetworks are much more challenging. Trust thecompany with EXPERIENCE, RESOURCES andSTAYING POWER: WHEATSTONE!

sOAstssAOgi

-4111v-1111

Proven designs-hundreds installed! 64 bi-directional signals on CAT -5 or optical Bi-directional machine control embedded

with audio Routable mixes Extremely low latency (audio and logic)

not system size dependent Scheduling software Automation control interface Desktop X -Y control plug-in Audio over Ethernet portal to automation Virtual soundcard software Embedded router control Realtime operating system Ethernet controllers Redundant DSP option Redundant WHEATNET'option

1/V1701tr-Zitrif-k4e% AUDIO is what we do BEST!tel 252-638-7000 / sales@wheatstone.com copyright © 2005 by Wheatstone Corporation