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It’s known worldwide as a cloud-based multi-tenant platform provider.

At the end of this month, it will demonstrate how, in its view, “easy it is” to implement feature-rich OTT content delivery using the MwareTV platform to mobile operators, telcos and ISPs.

MwareTV will be getting a spotlight at Mobile World Congress, which begins February 28 in Barcelona and concludes March 3.

Mware TV can be found in Hall 5, stand 5J66. “Showcasing the platforms versatility, each visitor will be able to leave with a fully branded proof of concept service,” the company says.

“As an established, cloud-based content platform, MwareTV is able to add services very quickly, anywhere in the world. Users are presented with powerful functionality from content acquisition through delivery to white label Android and Apple apps, all simply customised and branded. Highly tailored and fully branded services can typically be online within four weeks.”

New at MWC2022 will be the latest version of the mobile apps, designed to provide a more enriched user-experience. “MwareTV handles all aspects of delivery, meaning ISPs and telcos do not need to delve into the technology of streaming: simply set quality of service expectations. In many markets, MwareTV can also supply licensed content for multiple channels and services, speeding still further the time to revenue.”

The cloud hosted MwareTV service is based on a “pay as you grow” concept, which means there are no high up-front costs. “As part of the proof of concept, MwareTV will supply a full costing calculator that provides a comprehensive forecast of the launch and running costs of any new service, leading to full investment transparency and profitability predictions. For telcos and ISPs, the ease of operation, ready to launch apps and financial transparency removes the significant barriers to entry and makes new services instantly competitive.”

From left: Ash Levitt, Bob Heil, and Steve Warford

Microphone manufacturer Heil Sound has new top leadership for the first time in its 56-year history.

The Illinois-based company said Bob and Sarah Heil have transferred ownership to current President/CEO Ash Levitt and Director of Operations Steve Warford.

“Sarah Heil has retired, but Bob will continue to do outreach work and product design within the amateur radio space under the title Founder and CEO Emeritus,” it stated.

The company said Levitt and Warford each began working with Heil Sound as teenagers, building and packaging products. “Levitt took a different career path in academia for a number of years, but continued to regularly consult with Heil Sound during that time. He returned to the company full-time in 2017 and assumed the role of president in 2020. Warford worked his way up in the company during his tenure and has been responsible for daily operations for the past several years.”

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An Early Photo of Bob Heil

Bob Heil began his audio career as a teenager performing concerts as the house player on the Wurlitzer theater organ at the Fox Theater in St. Louis. According to a company bio he was also deeply involved in ham radio and began tinkering with electronics and electronic design.

He opened “Ye Olde Music Shoppe” in Marissa, Ill., in the early 1960s and found success catering to professional touring bands. Heil Sound was formed in 1966 to provide pro touring gear and systems, and system design and equipment for music festivals.

Among his innovations is the famous Talk Box used by Joe Walsh and Peter Frampton, the quadrophonic mixer for the Who, and modular mixing consoles. The company entered mic manufacturing in the 1990s based in part on the prompting of Bob Heil’s friend the musician Joe Walsh.

In its announcement of the transition, the company quoted Bob Heil saying, “My life has been about achieving great sound, whether on the concert stage or in the amateur radio world. … This company has been my passion but it is time for me to step aside.”

Send news of engineering and executive personnel changes to radioworld@futurenet.com.

The post Heil Sound Has New Leadership appeared first on Radio World.

An image from Dielectric shows a scale model of an antenna and an HFSS virtual version

The National Association of Broadcasters supports the idea of allowing computer simulations for FM antenna directional patterns — as long as certain guardrails are in place.

“NAB believes that computational simulation of FM directional antennas is already mature and can produce comparable accuracy to physical measurements, thus minimizing the potential for new interference,” it wrote in comments filed with the Federal Communications Commission.

But it cautioned that “electromagnetic modeling software is complex, can be subject to manipulation, and limited by the accuracy and completeness of the input data.”

In November the commission opened an NPRM on this issue and proposed to permit the modeling. The change was urged in a joint petition from Dielectric, Jampro, Radio Frequency Systems and Shively Labs, all of which make antennas, as well as broadcaster Educational Media Foundation.

The most common reason to use a directional antenna by a commercial full-power FM station is to allow it to “short-space” to another FM station while maintaining contour protection to that station.

[Related: “Dielectric Expects FCC to OK FM Pattern Modeling”]

NAB wrote in its filed comments that the accuracy of computer simulation is “fundamentally dependent on the accuracy of the data input to the software.” So the association urged the FCC to require that full documentation of the underlying data and its sources be available to the commission and to “interested parties upon request.”

It wants the FCC to require the following: a statement of the qualifications of the people responsible for modeling; a complete description of the antenna system; limits of 15 dB max/min in the azimuth plane and of 2 dB/10-degree rate-of-change in the azimuth plane; and certification by a licensed land surveyor or equivalent that the antenna is oriented properly and installed at the correct height.

On other aspects, the NAB said the FCC should not require “in situ” measurements beyond ensuring the proper installation of the antenna. The commission should accept results from any appropriate electromagnetic modeling software. And, NAB said, absolute accuracy is not practically achievable, so the commission shouldn’t try to attain prediction accuracies that don’t materially affect the interference environment.

Click here to read the NAB’s filing in PDF format.

The post NAB Supports Directional FM Modeling appeared first on Radio World.

Ben Palmer

Planning for the 2022 NAB Show is ramping up, and Radio World is asking exhibitors about their expectations for what will be the first in-person spring show in three years.

Ben Palmer is president of Arrakis Systems.

Radio World: What do you anticipate will be the most significant technology trend that radio professionals should be watching for at the show?
Ben Palmer: I think that there will be a great emphasis on flexibility and accessibility with technology. As we learned with the pandemic, it is important for your studio to be available to you at any moment.

RW: What will be your most important news or exhibit theme?
Palmer: We are excited to show off the new changes we have implemented with our APEX automation system, as well as updates to our analog and AoIP consoles. Specifically with APEX, we have added new cloud features that make it more robust and easier to manage remotely.

The Arrakis APEX Automation System

RW: How is it different from what’s available on the market?
Palmer: The cloud technology services that we are adding to APEX utilizes the latest in security protocols. I believe that this goes a step beyond what has been used by many other systems on the market.

RW: How has the lack of physical trade shows affected your clients or your own business?
Palmer: Sales have done well in spite of the lack of shows. While it has always been wonderful to meet face to face, we have still been able to maintain our relationships with our customers.

Arrakis Booth: N2338

The post Exhibitor Preview: Arrakis Systems at NAB Show appeared first on Radio World.

The fourth-quarter earnings calendar for broadcast media companies is coalescing, and the latest company to confirm when it is sharing its results is The E.W. Scripps Co.

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Some 20 miles to the northwest of downtown Atlanta is town of Powder Springs, Ga. It is home to an AM radio station that spent much of January off the air, and has been owned by a Vietnamese-American media and entertainment figure for nearly 8 years.

He’s now opting to sell the facility, and at a fraction of the price he paid for it.

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The FCC Media Bureau has finalized a filing penalty against the winning bidder of an FM construction permit for Hugo, Colo., reducing the fine to $1,000 and calling the error a “minor delinquency.”

ScarboroughRadio LLC, a winning bidder in Auction 109, failed to file a post-auction Form 2100, Schedule 301 long-form application until a couple of weeks after the deadline last September.

Applications can be dismissed outright in such circumstances, the commission pointed out; but an applicant can establish good cause if “minor, inadvertent” post-auction delinquencies don’t disrupt its auction process or undermine its goal of facilitating rapid implementation of service.

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In issuing a notice of apparent liability in December, the FCC waived the deadline, saying that Scarborough had complied with its other obligations, there was no indication of bad faith and the late filing was a minor violation. That meant Scarborough could go ahead with its plan to add FM service to Hugo.

But the FCC did propose a $3,000 fine in the NAL. Company principal Scott Scarborough then filed a response, noting that he is a first-time auction participant, and that after working with the Media Bureau staff on preparation of the long-form application, “it was his understanding that there was no more to be done, that the filing was complete and that there were no issues regarding late filing.”

The commission now has issued a forfeiture order. It said auction bidders were informed through various means of the rules for the post-auction long-form application; but, it continued, Scarborough replied to its NAL promptly, made its final payment and met the other relevant obligations.

“These facts, combined with the fact that Mr. Scarborough proactively reached out to bureau staff to complete the late-filed application, support Scarborough’s assertion that its late application filing was wholly inadvertent.” For this “minor post-auction delinquency,” the FCC settled on a reduced forfeiture of $1,000.

The post FCC Reduces Fine on Successful Bidder appeared first on Radio World.

Connected TV advertising and measurement platform Innovid has struck a deal to acquire television measurement company TVSquared.

The acquisition creates what Innovid calls “an end-to-end, independent TV measurement alternative that brings together streaming and linear television.”

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Until its merger with Meredith Corporation, Atlanta-headquartered Gray Television didn’t own a broadcast TV station in its home market.

With the FCC‘s blessing, it will be adding a third over-the-air station to its collection in The A.

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It is designed “to elevate the visibility of diverse-owned media companies with advertisers and agencies.”

Introducing the Diverse Media Equity program, courtesy of the nation’s dominant audience measurement and consumer psychographics data provider.

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MIAMI — Just days after the closing of a transaction that effectively melds Televisa’s media content and production assets with those of Univision, the combined company now known as TelevisaUnivision Inc. has appointed a pair of sales leaders who are each taking Senior Vice President roles under EVP/Multimedia Sales John Kozack.

Joining the company are Rob McGovern, as SVP of Multimedia Sales, and Richard Bertodatti, as SVP of Multimedia and Audience Sales.

McGovern will be based in Los Angeles and will lead the West Coast National Sales efforts. McGovern was previously SVP/National Sales & Client Partnerships at Outfront Media, where he led West Coast national ad sales and the development of revenue growth strategies to drive new OOH business. McGovern has also served as SVP of Sales & Client Partnerships at WarnerMedia and spent nine years at Discovery Networks as VP/National Sales Manager.

Bertodatti will lead the company’s business with Publicis, IPG, Havas, the Boston territory, and at other agencies and work with Univision’s multimedia sales teams “to help optimize and accelerate the advanced advertising sales capabilities.”

Bertodatti joins TelevisaUnivision from Facebook, where he was Director of Global Investment Programs, focused on video and sponsorship opportunities. He previously spent six years at ViacomCBS, where he was active in the data advertising sales and strategy team.

Bertodatti started his career at Telemundo parent NBCU, where he held various sales roles during his 12-year tenure, across various network, digital and cable properties.

In the Public Relations trade, it has become standard practice to release headline-making breaking business news late in the day on a Friday. By doing so, the impact will be lessened, while consumers affected by the now-resolved dispute are happy and going on with their lives.

This is what occurred just before 6pm Eastern on February 4 between DISH and TEGNA. A new carriage agreement was reached — with its timing expressly tied to the start of the 2022 Winter Olympics.

But, is the second reason for an end to a particularly bitter battle tied to the institutional investment firm led by Soohyung Kim, which is reportedly close to a per-share buyout of the company he unsuccessfully sought to lead via two failed shareholder proposals?

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The year 2021 was a quiet one for U.S. broadcast transactions, according to a new report, and radio station deal values were at their lowest point in at least 40 years.

According to a market deal recap, S&P Global Market Intelligence found that while broadcast station advertising revenue rebounded from the hit it took in 2020 due to the COVID outbreak, the station transaction market is sitting at near-historical lows.

Total TV and radio deal volume for 2021 was $4.72 billion. Radio represented only 4% of that; $190.2 million is the lowest value for radio transactions in the company’s records, spanning four decades.

The four largest radio station deals were driven by three of the country’s top-10 TV station owners.

[See Our Business and Law Page]

In June, Sinclair Broadcast Group announced the sale of its only radio stations to Lotus Communications for $18.06 million.

And late in the year, The Walt Disney Co. received $24.25 million for its remaining radio stations: VCY America will pay $9.25 million for KESN(FM) in the Dallas–Ft. Worth market, while Good Karma Broadcasting will pay $15 million for Disney’s AM stations in New York, Los Angeles and Chicago, along with an LMA for Emmis Communications station WEPN(FM).

Of the TV/radio broadcast total, about $4.2 billion or almost 93% came from the top two deals and their spinoffs.

In February 2021, Gray paid $925 million to Quincy Media for two TV stations and two radio stations. In April, Gray then sold 10 full-power and three low-power stations from the Quincy acquisition to Allen Media Group for $380 million. In May, Gray then announced the acquisition of Meredith Corp. and its 16 full-power and 30 low-power TV stations for $2.82 billion.

For the third year in a row, the average cash flow multiple for radio transactions remained stable at 6.6-times forward buyers broadcast cash flow. “In our estimates, only 25 full-power radio stations were sold based on their cash flow. That is, however, five stations more than in 2020.”

The post Radio Transactions Are at Near-Historical Lows appeared first on Radio World.

It was expected, yet some remained concerned that the necessary percentage of Radio Music License Committee (RMLC) members needed to approve an agreement was still out of reach.

Those worries can now be swept away. A settlement between the RMLC, a group representing several smaller and independently-owned radio stations, and the Irving Azoff-controlled Global Music Rights (GMR) has been reached.

News of the agreement, which RBR+TVBR learned on Friday was imminent, was first shared by Streamline Publishing’s co-owned Radio Ink early Monday.

The deal puts a settlement of long-running litigation between GMR and the RMLC over the royalties that the radio stations which are members of the Committee, led by Executive Director Bill Velez, will pay for the public performance of music written by composers aligned with GMR.

One condition of the settlement, an important one, called for a sufficient percentage of radio stations to opt into the deal by signing the form license agreement that
RMLC and GMR negotiated. The negotiated form license agreement, with member
stations’ annual license fees, was sent directly by GMR via e-mail. That sufficient percentage of signatures was met.

The new GMR licenses that radio stations represented by the RMLC signed will begin on April 1. An interim license previously agreed upon by the parties expires on March 31.

In a statement, Azoff said, “Global Music Rights stands for songwriters and the value of their music. I am proud of the GMR team for the hard work on behalf of songwriters in achieving this settlement. It is wonderful that GMR and thousands of radio stations coast to coast are partnered to bring great music to fans for many years.”

Speaking for the RMLC is its Chairman, Ed Atsinger III, the Executive Chairman and former CEO of Salem Media Group. Atsinger commented, “This settlement puts an end to more than five years of litigation and represents a shared desire by both sides to find a way for radio stations and GMR to work together on a long-term basis without repeatedly resorting to litigation.”

Litigation was perhaps an unfortunate hallmark of GMR’s battles with RMLC, as the settlement resolves antitrust litigation that dates to late 2016.  The battle was bruising, with RMLC striking first in November 2016. A month later, GMR countersued, assailing the RMLC as “an illegal cartel.”

With the deal, radio stations now have rights and royalty accords with GMR, SESAC, BMI and ASCAP. Despite these payments paid by radio, groups including musicFIRST, led by former New York Congressman Joe Crowley, are aggressively seeking Congressional approval of the American Music Fairness Act. While the AMFA was in the spotlight last week on Capitol Hill, it has far less support than the Local Radio Freedom Act, a resolution that serves as a pledge to vote against any legislation placing new fees on broadcast radio with respect to airplay of recorded music.

Forty-three years ago, he began his career at a Class A FM at 92.7 MHz serving Nassau County, N.Y., and parts of New York City with a mix of rock and punk music that would eventually coalesce under leadership that built a radio station that “Dared to Be Different.”

He later made waves as the man who preceded Howard Stern in overnights at a station that previously featured Jay Thomas in mornings that just couldn’t shake its association with Disco.

For the last 18 years, he’s been running a Class A Adult Alternative FM based in Maryland’s state capital.

Now, Bob Waugh is ready to say farewell.

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Could department store retailers be ramping up their spot TV efforts because of the Olympic Games? Or, are other forces at work?

Whatever the case, Target and Macy’s are highly active users of Spot TV, according to the latest Media Monitors report.

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How many active advertisers are there at Spot Radio these days?

Once one deletes iHeartRadio promotional spots and podcast teasers from the mix, the answer is, sadly, not that many.

On the bright side, Macy’s is back with a new effort. This puts the retailer at No. 10 with some 35,145 spot plays.

By comparison, the top paid advertiser, Indeed, comes in with 62,554 spot plays for the week ending February 6.

At No. 4 thanks to a renewed campaign push is DuckDuckGo, “the Internet privacy company that empowers you to seamlessly take control of your personal information online, without any tradeoffs.”

Meanwhile, ZipRecruiter is present to challenge Indeed in the job search category.

Lastly, the QSR category is represented by Wendy’s.

It’s a company “dedicated to providing Great Local Radio and is committed to being an active and integral part of the communities it serves.”

As of today, meeting that goal is now a bigger part of the role Jim Smith will play at the radio broadcasting company led by Mary Quass.

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The author is a retired broadcast engineer who has been involved with advancing radio and television throughout his career, including for Qualcomm/MediaFLO, Harris, Nautel and ONEMedia LLC/Sinclair.

“I would like to see AM radio begin simulcasting on ATSC 3.0 signals. A single ATSC 3.0 transmitter could carry all of the AM signals in a market, in addition to TV programs.”

That was Dave Hershberger, quoted in a Radio World profile after his much-deserved receipt of the NAB Radio Engineering Achievement Award.

I think his proposition is worth considering.

In my opinion, the ultimate broadcast engineering experience is still an AM directional antenna array. That said, I smile politely when I hear talk of “AM revitalization.” At this point I think a deliberate, clear-eyed look at our much-loved industry leads us to reinvention over repair.

Medium-wave spectrum is far from “beachfront property.” For reasons that have been well documented — poor building penetration, increasing noise, dwindling receivers, aging demographics — the most likely future for AM spectrum is that it will continue to lose value to the point where launching something completely new, like high-power all-digital, makes sense.

The state of deployment of ATSC 3.0 by Nielsen TV market, from the Advanced Television Systems Committee. Areas in orange have at least one station “on the air,” though most have more than one. Those in light blue have stations planning service soon; those in dark blue are coming later in the year, at which point NextGen TV will reach 75% of the viewing public in terms of USA population.

FM’s low-VHF spectrum is closer to “beachfront property,” but even high-VHF is considerably better. Note that originally, FM was promoted as a replacement for AM, it was not promoted as an additional service.

Broadcasters also distribute their linear content via unlicensed and unlimited internet. This is all IP, so there’s no limitation on what can be broadcast, how it is packaged or how much bandwidth it takes.

While OTA broadcast covers unpopulated areas well, streaming is now available in virtually every populated area, building, tunnel, venue, etc., and there are few limits to how big the “coverage area,” can be, up to and including the entire planet.

Besides 5G, tiny IP satellites are coming fast, covering the earth’s surface.

The single most important data point for broadcasters is ascertaining the audience. Our product is “eyes and ears,” a.k.a. “attention,” and we are not alone seeking and selling it.

[Read More Guest Commentaries Here]

When it comes to quantifying and qualifying the audience, OTA falls short of the internet. Interactivity, targeted advertising, non-linear and rich media are all impracticable within the current ecosystem.

That’s not trivial. Radio really can’t compete well with delivery that tells our customers exactly who is listening and can target advertising, alerts and other content.

Radio’s traditional exclusive sweet spot had been mobile. But streaming to smartphones, cars and portable “radios” with the present-day “carrier” access networks, even without 5G, is better in most ways than OTA.

FM chips in phones were never a viable option. But patrons expect that smartphone FM radio will work in any location — basement, elevator, office — where cell phones do but OTA FM cannot reach.

Selling points
So why should radio broadcasters be interested in ATSC 3.0?

First, NextGen Broadcast — and that’s what it is — is not just TV. Because it is IP-based, it can carry anything: linear radio and any data service, album art, or whatever … along with TV.

Second, OFDM on UHF runs circles around AM or FM in terms of coverage and penetration. Critical to this, is that like the HD/OFDM part of HD FM, single-frequency networks composed of multiple transmitters can push coverage into places otherwise unreachable by any other means other than the cellular carriers.

NextGen Broadcast on UHF is beachfront spectrum. No one is lining up to re-farm MW and VHF spectrum. There will be no auctions of radio spectrum.

Moving radio to NextGen Broadcast changes the ground rules.

For my entire career, it has been clear that the Venn diagram of radio and TV has two spheres that are destined to converge. The move to IP does exactly that.

In American radio, broadcasters ordinarily own and operate their own single-service transmitter (HD2, HD3 aside) and maybe some translators and streaming servers. NextGen Broadcast is a multiplex of services, radio, TV and data.

Some NextGen pioneers plan to aggregate their spectrum to move content between transmission systems; adjusting modulation/coding to maximize coverage, reach and capacity as appropriate for the individual services.

ATSC 3.0 can do that. Radio services could have a lease or other arrangement for access to a slice of NextGen multiplexes.

Currently, an FCC license is for 6 MHz of spectrum traditionally held by one entity. In NextGen broadcast, that license typically houses multiple “broadcasters.”

While one might not have to worry about tower lights or transmitter maintenance, “radio stations” likely would not be limited to those with a license and call letters. Regulations probably need to be updated, if for no other reason than rules enforcement reaches the spectrum holder and not the occupants.

There are other regulatory opportunities. For example, being IP, emergency alerting can be done once, collectively, for the whole multiplex.

NextGen has momentum
The current DTV transmission ecosystem is shifting to ATSC 3.0, with the first wave approaching completion with about 75% of the population covered by at least one NextGen Broadcast signal. According to some estimates, 2 million 3.0-capable TV sets will be in homes by Christmas of 2022.

If you think radio has challenges, look at TV. Current DTV is stuck with an ancient inefficient codec that can’t handle what today’s TVs can display and a modulation scheme (8-VSB) that can’t handle motion or support single-frequency network boosters.

It’s hard to imagine that in a decade, OTA TV will still be ATSC 1.0 in any sustainable way. Manufacturers are heavily invested in selling NextGen Broadcast throughout the world because that sells bigger, better TVs. They just have to be contemplating better “radios” too.

So how does that get NextGen Broadcast receiver chips into cars and smartphones?

For that, we have to look at the symbiotic relationship between ATSC 3.0 and 5G.

While most of the world’s connectivity traffic is unicast, the bulky part is broadcast. While the obvious 3.0 use case is the 700-pound gorilla of live linear radio and TV, there is also the anticipated distribution of data for self-driving cars and certainly things yet undreamed.

One can speculate that as the NextGen Broadcast infrastructure expands, discounted distribution and low-cost storage will be attractive for delivering more than the obvious popular movies and podcasts.

When it comes to the intersection of technology, regulation and business, anything can happen anywhere. However, NextGen Broadcast is designed to replace the world’s aging and imperfect OTA distribution. All of it.

This isn’t an incremental improvement.

As NextGen Broadcast transmission is lighting up, what is being distributed is, with few notable early exceptions, simulcasts of existing TV and radio content. That is not a typo. Audio services, including simulcasts of legacy radio stations, are being conveyed by NextGen Broadcast on the air now.

What’s next is the consumer side of the ecosystem. Clearly the first multi-millions of NextGen reception devices will be about simply making pictures and sound.

We radio broadcasters have “asks” that we might not have thought we could dream of. Dynamic (targeted) advertising and listener intelligence will need the devices to run apps that are built in or placed on the device by broadcasters. First-run NextGen TVs do some of that. Radio should be next.

Real opportunity
In a nutshell: After 20-plus years, and millions if not billions of dollars of development by hundreds of entities, NextGen Broadcast is authorized and on the air. Whether incumbent “radio” broadcasters take advantage of its capabilities and opportunities is an individual choice.

Some will stay the course, but others will enter a converged media world that is free of the major impairments and limitations we’ve been “improving” and “revitalizing” our way out of with limited success.

The combination of near-perfect distribution and the unlimited capabilities of OTA IP is a radio content provider’s Holy Grail. It might start with NextGen Broadcast simulcasts, but as a believer in radio, I think it goes much further. While we’ve been running toward revitalization, NextGen Broadcast has just tapped us on the shoulder. This is a tipping point that might take some of us by surprise.

Someday, I’d like to listen to radio in a hotel room again.

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

The post NextGen TV Is Tapping Us on the Shoulder appeared first on Radio World.

Vitec Group brand Joby has introduced a string of entry-level mics and lavs aimed at content creators, and the flagship of the new audio capture offerings is the Wavo Pro shotgun microphone, intended for use by storytellers, filmmakers and creators on the go.

The Wavo Pro is equipped with a hybrid analog/digital system to power onboard active noise reduction, a sound management app, and integrated second 3.5 mm mic input. Designed to pair with mirrorless camera hardware, Wavo PRO adapts technology from sister brands like Rycote and Audix for its feature list.

An active noise reduction system leverages onboard Rycote technology to process and clear sounds made by users in the process of operating gear, removing self-generated structural noise.

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

LEDs in front and back of the microphone help provide users with real-time monitoring no-matter the orientation, but more in-depth monitoring is available via a simple, dedicated iOS and Android digital sound management app that connects to Wavo Pro via Bluetooth. The app provides creators with real-time and remote visual monitoring of sound input, independent dual-mode EQ, and customized, shareable sound setups.

A secondary mic input is provided on the microphone itself, allowing users to use multiple microphones for interviews or dual-channel recording. The mic also sports an onboard −10 dB safe track for mono or dual channel recording.

Helping ensure the microphone doesn’t bleed a camera battery drive, the Wavo Pro has an auto power mode to switch the mic on/off automatically together with the camera. Lastly, the mic pairs with the entire Joby content creation kit, including tripods, lights and mics.

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

The post Joby Wavo Pro Shotgun Mic Debuts appeared first on Radio World.