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Wheatstone is expanding its Blade offerings with the StreamBlade, a WheatNet-IP appliance that accepts up to eight input steams of native WheatNet-IP audio directly from a soundcard or AoIP driver as well as RTP sources and can output each in four streams; providing up to 32 total streams per device.

Output choices include Opus, AAC and MP3 encoders. The company says it is cloud-ready and compatible with standard CDN and streaming platforms, including Icecast, Wowza and RTP.

The StreamBlade has onboard processing with a six-band parametric EQ, a five-band AGC, a two-band final limiter and a stereo width control.

Wheatstone says that the AGC is designed for streaming. Jeff Keith, senior product development engineer for Wheatstone’s audio processing line explains, “Fast time constants (compression) can add intermod sidebands around a sustained note or bass note, which the codec has to spend bits on instead of the signals that are actually part of the program. That can be bad for any stream, but it’s especially bad for low bit-rate streams that don’t have a lot of data bits to begin with.”

StreamBlade can be configured and managed from a laptop and web browser using WheatNet-IP Navigator software. The box has two Ethernet ports, one for direct connectivity into the WheatNet-IP audio network on one end and another for connectivity into a WAN for streaming to a CDN or other service provider.

IBC Stand: 8.C91

Info: www.wheatstone.com  

 

The post From IBC: Wheatstone Enters the Stream appeared first on Radio World.

Fraunhofer IIS’ newest available product is the latest version of its ContentServer head-end technology for DAB+ and DRM digital radio, the ContentServer R7. The recently released R7 is designed to assist with getting audio content and data services on air, while also utilizing the latest standard upgrades and new productivity features.

Some of the new features available via the ContentServer R7 include the automatic Audio Loudness Normalization and Monitoring and additional IP-based Audio Streaming Source Interfaces. This loudness normalization feature is based on Fraunhofer Sonamic technology and is supported by the unit’s internal audio encoders or attenuates the incoming audio to obtain and maintain the target loudness level per Loudness Units relative to Full Scale.

Of the additional IP-based audio sources, the inputs now comprise Livewire/Ravenna/AES67-based raw audio streams and consumer-type Icecast/SHOUTcast streams. The ContentServer can also be used as an end point for RTP-based audio bridges to accept uncompressed or compressed audio streams without external devices. There’s also support for audio level monitoring, audio source remote listening through HTML5 browsers and silence/clipping detection.

Additional functionalities for the ContentServer R7 include an interactive graphical system status overview; EWF with CAP import; JSON/XML RPC management and data interfaces; audio cross-redundancy; EDI Switch for DAB; localized multiplex output; automatic creation of playlists as Journaline pages; DAB V2.1.1 compliance; and stream monitoring.

ContentServer R7 is available as part of Fraunhofer’s OEM partners products.

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The post Fraunhofer IIS Releases ContentServer R7 for DAB+, DRM appeared first on Radio World.

Tieline is highlighting the Cloud Codec Controller software tool at IBC2019. The solution lets engineers configure, connect and monitor an entire fleet of remote Tieline codecs from the studio.

Able to immediately detect the presence of a Tieline codec or device running the Report-IT Enterprise, Tieline says the Cloud Codec Controller delivers real-time online/offline status of supported codecs and users logged into Report-IT Enterprise. It also monitors connection status, link quality and audio levels, manages remote adjustments of audio levels, and can remotely dial and hang-up remote codec connections from the studio.

The Cloud Codec Controller also permits station staff to monitor and control their entire network of IP codecs, select and load programs and view and manage alarms. In addition, the solution lets operators launch the HTML Toolbox web-GUI to access all codec controls, mixer and router settings, program editing and creation.

The company offers two versions of licensing for the Cloud Codec Controller:

• A Private Network License for the monitoring and management of an unlimited number of codecs over a private network for a one-time fee.
• A Public Internet License for the monitoring and management of codecs over the public internet using Codec Client Licenses available as an annual subscription in packs of 10. This license also includes the features of a Private Network License.

Tieline adds that the new Controller also offers users control of Report-IT. In the studio the system can remotely connect and disconnect the Tieline Report-IT Enterprise app, start and stop recordings, monitor and adjust input and record levels, lock and unlock controls, as well as observe link quality.

IBC Stand: 8.E74

Info: www.tieline.com

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The post From IBC: Tieline Highlights Cloud Codec Controller appeared first on Radio World.

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Joe Molter

The author is president of the West Chester Amateur Radio Association (WCARA), a division of the National Voice of America Museum of Broadcasting dedicated to advancing the amateur radio hobby. He’s also a volunteer-at-large at the museum. His call sign is N81DA.

Her six massive transmitters may be quiet, but she is far from silent.

Amateur radio operators routinely talk to the world from station WC8VOA in West Chester, Ohio, located about 25 miles north of Cincinnati. This former VOA relay station is now the National VOA Museum of Broadcasting with collections from the Gray History of Wireless Museum; Powel Crosley Jr., and Cincinnati radio and TV broadcasting history; and the Voice of America. Next week the museum celebrates the 75th anniversary of the Bethany Station Saturday, Sept. 21, with a fundraiser to make the first floor of the museum accessible for people for all abilities.

The National Voice of America Museum of Broadcasting is open every weekend from 1 to 4 p.m. Tours are given continuously on weekend afternoons by knowledgeable docents. It houses the Bethany station’s last control room and one of the remaining 250 kW Collins shortwave transmitters.

You can sit at the massive audio console that controlled the six shortwave transmitters and literally take a tour inside one of the Collins transmitters. You can view the massive switch gear, built during World War II, which changed Bethany’s 24 rhombic antennas to its six transmitters.

At one time Bethany Station covered a square mile of property that was once farmland. Today the museum sits on 14 acres and the antennas are gone, but with surrounding park acreage, you get a sense of the massive scale the site covered with towers and the miles of transmission lines and antenna wire.

The museum houses a large collection of radios from the early part of the twentieth century, including names such as Hallicrafters, National, Drake and Collins. A large collection of Drake amateur radio products is always a must-see by visiting radio enthusiasts and ham radio operators.

Drake radios were produced nearby in Miamisburg, Ohio. An area dedicated to the Crosley Corp. shows off many of the Crosley brothers’ radio, TV and household products that were manufactured in Cincinnati. Crosley contributed heavily to the war effort during World War II, with the production of tens of thousands of portable radios for the U.S. Army and millions of proximity fuses for antiaircraft ordinance.

Not only did Crosley develop radios, but content as well, with its on-air radio station WLW, which still broadcasts today on 700 AM. WLW transmits from its original site and the large Blaw-Knox tower can be seen from the VOA museum. The museum contains the original 50 W AM transmitter that WLW started with in 1922.

Bethany VOA Towers at Sunset. Photo Andrew Albrecht

WLW was the only U.S. station allowed to operate at 500,000 watts of power during the 1930s. The collection includes a bright red Crosley Hot Shot sports car, too. Crosley Corp. developed a number of vehicles during the late 1930s and resumed production after World War II until shutting down in 1952.

An additional area of the museum houses artifacts and memorabilia from the early era of Cincinnati radio and TV broadcasting. The Cincinnati Media Heritage section includes many of the celebrities who got their start at WLW and other local broadcasting outlets. These WLW radio stars — many of whom transitioned from radio to TV—include Rod Serling of “Twilight Zone” fame; sisters Rosemary and Betty Clooney; Eddie Albert; Doris Day; The Mills Brothers; and Ruth Lyons.

Housed in three of Bethany’s old transmitter vaults, the history of broadcasting section showcases the talent and equipment that made Cincinnati an early nursery for radio and television entertainment. Artifacts include equipment from a 1930s radio station; a 1950s AM station, including disc jockey’s audio console and turntables; and a 1,000 W transmitter. A very early and massive RCA Victor color television camera is on display, along with other television and video equipment.

Our amateur radio station is operated under FCC license WC8VOA and is manned by the West Chester Amateur Radio Association. The station has seven operating positions equipped with modern and vintage amateur radio gear. Antennas cover the radio spectrum from two meters down to 160 meters. The former VOA receiving satellite dish has been converted to 10 GHz transmit and receive capabilities for EME (Earth Moon Earth) bounce. Signals are sent to the moon and the dish used as a passive satellite to communicate with other amateur radio operators.

The club participates in radio contests, portable operations and local STEM events. It averages some 6,000 contacts per year, covering modes of voice and digital and CW. The club also operates two FM repeaters on two meters and 440 MHz.

Operators are in the shack every weekend and hold an open house every Wednesday night for radio enthusiasts and those interested in obtaining a ham radio license. Our WC8VOA call sign is recognized by many of our fellow radio amateurs around the world. We have made contacts from all seven continents and hundreds of countries.

Radio is still an important part of our lives; whether it is listening to AM, FM or satellite services, radio remains a viable source of our news and entertainment.

Voice of America broadcasts were never intended for Americans. They were targeted to people living in oppressed countries where media was censored with the intention to change people’s minds by providing sourced and accurate news. In fact, the VOA Charter (Public Law 94-350), which was passed in 1976, during from the Pres. Gerald Ford administration, states that VOA news will be” accurate, objective, and comprehensive.” It will also “represent America, not any single segment of American society, and will therefore present a balanced and comprehensive projection of significant American thought and institutions.” Lastly, the VOA is mandated to “present the policies of the United States clearly and effectively and will also present responsible discussions and opinion on these policies.”

VOA news and feature stories are still broadcast and transmitted today to more than 275 million people weekly in 40+ languages in nearly 100 countries. VOA programs are delivered on multiple platforms, including radio, television, web and mobile via a network of more than 3,000 media outlets worldwide.

Broadcasts have aired continually for more than 75 years, along with sister stations of Radio Free Europe; Radio Liberty; Radio Free Asia; and Radio Marti.

Here is the crux of the matter for all of us at the VOA museum: Once Bethany Station began operation during mid-World War II, an infuriated Adolf Hitler was quoted as saying on one of his radio broadcasts to never listen to those “Cincinnati Liars.” We’re proud to be part of the VOA heritage we are entrusted with and even more proud to be related to those “liars” from Cincinnati.

VOA Bethany in Fog

But while we’re proud of our heritage, I must be honest. The museum is housed in an aging, uninsulated, 75-year-old building that constantly needs repairs. We receive no federal funding and this is our big fundraising push for the year. Our workforce of docents, conservators and maintenance crews are all unpaid volunteers. And many of our volunteers come from our local radio club, the West Chester Amateur Radio Association.

Please help us out with a donation; better yet, plan a long weekend vacation and come on out to West Chester for our Sept. 21 fundraiser! We include a friendly community of shortwave radio aficionados always eager to make more friends. We’ll have on hand auction and silent auction items; dinner-by-the-bite; museum tours; and a table-to-table Trivial Pursuit game, all with the relaxing strains of jazz in the background.

For information on the museum and how you can help with donations, visit our website. Please purchase tickets or donate today. If you’re interested in our amateur radio group, additional information is at West Chester Amateur Radio Association website.

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The post National VOA Museum of Broadcasting Plans Anniversary Party appeared first on Radio World.

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

You can feel that crispness in the air. However, it is not just autumn. This time of year also brings the start of on-air fundraising season for community and noncommercial radio.

If you are a donor to or listener of your local community radio station, there is a good chance you are already aware of your area outlet’s endeavors. Check social media and you are likely to see an appeal to contribute today. When you tune in, you may hear a brief spot seeking phone volunteers or assistance with the pledge drive. Or maybe you even got a letter in the mail, reminding you of all the wonderful programming you enjoy and why your donation matters so much.

[Read: Community Broadcaster: Rain Down Reporting]

If you are not a regular community media consumer, you’ve probably heard of pledge drives at least. From parodies to tote bag references, noncommercial radio and television fundraising is just part of the media fabric. Even while there may be a disconnect as to why it is done, you just won’t find many people who have never heard of pledge drive, even if they have not given during one.

This season, the-Why-You-Should-Give is very important.

With all the conversation around news deserts, community radio nationwide fulfills a valuable role in the civic life of cities and towns everywhere. Music, arts, news, ideas and culture all find a place on community media in service to the greater mission of education. Your local station can only do this with your financial contributions.

Every state in the next 18 months will see major races for local, state and federal office as well as a list of referenda that may reshape communities for years to come. Community radio is there, providing coverage of, and sometimes hosting, candidate debates. Stations team up with city leaders for voter education and registration. These outlets cover the issues that matter to voters. Yet the coverage struggles to happen without listener support.

And lastly, community media creates opportunity in the local economy. Whether it may be through sharing a local music scene, collaborating with local businesses or making a city a better, more interesting place to live, stations create jobs, spur industry and enhance the quality of life everywhere. Think about it. When you think of Seattle, you probably are reminded of its iconic radio stations. When a fledging music scene is taking off, community radio may be the first place local bands and live event dates get heard. And surely no discerning music fan would ever deny that taste-making radio raises a town’s hip factor. Tis word of mouth means visitors, good word-of-mouth, and ultimately dollars locally.

Every community radio station needs financial support. A recent National Federation of Community Broadcasters survey indicates many community radio stations work with thin margins. This includes many having a small staff and few reserves. Given how far these mighty stations stretch dollars, the fact so many stations provide communities such unique programming and bold coverage is a minor miracle, frankly. However, the deep regard many community stations have for audience donations should hint at how much appreciate your help.

On-air fundraising is a time when listeners like you can ensure the voices you value and media you hope for in our vibrant democracy can have greater resonance. There is no better time than this lovely fall to be a first-time or repeat donor to a community radio station.

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The post Community Broadcaster: Community Radio Needs You appeared first on Radio World.

In Croatia in June, the World Broadcasting Unions’ Technical Committee supported the completion of standards associated with the European Broadcasting Union’s Technology Pyramid for Media Nodes.

“Broadcasters planning the move to new IP production facilities for television or radio should engage manufacturers with the Technology Pyramid for Media Nodes and ascertain their degree of compliance,” said Michael McEwen, head of the WBU Secretariat. “Further, the missing standards need to be completed as soon as possible so that broadcasters can make the important migration to IP with the required assurance.”

While the pyramid has clear relevance to the television industry, we share it because of the interest radio broadcasters have in the ongoing development of media IP. Radio World invited John C. Lee, P. Eng., chairman of the North American Broadcasters Association and World Broadcasting Union Technical Committees, to provide the background.

Click to Enlarge

In order to achieve the speeds and bandwidths of next-generation television systems, broadcasters are migrating from HD-SDI to IP-based technologies. In December 2017, SMPTE published the ST-2110 set of standards addressing “Professional Media over Managed IP Networks” to support this migration. This set of standards addresses precision system timing (PTP), video essence, audio, ancillary data, etc., in an IP environment.

In December 2018, the European Broadcasting Union (EBU) published the “Technology Pyramid for Media Nodes” (EBU Tech 3371). This pyramid includes all the necessary elements to design, build and operate a fully operational, interoperable, fully plug-and-play SMPTE ST-2110-based, live IP production facility. The EBU Pyramid includes all the needed protocols for timing and synchronization, configuration and monitoring, discovery and connection, media transport and security. It can be viewed as a broadcaster’s set of user requirements for a fully functional live IP production facility.

Along with SMPTE, other organizations have worked diligently to complete the various required protocols —  namely the Advanced Media Workflow Association (AMWA) and the Joint Task Force on Networked Media (JT-NM). AMWA first produced Networked Media Open Specification (NMOS) IS-04 addressing “Discovery and Registration.” IS-04 systems are intended to enable “zero-configuration” deployments, reducing the necessity to spend time manually configuring equipment before connection to the network. AMWA’s IS-05 addresses “Device Connection Management” which permits a control device to tell a receiver the stream it is supposed to take at any given time, a function analogous to routing.

JT-NM was tasked with addressing how all these standards and protocols (ST-2110, IS-04, IS-05, PTP, etc.) could fit together to build a complete live IP production system. TR-1001-1, entitled “System Environment and Device Behaviors for SMPTE ST-2100 Devices in Engineered Networks — Networks, Registration and Connection Management,” is the JT-NM’s first such technical recommendation and it aims to simplify the installation and configuration of SMPTE ST 2110-based facilities.

As more and more broadcasters begin to implement IP technologies in their production facilities, it is critically important that vendors address and implement all published standards and specifications in their shipped products. This will greatly alleviate the implementation challenges broadcasters will face. To this end, in April of this year, the EBU published R152 entitled “Strategy for the Adoption of an NMOS Open Discovery and Connection Protocol” to accelerate market adoption of these protocols.

In short, the EBU “Technology Pyramid for Media Nodes” describes a comprehensive IP ecosystem of protocols that empowers the design, implementation and operation of fully-IP production facilities.

The World Broadcasting Unions is the coordinating body for broadcasting unions that represent broadcaster networks across the globe. It was established in 1992. The North American Broadcasters Association acts as secretariat for the WBU. The unions that belong are the Asia-Pacific Broadcasting Union, the Arab States Broadcasting Union, the  African Union of Broadcasting, the Caribbean Broadcasting Union, the European Broadcasting Union, the International Association of Broadcasting and the North American Broadcasters Association.

The post About the EBU Media Technology Pyramid appeared first on Radio World.

Gospell’s IBC2019 is focused on unveiling five new products that all include DRM technology.

During a presentation at stand 3.C67 called “The Gospell Receiver—End to End Solution for Your Needs,” hosted by the DRM Consortium, Gospell debuted the products that are designed to be applicable to both the consumer and industry markets.

The products are the GR-22 portable DRM/AM/FM receiver; GR-227 DRM car adapter; GR-301 DRM/AM/FM monitoring receiver; GR-310 audio broadcasting monitoring platform; and the GR-AT3 high performance active HF antenna.

Gospell also discussed developments of digital radio in China during the presentation.

IBC Stand: 3.C67
Info: en.gospell.com

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The post From IBC: Gospell Unveils New Products Featuring DRM appeared first on Radio World.

Making its debut at IBC, Axia Audio’s new Quasar console/control surface takes advantage of the flexibility afforded by IP networking and touchscreens.

Like many cutting edge consoles, Quasar relies upon an IP link, in this case Livewire, to an engine — acting more as a control surface. Much of this surface is occupied by an embedded central touchscreen. Physical faders flanking the screen are themselves surrounded by color OLEDs providing information and customizable functionality.

It will be available in sizes from 4 to 28 touch-sensitive, motorized faders per frame, with support for up to 64 faders in multiple linked frames. Frames can be flush-mounted.

Quasar can access and control inputs, hybrids, codecs and processing, etc., via Livewire, In addition it can be remote controlled via HTML5-compatible devices.

Quasar is powered by the all-new Quasar Engine, with 64 stereo channels, four-band fully parametric EQ, powerful dynamics processing and automixer on every channel, four program buses and eight auxiliary buses.

Axia says that Quasar was “designed based on extensive global customer feedback and ergonomic studies.”

IBC Stand: 8.D47

Info: www.telosalliance.com

The post IBC Sneak Peek: Axia Debuts Quasar appeared first on Radio World.

Wheatstone is showing its newly developed X5 FM audio processor front and center, which offers a slew of new technologies to help with dynamics control, pre-emphasis management and more.

These new technologies include the Limitless FM peak control that reconstructs audio after pre-emphasis has been applied for a cleaner and clearer high end. There’s also the X5’s Unified Processing technology that allows the processor to share critical information between all processing stages; it also features a redesigned limiter that works directly with the unit’s Limitless Clipper.

Additional features include the Live Logger to document X5 settings and activities; a redesigned bass processor and enhancement controls in the iAGC to safely equalize audio; an optional MPX SyncLink receiver that can work away from the studio and manage multiple HD and FM audio streams; and AES insert ports via a PPMport, allows users to insert ratings encoders into the processing system instead of placing it in front of the processor.

Previous features that have been updated in the new X5 model, like the Multipath Mitigation algorithm, composite processing system with selectable look ahead limiting or clipping, baseband192 composite AES connectivity and a full set of analysis displays.

IBC Stand: 8.C91

Info: wheatstone.com

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The post Wheatstone Spotlights X5 FM Audio Processor appeared first on Radio World.

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As part of its ongoing efforts to update its own application filing system, the Federal Communications Commission has transitioned a series of online applications from one database to another.

Starting Sept. 25, several applications will be transferred by the Media Bureau from the CDBS database to the LMS online electronic filing system. Seven application forms in total will be moved over, such as the construction permit application for commercial FM radio stations and the application requesting authority to construct/make changes to an FM translator station. See the complete list here.

Keep in mind that you’ll need to log into LMS using an FCC Registration Number  (FRN) and associated FRN password because — unlike the CDBS system — all filings in LMS are tied to a facility’s FRN. Also keep in mind that if a facility had multiple FRNs in the old CDBS system, a licensee will be asked to formally select one and only one of those FRNs the very first time they log into LMS.

The CDBS database will also no longer be the home for those looking to create a pleading or leave a comment. Instead, comments concerning applications filed using LMS must be filed using the LMS system.

The Media Bureau plans to transition more applications from LMS on an ongoing basis, the FCC said.

For assistance, contact the commission at 877-480-3201 (Option 2) or submit a request online here.

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The post Where Did Those Applications Go? Check the LMS appeared first on Radio World.