Aggregator

Delay in Filing Deadlines to Give Broadcasters Flexibility

.

.

.

.

.

Henry Engineering’s SuperLight is a logic/control interface for controlling low-voltage studio tally lights. It can directly power 12 V DC LED tally lights that draw up to 500 mA. SuperLight includes a flasher circuit, as well as a DPDT relay output that can be used for any low voltage switching, speaker muting, or other utility use.

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

It is compatible with WheatNet Blade, Axia xNode and similar network protocols. Cat-5/Cat-6 interface can control multiple units using one cable.

The LED output can supply 12 VDC at up to 500 ma; it can also “sink” up to 2 amps if used with an external power source. The LED output can be set to “flash” when on for use with on-the-air warning lights. All control, relay output, and LED output connections are via plug-in Euroblock connectors. Two RJ45 connectors are also provided for control wiring compatibility with WheatNet-IP Blade and similar installations that use Cat-5/Cat-6 wiring.

Info: www.henryeng.com

The post Henry Engineering Turns on SuperLight appeared first on Radio World.

The National Association of Broadcasters welcomed the historic federal stimulus package, and has posted a list of key provisions of interest to broadcast businesses.

“NAB is grateful to Congress and the White House for passage of the coronavirus relief package today,” said President/CEO Gordon Smith in a statement. “Allowing businesses with fewer than 500 employees to gain access to forgivable Small Business Administration loans will go a long way towards keeping many broadcasters and local businesses afloat during these difficult times.”

Smith said the devastation to local businesses “and to local broadcasters who support those businesses to drive commerce in hometowns across America” is unprecedented. He said NAB plans to advocate for further relief for broadcasters.

Examples of details called out by NAB in its summary of relevant provisions:

• The Small Business Administration Loan Program will support loans of up to 250 percent of average monthly payroll, up to $10 million. This effort is targeted at small businesses, nonprofits and veteran organizations with up to 500 employees; self-employed and “gig economy” individuals; and other specific industry sectors. The loans are to available immediately through SBA-certified lenders (banks, credit unions, etc.).
• Corporate tax changes will allow employers to defer payroll taxes incurred through the end of 2020, with half to be repaid by the end of 2021. There will be Treasury loans for “distressed industries” from a $454 billion pool. This is designed to target entities that might not otherwise be able to secure lending.
• The Treasury Department is being asked to implement a program that provides low-interest financing to lenders that make direct loans to eligible businesses and non-profit organizations where uncertainty of economic conditions makes loan necessary to support ongoing operations. Funds will be used to retain at least 90 percent of workforce until Sep. 30, 2020, with other requirements.
• Other points include enhanced unemployment insurance payments; an additional $600 per week for every person applying for unemployment benefits, over and above normal state benefits; and an employee retention tax credit program.

Find the full list here.

The post NAB Highlights Key Provisions in Stimulus Package appeared first on Radio World.

Here’s a Friday review of how broadcasters are innovating and adapting with new sources of content and new challenges in a news cycle and daily lives dominated by the realities of the COVID-19 pandemic. Don’t forget to let Radio World know about your station’s strategies, and be sure to share stories about how radio is helping out our communities.

— SiriusXM says daily White House Coronavirus Task Force are now available on demand via SiriusXM’s streaming services and satellite channel 121 and Pandora. The satcaster-streamer also says it plans to add state government COVID-19 briefings soon.

— Voiceover talent Harry Legg collaborated with Benztown to create this COVID-19 promo for Local Media San Diego’s XHRM. Listen below.

— This is the time of year when baseball would normally return to the stadiums and the airwaves, so many sports radio stations are getting creative to avoid dead air and keep fans tuning in.

Dickey Broadcasting‘s Ed Kennedy shared one idea on Facebook, saying that Atlanta’s WCNN(AM) aired a live-but-simulated Atlanta Braves vs. Arizona Diamondbacks game Thursday in lieu of the scheduled Opening Day broadcast. That’s an innovation combination of esports and radio that other broadcasters may turn to as the pandemic continues.

— Nielsen is out with new numbers showing how radio is faring under the coronavirus “stay home stay safe” directives. Check out the chart below to get a sense of how audio is being consumed in the current environment.

Also, 42% of consumers indicated that radio has helped them deal with the outbreak, and another 46% agreed that radio helps them know what stores are open and where to shop locally.

— In New York, iHeart Media’s Z100 is teaming up with the Empire State Building to provide new entertainment for those sheltering in place. At 9 p.m. Friday March 27 through Thursday April 2, the station will broadcast and stream Alicia Key’s “Empire State of Mind,” which will be synced to a light show as part of the new iHeart Living Room Concert for America. A new show will then begin April 3.

The post New Ways to Hear On-Demand COVID-19 Briefs, Broadcasters Play Ball and More appeared first on Radio World.

A U.S. federal agency is giving broadcasters special consideration to help assure continuity of operations during the coronavirus national emergency.

The National Communications Coordination Branch of the Cyber and Infrastructure Security Agency issued two letters in mid-March, letters intended to help broadcasters maintain access to their facilities. One specifically mentions the ability to obtain fuel, the other addresses access to facilities and travel freedoms.

The National Association of Broadcasters is recommending broadcasters keep the letters to show to law enforcement if curfews are put in place or fuel supplies interrupted for generators or other critical equipment.

CISA is part of the U.S. Department of Homeland Security. It listed eligible workers, including communications sector workers “who support radio, television and media service, including, but not limited to front-line news reporters, studio and technicians for newsgathering and reporting.”

In part the CISA letters state: “Critical communications facilities are necessary to ensure first responder, emergency responders, public messaging and 911 communications providing lifesaving capabilities are functional during this period of National Emergency.”

The bearer of the CISA letters “may travel and access the infrastructure facilities during curfews and restricted travel periods” in order to prevent loss of service or restore of critical communications services, according to the letter.

NAB says it has shared the CISA letters with its members. Copies can be found online in NAB’s Coronavirus Response Toolkit at www.nab.org. The letters are under the Operational and Editorial Resources tab. State broadcast associations have also been circulating them.

NAB noted, “CISA’s guidance is advisory in nature and not a federal directive or standard. In the end, final discretion whether to grant access to broadcast facilities and other locations rests with state and local emergency management authorities. Broadcasters are encouraged to coordinate with their state or local authorities regarding their need to access facilities and other locations in order to continue providing critical emergency information to their viewers and listeners.”

In addition to the declaration of a national emergency, some states have ordered non-essential workers to stay home during the coronavirus pandemic, and CISA makes it clear that “state, local, tribal and territorial governments are ultimately in charge of implementing and executing response activities under their jurisdiction.”

Federal law already defines broadcasters as “essential service providers” and allows such providers access to their places of operation in order to “respond to an emergency or major disaster.” Most industry observers believe that the provision allows essential broadcast station personnel access to their studios, transmitters, towers and other places of business for purposes of staying on the air. An NAB official Radio World that the association “believes that is a fair interpretation of the law.”

Also, some states have programs that designate “first informers” and “essential broadcaster” credentials to help assure broadcasters access to facilities and guarantee fuel deliveries to auxiliary site.

A senior NAB official says the current situation is “like nothing we’ve seen” and requires “preparation, planning and a great deal of flexibility” on behalf of broadcasters.

“Each station or community is likely to face different challenges depending on resources and how individual states, municipalities and authorities are responding to the pandemic. Broadcasters will need to take the necessary precautions and utilize all the tools in their tool chest to maintain operations,” the official said.

The post CISA Letters Support Radio Stations During National Emergency appeared first on Radio World.

The FCC-required proof-of-performance was an annual ritual for broadcast engineers from the earliest days of radio up to deregulation in the 1980s. 

In the early 1970s, many engineers might have fantasized about making those measurements with high-end gear such as an HP 204 audio oscillator, 403 AC voltmeter, 330 distortion analyzer, a Hallicrafters communications receiver and a Tektronix oscilloscope. 

The oscillator, voltmeter, distortion analyzer and communications receiver were required items for the annual FCC Proof of Performance measurements. An oscilloscope was useful, but not essential. The reality in the workshops of most small- and medium-market stations was usually a bit different than what the engineer might have wished for. 

The workbench of a 1970s small- or medium-market station might include a Waveforms 510-B audio oscillator, Daven VT-795-6 attenuation network and Heath IM-12 distortion meter.

Pictured is an ensemble that might be more likely in a small- to medium-market operation in 1970. For the audio proof, a Waveforms 510-B audio oscillator, Daven Type VT-795-6 attenuation network and Heath IM-12 distortion meter. The RF portion of an AM proof might be accomplished with a Heath GR-54 communications receiver.

The audio oscillator and precision 600-ohm attenuator were often two separate units. As with many high-end oscillators, the Waveforms 510-B had a 0-10 volt variable output control and a 600-ohm balanced transformer output. The Daven VT-795 600-ohm decade attenuator provided precision attenuation in 10, 1 and 0.1 dB increments. The AC voltmeter and distortion meter functions for this 1970 package were provided by a Heath IM-12. Although of simple design and modest cost, the IM-12 could measure distortion down to 0.1%. The GR-54 was a six-tube, single conversion communications receiver covering 180 kHz to 30 mHz. It was Heathkit’s mid-line shortwave receiver at the time.

TUNING UP THE CHAIN

In the days of analog vacuum tube broadcast gear, this test equipment was used heavily. Most stations took advantage of the FCC’s designated experimental period from midnight to 6 a.m. Monday to tune up the entire broadcast chain. A lot of things could have gone wrong in the preceding seven days. 

The emission of tubes could fall past the critical point, or they could become microphonic. Wax coupling and bypass caps could overheat and short out, often taking plate load resistors and other components along with them. Carbon composition resistors, particularly in grid circuits, could become noisy, generating lots of white noise. Electrolytic caps in power supplies or decoupling circuits would eventually dry out and lead to increased ripple or motorboating. And of course, any of the hundreds of contacts in tube sockets, audio and RF connectors could become noisy or intermittent.

Between this ongoing maintenance and troubleshooting, a lot of test equipment was checked only once a year, usually right before the proof was conducted. 

The good thing was that all measurements required by the FCC were relative, and not absolute. For example, frequency response in measured in decibels, and is really the relationship between two voltages, so the absolute value is irrelevant. It’s the same idea with distortion. Harmonic distortion is a percentage of the original signal voltage. That being said, good engineering practice suggests that test equipment be kept as accurately calibrated as possible. 

The first step in getting test equipment ready for the proof was checking the response of the oscillator into the AC voltmeter. For an AM proof, that meant checking the response from 50 to 7500 Hz, referenced to 1 kHz. FM proofs required a flat 50 to 15,000 Hz response referenced to 400 Hz. Any deviations greater than 0.2 dB needed to be noted on a calibration chart, and these deviations were subtracted from the transmitter response deviations before logging them on the proof forms.

The next step was measuring the distortion level of the test equipment. The audio oscillator is connected directly to the distortion meter. The total noise, hum and distortion of the combo is measured, and for FM proofs, it needs to be 0.25% or less, for AM, 0.5% or less. For test equipment of the day, a figure of around 0.1% was average, as long as you were careful to avoid ground loops. With response and distortion checks complete, the model and serial numbers of  the equipment could be recorded on the proof sheet, and the actual work could begin.

The commission’s requirements for checking harmonics and spurious radiation of an AM transmitter were about as open-ended as the audio portion was prescribed. All that was stated was that the engineer needed to measure the transmitter’s spurious and harmonic radiation, and that such emissions be suppressed sufficiently to avoid objectionable interference to other radio services. 

Taking these measurements at the transmitter site was ill-advised due to the possibility of receiver overload. They were usually done at the studio with the communications receiver connected to an outdoor antenna. The receiver was tuned slowly across each band, checking at each harmonic of the station’s carrier frequency. Checks were made of the first 10 harmonics, although the second and third were usually the most problematic. Issues with excessive harmonics were usually the result of capacitors in the harmonic traps that had gone open due to lightning strikes, or loose or corroded hardware and/or connectors.

WORKHORSE GEAR The Waveforms 510-B had performance specs comparable to HP audio oscillators of the day but it was much more compact.

The Waveforms 510B audio oscillator was a real workhorse. It was a textbook resistance-capacitance tuned oscillator built very compactly, and with precision components. Tube lineup consisted of a 6X5 rectifier, 6SJ7 oscillator, 6AK6 cathode follower and 6AK6 output.

No space was wasted inside the Waveforms 510-B. Note the sockets for easy replacement of twist-lock electrolytic caps. Why more manufacturers didn’t use these is a mystery.

Although sighted more frequently in manufacturing facilities, physics department labs and R&D environments, the 510 occasionally surfaced on radio station test benches. Specifications called for a range of 18 Hz to 1.1 mHz , a response of  +/- 1 dB from 18 Hz to 200 kHz and distortion less than 0.2%. Noise was 60 dB below signal. These were the guaranteed specs, but the performance of some units was much better. Pictured with this 510-B is the T10 matching transformer, mounted on the bottom of the oscillator. It provided a balanced 150/600-ohm output and a response of 20 Hz to 50 kHz. The 510B’s specs were comparable to the HP audio oscillators of the day, but the 510 was much smaller, measuring just 4 inches wide by 6 high and 6 deep.

The Daven VT-795 was simplicity itself, consisting of 10-, 1-, and 0.1- dB/step attenuators, wired up in series. Double banana jacks were provided for input and output. There were no other components, and no maintenance was required.

The IM-12 harmonic distortion meter was to be found on many workbenches. The theory behind these meters is rather simple. To determine how much distortion has been added by an amplifier, simply subtract the input signal from the output signal. What is left over was generated by the amplifier, mostly harmonic distortion, usually with a bit of hum and noise thrown in. A Wein bridge, with a negative feedback network across the bridge circuit is used to null out the fundamental frequency.

The simplicity of Heath test equipment is evident when looking inside the IM-12 distortion meter.

Regular maintenance for the IM-12 consisted of checking its six tubes, going over switch contacts and adjusting the tweaks for voltmeter calibration, coarse balance and hum balance.

The Heath GR-54 was in production in kit form from 1966-71, with the price increasing from $85.00 to $135. If assembled carefully, it would perform well, although sometimes it was not without “issues.”

The Heath GR-54 communications receiver could be used for the harmonic check portion of the AM proof, and to calibrate the FM modulation monitor prior to the FM proof by using the Bessel null method.

The GR-54 had all major components on three circuit boards: IF-audio, RF-oscillator-mixer and band switch. All of these boards relied on a solid mechanical connection to the chassis for grounding. This was never a good idea. If the kit builder didn’t adequately tighten the mounting hardware, or left the lock washers off, erratic and unusual problems could result. The same thing occurs to most GR-54s after being stored for a few decades in a damp basement, as corrosion takes its toll. 

Circuit updates for the GR-54 are readily available online. Full restoration can be a tedious but not complicated process. The result is a solid, well-performing receiver.

The Heath GR-54 communications receiver could be used for the harmonic check portion of the AM proof, and to calibrate the FM modulation monitor prior to the FM proof by using the Bessel null method.

The 510-B and the Daven attenuator shown with this article came from a college surplus grab in the early 1970s. They saw regular use in contract engineering duties through the mid-’80s. The IM-12 was a gift from a fellow contract engineer, who was relocating, and didn’t have room to pack it. The GR-54 was acquired about 20 years ago from a non-technical friend who purchased it at a yard sale. It didn’t work well, and got handed off to me. After downloading a manual and rounding up the usual suspects, it was returned to good operating condition.

Tom Vernon is a longtime contributor to Radio World. He wrote last September about the history of remote control systems; read it at https://tinyurl.com/rw-remcon.

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

The post Proof of Performance, 1970s Style appeared first on Radio World.

The novel coronavirus and COVID-19 pandemic have created unique challenges for radio. However, broadcasters have risen to the challenge, proving time and again that they are agile and creative.

Radio World has reached out to broadcast engineers, consultants, associations and others are innovating during this crisis, and they have shared insights and ideas that others in the industry may be able to implement or adopt.

• Digital Alert Systems’ Ed Czarnecki told RW how governments and broadcasters are using emergency alerts to ensure listeners are informed about local COVID-19 concerns.
• Learn about London-based Health Info Radio and its mission to ensure listeners get the facts about COVID-19, as well as interviews intended to help listeners through the quarantine.
• Spanish broadcaster COPE says most it staff have been working from home and are using AEQ products to “keep calm and carry on.”
• E2 Technical Services’ Ed Bukont talks about how the industry is responding to technical challenges posed by unplanned work-from-home situations.
• WestStar decided early on to send home most of its “Kim Komando Show” staff, but they adapted quickly.
• D.C. public radio station WAMU(FM) decided to go “100% virtual.” Learn about their game plan from Rob Bertrand.
• In Denmark, Nordjyske Media has been proactive about setting its staff up to work from home.  Learn how and why.
• Gary Kline shared what he’s hearing from colleagues about how COVID-19 has changed the broadcast industry and best practices for keeping stations on the air.
• NAB CTO Sam Matheny told RW about the association’s coronavirus resources and how member stations were responding in the early days of the pandemic’s ingress to the U.S.

Are you especially proud of how your station is reacting to coronavirus-related restraints? Radio World wants to hear from you. We may feature your station in a how-to-do-it profile or Q&A.

The post Coping With Coronavirus: How Tos and Best Practices for Radio appeared first on Radio World.

The following is a letter sent to RW from reader Gary Shriver, who is station manager for KVHH(LP), “Christian Hits FM.” He responded to our call to learn how radio stations are serving their community during the COVID-19 pandemic. Tell us about your own efforts; email Radio World.

Greetings for KVHH(LP) in Turlock, Calif.

Just a short story about how we have been able to help during these “tuff” times of COVID-19.

We here in California have been ordered to “shelter in place,” meaning no groups of over 10. All local non-essential businesses, schools and churches have been shuttered. It’s a ghost town out there.  Unless of course you go to Costco first thing in the morning to stand in line and make a run on toilet paper! LOL.

Being a contemporary Christian format, our hearts go out to the local congregations that are forced to no longer meet. I came into contact with a local pastor with a pretty creative idea. He called me looking for a spare transmitter he could borrow because he wanted to have a “drive-in” church service where he could set up the worship service in the parking lot and all could come to church on Sunday, but stay in their cars at a safe distance.

Of course, I couldn’t offer a transmitter, but we did one better. We cobbled together an AoIP set-up and ran last Sunday’s service live over “Christian Hits FM.” It was a screaming success. Everybody loved it!

You should have heard the broadcast. During his sermon, whenever he made an uplifting statement of hope (where normally you would hear an “amen” from the congregation,) everyone in their cars started honking their horns. It was awesome and hilarious at the same time! The ambient mic picked up everything.

Makes me smile just thinking about it. We plan on doing this every Sunday morning until things get back to normal.

It has been an honor and a blessing to help our community in this way.

The post Honk Your Horn Means “Amen” for KVHH(LP)’s Drive-In Church appeared first on Radio World.

.

.

.

.

.

.

Angry Audio says that radio’s favorite wiring system is back. The company has acquired the intellectual property and returned to product production.

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

Off the shelf Cat-5 cables connect the studio’s audio gear. Everything uses the familiar StudioHub+ pinout, a radio standard for audio over Cat-5.

StudioHub offers the complete line of adapters, cables, panels, match jacks, breakout boxes, patch panels, hubs, power inserters and more.

Info: https://angryaudio.com/studiohub/

 

The post StudioHub Returns to Radio appeared first on Radio World.