`The Voice`: Small Audience, Big Show

Children’s Healthcare of Atlanta
facilityfocus
‘The Voice’: Small Audience, Big Show
New Pediatric Media Centers Are the First
Initiative of the Ryan Seacrest Foundation
by Ken Deutsch
Imagine a radio station that features visits
from some of the biggest entertainment stars
on the planet. Add in studio live video and new
media channels. This station has state-of-theart studios but runs no commercials, makes no
profit and can be seen and heard only by a few
hundred people. And the owners wouldn’t have
it any other way.
We’re talking about “The Voice,” a multimedia broadcast service created by the nonprofit 501(c)(3) Ryan Seacrest Foundation.
With assistance from members of his family,
Seacrest — the radio success story, the intensely busy guy seen nationally on “American Idol”
whose name as host or producer also tops the
credits of other radio and TV shows — has
led the construction of “Voice” stations at
Children’s Healthcare of Atlanta and Children’s
Hospital of Philadelphia, with a third in the
works. These radio/TV operations have a special closed-circuit audience: the children visiting these hospitals as patients.
In each facility, young patients who are
physically able can visit the studios of “The
Voice” and participate in person as disc jockeys
and interviewers. Kids who are too sick to do
that simply turn on their in-room TVs to join
(continued on page 3)
A Supplement to
(continued from page 1)
the fun. Any patient can call in requests during the
music shows or ask to speak with visiting celebrities.
IT’S A FAMILY AFFAIR
“It started as a conversation one night around
the dinner table,” said Meredith Seacrest, Ryan’s
sister and vice president/COO of the Ryan Seacrest
Foundation.
“Ryan had visited several children’s hospitals and
always left wanting to make more of a lasting impact.
He decided to start a foundation that would lift the
spirits of sick kids. For Ryan, just asking people to
give money to a cause wasn’t enough. His idea was
to develop multimedia centers that would serve as a
positive distraction to the patients and their families
during their hospital stays.”
Or as the foundation mission statement puts it:
“We believe access to multimedia experiences will
bring patients exciting and stimulating adventures to
encourage optimistic thoughts during treatment and
for the future.”
Their father Gary is president/CEO, their mother
Connie is executive director of foundation relations
for the charity that bears their name. Meredith handles most of the day-to-day activities including the
programming of the stations, the marketing, public
relations and celebrity bookings.
She works with the hospitals and with local
schools that supply journalism interns; part of the
foundation’s mission is to provide students an opportunity to gain experience in radio, TV and new media.
Financial support for “The Voice” comes from
E! Entertainment Television and Coca Cola. (You
can visit www.ryanseacrestfoundation.org for more
details.) Ryan Seacrest, the foundation chairman, is
not just a figurehead; he is involved at all levels of
these projects.
“The Voice” studios in Atlanta and Philadelphia
are bright and contemporary in design, and both
feature tall ceilings and lots of glass.
IN THE BIG PEACH
“The media centers have a fish-bowl-like appearance,” said Meredith Seacrest. “We have the kids
decorate them with posters and autographed photos.
And in each city we have support from local radio
station engineers who help maintain the studios.”
And what do the stations do for their listeners, the
children in the hospitals?
“They help brighten their spirits. And then there’s
the educational side. The kids actually get to work
in these media centers, so we may inspire someone
to become a DJ. Hey, we might be creating the next
Ryan Seacrest.”
Ryan Seacrest started his radio career as an intern
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at WSTR(FM), Atlanta (“Star 94”),
so it makes sense that when the
first “Voice” location opened last
November, it was in his home town.
Chris Jones is director of volunteer services at “The Voice” in
Atlanta.
“We play music, we do special requests from the kids, we do
trivia, and when we have guests
our DJ, Wacky Wendy [real name:
Wendy Threatt] will interview
them and then open it up for questions from the kids.”
In Atlanta, “The Voice” is
heard at three locations including the campus where the studio
is located, Children’s Healthcare
of Atlanta at Egleston. Additional
campuses where programming
can be viewed are Scottish Rite
and Hughes Spalding, both in
the Atlanta area, both part of the
Children’s family.
“It’s very interactive,” said
Jones. “The kids will request
songs, ask the guests questions
and participate in various games. We give out prizes,
even to kids on the other campuses. We try to make
it as inclusive as possible.”
There are 500 beds among the various Atlanta
locations. The patients vary in age from infants to 21.
Wacky Wendy is one of the few paid staff members and brings years of commercial radio experience to her job. “The Voice” in Atlanta is seen on
Ed Cunicelli Photographer Inc.
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(continued on page 4)
hOLLyWOOD entRePReneuR
Good looks, a smooth voice and a sunny disposition are
great tools in any media career; but lots of people can claim
those attributes.
Ryan Seacrest has those tools; but unflagging energy and
remarkable entrepreneurial instincts are what seem to set
him apart in hyper-competitive Hollywood, where Seacrest
engages radio and TV audiences who were once held captive by the likes of Dick Clark, Casey Kasem and Rick Dees.
Seacrest broke into broadcasting 20 years ago with an internship at
WSTR(FM) in Atlanta. He moved to Los Angeles at age 19, and today has a
long-term deal with Clear Channel Radio, hosting the syndicated, high-profile
“American Top 40 With Ryan Seacrest” as well as “On Air With Ryan Seacrest”
over Premiere Radio Networks. His morning show on KIIS(FM) in Los Angeles is
a consistent Arbitron winner in the nation’s top-billing radio market.
But Seacrest has moved well beyond radio in the past decade.
He hosts and produces cable TV show “E! News” and its signature red-carpet
awards shows. He executive-produces and co-hosts “Dick Clark’s New Year’s
Rockin’ Eve With Ryan Seacrest.” He has brand and marketing agreements with
corporations like Microsoft, Proctor & Gamble, Coke and Eventful Inc.
Ryan Seacrest Productions is a television production company responsible
for such shows as “Jamie Oliver’s Food Revolution,” “Keeping Up with the
Kardashians” and “Khloe and Lamar.” Seacrest has appeared as a character
in films and TV, playing himself. And he is seen on TV in millions of homes as
host of “American Idol,” the Fox show that has finished atop the end-of-year
Nielsen ratings for the last eight years.
Ryan Seacrest is 36.
3
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(continued from page 3)
Children’s Healthcare of Atlanta
Channel 12 in patient rooms three days a week.
Local schools take over the programming for two of
the four hours on broadcast days.
“They run the show,” said Jones. “They do
everything. We have two universities involved, the
University of Georgia and Georgia State, as well
as Dunwoody High School, which is where Ryan
went.”
STARS COME OUT
Ryan Seacrest Foundation
Ryan Seacrest’s showbiz connections help
get celebrities involved
with “The Voice” in
Atlanta. Among the ageappropriate luminaries to
make appearances have
been Web maven iCarly
and musical group Big
Time Rush, both from
Nickelodeon.
“Big Time Rush is a
boy band,” said Jones.
“They pulled up in their bus and we had our hematology patients greet them.
“These are kids who are undergoing chemotherapy and they were bald. They all screamed when
they saw the group, and from the noise you would
think it was the Beatles arriving in New York. The
kids got to hang out at the station with the boys and
it was great. We’ve also had another band, New
Kids on the Block, and several of the stars from
‘American Idol.’ Sports figures from the Atlanta
Braves, Falcons and Hawks have also stopped by.”
Jones said a pediatric hospital differs from treatment centers for adults.
“It’s so unnatural for a child to be stuck in a hospital, so we try to make the experience a little more
rounded,” she said.
Ryan Seacrest cuts the ribbon for “The Voice”
at Children’s Healthcare of Atlanta. With
him from left are Connie, Meredith and Gary
Seacrest; Seacrest grandmother Virginia Glass;
Donna Hyland, president/CEO, Children’s
Healthcare of Atlanta; patient Leah Brinson;
and Gene Hayes, president of the Children’s
Healthcare of Atlanta Foundation.
“‘The Voice’ changes from day to day because
sometimes we have a lot of younger patients and
sometimes more teens. We might have story time for
the three- and four-year-olds. It’s all over the place.
For our patients, ‘The Voice’ is something that
comes their way only because they were unlucky
enough to be in the hospital.”
There are no Arbitron ratings for closed-circuit
stations. Jones looks for other signs of success.
“We can tell when the phone lines light up that
there is interest,” she said. ‘The Voice’ has become
more and more a part of the culture. Each week we
get more people coming in and calling in.”
While Great Britain has a long history of hospitals providing entertainment for its patients (see
www.hbauk.co.uk), this is not a tradition in the
United States. One might expect that setting up
an operation unlike anything that has come before
would be fraught with problems.
“Everything has actually gone very smoothly,”
said Jones. “The biggest issue for us is just making
sure that the other campuses are tuned in. We had
a campaign to market ourselves to the other locations, and part of that was putting stickers on the
TVs, and part of it was getting the nurses on board.
Now, if you’re going to be in the hospital for two or
three days, someone will definitely tell you about
Channel 12.”
4
At the opening at
The Children’s Hospital
of Philadelphia.
Ed Cunicelli Photographer Inc.
THE SOUND OF PHILADELPHIA
The Philadelphia center launched in July of this
year. Pop star Selena Gomez made an appearance at
the grand opening, as did NFL kicker David Akers.
With a legacy going back more than 150 years, The
Children’s Hospital of Philadelphia has one of the
largest pediatric research programs in the country.
“When Ryan first contacted us about this I was
thrilled,” said Elana Brewer, director of child-life,
the department that facilitates all programming for
“The Voice.”
“It’s Channel 51 on the room TVs here, but we’re
also exploring new media. We’d like to create apps
that kids can run on their mobile devices, but that’s
down the road for us.”
(continued on page 6)
BSI is proud to be a premier sponsor of the Ryan Seacrest Foundation Media
Centers. Congratulations on launching the first two facilities in Atlanta and
Philadelphia. Here’s to wishing you much success at all the future locations!
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taken on about 25 volunteers to visit bedsides and
facilitate the involvement of more patients in “The
Voice.” Badge clips are worn that show off “The
Voice” logo, the TV channel and the phone number
for dedications.
RYAN’S HOPE
6
Olivia King, left, is
a liver transplant
patient at Children’s
Healthcare of Atlanta.
(continued from page 4)
While the Philadelphia “Voice” has only been in
operation a short time, Brewer has seen some results.
“We had one patient who had not left his room in
months, but he came out for this,” she said. “Other
kids also find this service to be uplifting, and I
believe this aids in healing.”
Sometimes during broadcasts, “The Voice” studio is filled to capacity, with about 24 kids and as
many as 150 visitors and parents waiting just outside
in the lobby. The Philly version of “The Voice”
broadcasts Sundays, Tuesdays and Thursdays from
4 to 8 p.m.; at that time, the patients are not as likely
to be involved with medical procedures.
Kris Schrader runs the day-to-day operations and
also provides mentoring and coaching for her young
charges, as well as taking an on-air slot. Interns run
the audio board and the cameras while she provides
oversight. Students from Temple University and Penn
State provide the manpower.
“We’re building an advisory group from radio
and TV stations here in Philadelphia,” said Brewer.
“We want to get input on programming and engineering.”
The Children’s Hospital of Philadelphia has
Children’s Healthcare of Atlanta
Artist’s conception of ‘The
Voice’ studio in Philadelphia.
The public face of “The Voice,” of course, is
Ryan Seacrest. We asked him what ran through his
head when he walked in the doors of “The Voice.”
“The energy at the hospital is just incredible,” he
said. “It’s hugely gratifying and humbling to lift the
spirits of kids who are going through so much and
provide them with a positive distraction.
“I really believe there could be a future
American broadcaster among them, and it’s just
amazing to watch them have the creative opportunity to experiment with different mediums.”
It’s no surprise that Seacrest is a big believer in radio, because the bug bit him early.
“When I was younger, radio was more of a hobby
— something I did to entertain myself and my family,” he said.
“It wasn’t until high school that I really began
pursuing this passion and started doing the morning
announcements at my high school. A few years later
I landed an internship at a local radio station and
one night I found myself filling in for a DJ who had
called in sick. Here I was, a teenager, broadcasting
to all of Atlanta. It was pretty surreal; and it was at
that moment that I knew radio was in my future.”
And it may also be in the future of some of his
special guests, the kids who visit the hospitals where
a “Voice” studio is located.
Ryan Seacrest’s other current radio gigs include
“On the Air With Ryan Seacrest” and “American
Top 40,” syndicated nationally by Premiere Radio
Networks. To learn more about his activities and catch
up on showbiz news, visit www.ryanseacrest.com.
This summer, Meredith Seacrest announced the
third “Voice” location: the main lobby of Children’s
Hospital Boston. n
Ken Deutsch has been a contributor to Radio
World for more than 25 years.
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He Has to Keep Up With Seacrest
An Interview With Engineer Brian Clark About His Boss and ‘The Voice’
Ed Cunicelli Photographer Inc.
mother Connie, father Gary and sister Meredith
would form the foundation.
Ryan has loved radio and TV since he was a
young boy and even did mock radio shows in his
Atlanta bedroom during childhood. He wants everyone to have the opportunities he has had, especially
young kids.
Ryan and Gary contacted me to see if I would
be interested in working as the lead on this project.
I said without hesitation, “Absolutely.” I began to
work with Gary to begin the design phase of what
would become the prototype media center, to be
built in the lobby of CHOA and run by patients from
the hospital as well as local high school and college
students.
Brian Clark,
right, stands
behind his
man at the
Philadelphia
studio opening.
Brian Clark is engineer for “On-Air With Ryan
Seacrest.” He leads technical planning of “The Voice”
media centers for the Ryan Seacrest Foundation.
What is your role in “The Voice” projects?
I became involved in October of 2010. I was
traveling back to Los Angeles during “American
Idol” auditions taking place in Puerto Rico; I’d
just landed at LAX and was on my way to the
Disneyland Resort in Anaheim, Calif., to set up for
an early-morning broadcast from the resort with
Ryan Seacrest when my emails began to come into
my BlackBerry’s inbox.
One of the messages was from Ryan. He requested that I compile an equipment list to somewhat
duplicate his Hollywood studio. This would be to
build a media center at Children’s Healthcare of
Atlanta. Once I arrived at my hotel at the Disneyland
resort I immediately began working on the equipment list.
A month or so later Ryan began to form the Ryan
Seacrest Foundation, which would be the core of
building media centers across America. Ryan, his
8
What is your broadcast background?
I began my broadcast career in September of
1983 and can thank computers for this wonderful
career. I was attempting to register for college in the
summer of 1983. I began the registration process for
classes but was told that my records and those of
several other students had been misplaced in the system somewhere. About three hours later my records
were found; unfortunately many of the classes I
wanted to take were now full.
I wasn’t about to sit around for a semester not
doing anything. I discovered that KIIS-FM in Los
Angeles was building a new state-of-the-art facility
in Hollywood, and I was interested in helping out
on the construction of this new facility they were
building.
My father “Digger” Clark was an announcer and
engineer for 55 years. I’d help him on projects at
home and work that involved electronics all though
childhood, and was excited to be working on such a
project with my dad.
I was hired initially for a two-week stint primarily to pick up supplies for the project, but within a
week I began to help the engineers with the wiring of
studios. Since I grew up around radio/TV and even
lived at a transmitter facility for many years, and
helped my dad with transmitters since the age of 12,
I had a lot of electronic and mechanical knowledge.
I was fortunate to be involved in helping build the
entire facility.
This position was a part-time position, but I was
looking for a full-time position because I was going
to soon marry my now wife Natalie. I was made
aware of an open full-time position for KYSR(FM)
“Star 98.7 FM” in Los Angeles, and after four interviews was eventually hired.
Within one week of working at Star I met a young
man in a white T-shirt, baseball hat and jeans sitting outside of the studio in the call screening area.
He introduced himself as Ryan. We became instant
friends and I could quickly see that he had high
aspirations.
I discovered that Ryan already was host to three TV
shows. It wasn’t too long after our first meeting that
Ryan Seacrest was announced to be the new afternoon
(continued on page 10)
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(continued from page 8)
show host on KYSR with co-host Lisa Foxx.
One difficulty Ryan had was that one of his TV
shows on CNET was filmed weekday mornings in
San Francisco. Ryan would have to fly early morning every day to San Francisco, film the TV show,
then fly back to Los Angeles and do his radio show.
This made me realize even more that there was
something special about Ryan.
After a couple of years at Star, and a couple of
company mergers later, I was offered a great fulltime position back at KIIS-FM working with Rick
Dees at an eight-station radio cluster. But I kept
in constant contact with Ryan. After a year, KIISFM and KYSR(FM) became part of Clear Channel
Communications and we were all part of the same
company.
Six months later Ryan replaced Rick Dees on the
KIIS-FM morning show.
What do you do for Ryan on an ongoing basis?
My daily routine begins at E! Entertainment at 4
a.m. I check all systems in order to ready things for a
daily live radio/TV broadcast locally in Los Angeles
on KIIS-FM and stations all across the world including Australia, England and Africa, syndicated by
Premiere Radio Networks. I also travel with Ryan
for “American Idol” auditions and set up a mirror
image studio in all of the audition cities.
Since Ryan is the host of “American Idol,” we
go to all cities twice, so this process occurs twice
in each city.
Wherever Ryan goes, I must be one step ahead of
him and build a broadcast facility in whatever venue/
city we are in at the time. I also try to innovate new
forms of technology for Ryan, and strive to keep him
state-of-the-art at all times.
What is working for Ryan like? How do his
personality and schedule affect you?
I have thought about this many times in recent
years. I would say working for Ryan is a little bit like
the television show “Amazing Race.” Ryan has a
schedule that is presidential in layout. He optimizes
every minute.
He once told me many years ago while we were
traveling in Washington for “American Idol,” “It
is minute-to-minute, Brian.” This comment was
spawned because I took an early morning flight to
D.C. to set up for his show the following morning.
I raced to get to the venue and set up. Ryan left six
hours later than me and he made it to D.C. 30 minutes after I did.
I have learned a lot about time management from
Ryan. Now when I am driving to work or going up
and down on an elevator, I plan the entire excursion
in my head to determine how many things I can
complete in either direction.
The early and late hours sometimes make me
very tired; but I am grateful to be working for Ryan.
I am thankful to also work for Radio Disney/Disney
Channel and have a great boss, Clay Steely, who is
supportive of my work with Ryan. This association
with Disney has been enormously helpful in getting
audience-appropriate talent to appear at each hospital facility. Ryan is supportive of family, and fully
understands when I need to take time to be with my
wife and kids.
Who was in charge of key decisions?
It is a group effort. I work with each facility
director, and everyone on the hospital team has input
as to the design. We are trying to keep a similar
broadcast equipment list for all facilities, but also
want each facility to match the personality of the
room to their particular facility.
What is the technical mission of these facilities?
The main goal of these facilities is to entertain,
inspire and educate young patients. The hope is to
make things a little more palatable for kids undergoing treatment in the hospital. Kids who are room-
Ed Cunicelli Photographer Inc.
Describe the studio planning process for
“The Voice.”
The planning of each facility is a little different
in each city, because each city and state has different
building codes that must be adhered to.
Ryan’s father Gary will have met with a facility
and has set up a preliminary location in the hospital
lobby. Then we will have a conference call/WebEx
to look over a space and decide on a room layout.
This is very different for me because usually I am
used to meeting architects etc. and physically seeing
a space; but it is all virtual now and you don’t get to
see things until walls actually begin to go up.
bound can participate in a radio/TV program while
confined to their rooms and thus get their minds off
of their personal problems, if just for a little while.
How did you choose the equipment?
Well I have been fortunate to have worked with
many different companies and vendors over the
years. I had a pretty good idea of the equipment list
I wanted to use, because the hope was to somewhat
duplicate Ryan’s Hollywood facility. But since Ryan
was in the early stages of forming his foundation, all
of the funding wasn’t there quite yet.
(continued on page 12)
From chairs, stairs and atrium
windows, patients, staff
and guests watch the Philly
opening in July. The studio
entrance is at left.
Photos: The Children’s Hospital of Philadelphia
(continued from page 11)
In the summer of 2010, a vendor I have worked
with for some time, Broadcasters General Store, was
working a trade show in Texas; I was in town for
“American Idol” auditions. I thought it would be a
good idea to introduce Jessica Shute of BGS to Ryan
and see if she might be able to help get some of the
equipment donated.
Jessica and I worked in tandem contacting vendors to help donate equipment for the Atlanta and
Philadelphia facilities. We had a great response from
many vendors.
Describe the audio, video and new media
capacities of a media center.
Each studio has a user-friendly furniture layout,
centrally located. There are several tabletop elevations
to accommodate patients who can sit in chair, must
stand or even ones that must lay down on a gurney.
We wanted ample microphone positions to allow
for multiple guests, so there is a main air talent
microphone and five guest microphones.
We are using SAS M Class consoles with built-in
routers to handle the analog/digital audio sources
such as Op-X automation, CD players, VoxPro
phone caller editing and even a Telos Zephyr
Xstream to allow commercial broadcasters the ability to broadcast from the hospital media center.
There are two robotic cameras that are controllable at the operator position, feeding a video
modulator system fed to all of the children’s rooms.
This allows room-bound patients the opportunity to
participate by watching, calling in to request a song
or even speaking to a celebrity guest.
12
High visibility and an airy, bright feel are part of the design
aesthetic of ‘The Voice’ studios, as seen here at the Children’s
Hospital of Philadelphia.
facilityfocus
There is also a press feed to allow for lo­cal
media to come and film different events.
Ryan Seacrest Foundation
What special touches make the studios unique, design-wise?
Most commercial broadcast facilities are
simple rectangular rooms somewhat isolated from people, and not very large. These
media centers are centrally located in a
hospital’s main lobby, and are large enough
to allow upwards of 50-plus people inside to
interact with a surprise movie star, singer,
sports figure or possibly even the president
of the United States.
The goal is to make them large enough
that even the kids that cannot fit in the
studio directly can watch through the floorto-ceiling perimeter glass.
Since we have had such an outpouring of support
from broadcast companies around the world donating equipment, we have made a special effort to
ensure each company gets recognition on a permanent wall plaque or frosted glass etching of thanks
on the main entrance leading into the studio.
tainty is inspiring to me and solidifies to me that
there aren’t any problems that cannot be overcome
by faith.
When we kicked off the Philadelphia studio, there
was a young girl named Julia. I initially thought she
was about 8 years old by her appearance. It turned
out that she was 20 years old. She was a little smaller
due to the fact that she had a failing heart and was
awaiting a heart transplant.
We had a surprise guest. Radio Disney/Disney
Channel’s Selena Gomez came to entertain the kids
and even sang along with Julia as she played her
guitar. Julia just glowed and you would have never
known that she was awaiting a heart transplant. n
What anecdote can you share about how this
project touches lives of children?
I lost my 11-year-old nephew Travis two years
ago due to a brain stem tumor. I saw him and other
children in similar predicaments. It is very hard not
only on the kids, but also their parents and loved
ones. Seeing these kids acting so brave under uncer-
Sinceweliveintheneighborhood
R A D I O S Y S T E M S
feelsespeciallyclosetotheChildren’sHospitalofPhiladelphia.
Thank you
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Ryan Seacrest Foundation
ryanseacrestfoundation.org
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Who better than children to explain to each other
what they’re going through? They’re remarkable for
their poise and equanimity.
— David Holland, Omnirax
It was deeply gratifying to watch the children and
their families use the studios and to see the positive
results that those experiences generated.
— Gary Kline, BSI/Cumulus
CHOP is our local, Philadelphia-based children’s
hospital and has provided wonderful, lifesaving care
to the child of one of our managers since birth.
— Dan Braverman, Radio Systems
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Here’s what suppliers who are involved with “The
Voice” and sponsored this supplement have to say.
This project is dear to me because I spent a great
deal of time in Children’s with my youngest when he
was born. This kind of therapy for the kids is beyond
priceless. The possibilities are limitless.
— Al Salci, SAS
Comrex
800-237-1776
www.comrex.com
Radio Systems
856-467-8000
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REWARDING WORK
There’s something about the excitement of broadcasting that is especially attractive to young people.
— Don Winget, Broadcast Tools
We get approached throughout the year for many
charitable projects to get involved in, and this one is
a particularly special organization. They truly make a
difference in people’s lives.
— John L. Conard, Genelec
What the foundation is doing to help kids recover
while in the hospital is amazing.
— Chris Crump, Comrex
‘chOP’ shOP
Here are major components from the “bill of materials” for the Philadelphia “Voice” studio.
Broadcast Tools
BSI
Comrex
Cornell
Crestron
Data Video
Dell
Denon
Electro-Voice
Extron
Genelec
Middle Atlantic
Omnirax
SAS
TransLanTech
Sharp
Sony
Radio Systems
Symetrix
Visionary Solutions
Audion Labs
Telos
Yellowtec
ACS 8.2 Plus Switcher
Op-X Automation System and digital skimming
STAC 6 Phone System
Air Lights
2 Series Control System
DV/HDV Recorder
Monitors
DN-C640 CD Player (4)
RE27N/D Mics (6)
CrossPoint Ultra 88 Matrix Switcher
8020A Monitors
Equipment rack
Custom cabinetry
M Class console system
Ariane Sequel processor
Professional LCD monitors (42- and 52-inch)
Network PTZ Camera
StudioHub+ Distribution System
Jupiter 8 Audio DSP
Video over IP system
VoxPro System
Zephyr Xstream ISDN Transceiver
M!ka mic & monitor mounts
Service providers in Philadelphia included Elkin Aguilar of FKP Architects (architectural lead);
Joel R. Brazy and Advanced Audio Visual Sales (video integration); Daniel Braverman and Radio
Systems (audio integration); and Dave Supplee of Cumulus Broadcasting (automation integration).
Key managers for the Atlanta project included Phil Hearn and Jim Zeller of CHOA, and
Scott Trask, chief engineer of WSTR(FM)/Star 94.
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Photos by Ed Cunicelli Photographer Inc.
Congratulations to the Ryan Seacrest Foundation from your friends at Genelec!
Thank you to all of our friends and supporters in the
radio industry. Due to your tremendous support, the
Ryan Seacrest Foundation has opened its first two
broadcast media centers at Children’s Healthcare of
Atlanta and The Children’s Hospital of Philadelphia,
with more on the way.
To learn how to be part of our vision,
please visit ryanseacrestfoundation.org.