Radio Haq Aims to Extend Reach

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August 2012
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The News Source for Radio Managers and Engineers
Radio Haq Aims to
Extend Reach
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NEWS
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radioworld.com
Steady
Growth
For Radio
Stari Grad
By Lameck Masina
• Top FM serves niche market in Serbia
— Page 10
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WORKBENCH
• Simple ways to safeguard your transmitter site — Page 21
NAMPULA, Mozambique — In a bid to
keep pace with the increasing radio listenership potential in Mozambique and
beyond, Radio Haq (“truth” in Arabic) is
boosting its coverage area.
Broadcasting 24 hours a day at 104.4
on the FM dial in Nampula and the surrounding areas, this faith-based station,
which hit the airwaves in October 2007,
has a full-time staff of 15. With “Radio
By Tayfun Kesgin
SARAJEVO, Bosnia and Hercegovina —
From rags to riches.
This is the story of Radio Stari Grad,
one of the country’s first private radio
stations, which launched in February
1993 in the midst of a war that was
characterized by bitter fighting and ethnic cleansing.
In its early days, the station expended
a signal that could barely reach beyond
the borders of the capital Sarajevo. It is
now an accomplished nationwide broadcaster, covering this heart-shaped country from north to south, east to west.
Cultivating success
Sraj
Suleiman,
technical
director of
Radio Haq
Verdade” (“Radio of the Truth”) as its
motto, Radio Haq aims to contribute to the
moral and social economic development
of the communities to which it transmits.
“We broadcast in the Portuguese,
Macua and Arabic languages,” said Sraj
Suleiman, Radio Haq technical director.
The station produces programming that
deals with Islam, gender, health, community development and other social issues,
explains Suleiman, and it has received
As one of the most recognizable
radio brands in the country today, the
RSG Group prides itself on being the
only privately owned radio broadcaster in Bosnia and Hercegovina with
two individual radio stations: RSG 1
Sarajevo and RSG Radio.
When it began, the group’s single
station exclusively targeted the citizens
of the Sarajevo Canton. But in April
1999 the group decided to take a giant
step forward and opened a second sta-
(continued on page 6)
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MNM Hits the Road
With Summerclub
Worldcast Selects
Novanet for Canada
Dutch language public radio’s MNM
channel changed its regular program
roster for its “MNM Summerclub on the
Road” project.
WorldCast Systems Inc. has
announced the appointment of
Novanet Communications Ltd. as the
exclusive dealer for the Ecreso transmitter line in Canada.
As the existing value-added reseller
(VAR) for APT audio codecs and Audemat’s monitoring devices, Novanet now
offers all WorldCast Systems’ products
to the Canadian broadcast industry.
With the addition of Ecreso products, says the company, Novanet’s portfolio includes a selection of products
from the studio to the transmitter site
and into the coverage areas.
Novanet Communications is headquartered in Ajax, Ontario and has
sales offices throughout Canada.
The MNM Summerclub bus kicks
off the tour in Mol.
MNM’s mobile broadcast studio commuted between cities including Leuven,
Mechelen and the Flemish coast resort
of Westende, from July 1 to Aug. 15.
“We wanted to show our audience
how we make radio and let them make
radio — interactivity is the key word,”
said Rino Ver Eecke, channel manager
MNM.
— Marc Maes
VPO, VCR Unite
for DAB+ in the
Netherlands
Nederlandse Publieke Omroep
(NPO), Netherlands Public Broadcasting
and Vereniging voor Commerciële
Radio (VCR), the Association for
Commercial Radio, have signed an
agreement to begin collaboration on
the DAB+ rollout.
According to the memorandum, NPO
and VCR agree to roll out their DAB+
transmitter networks simultaneously
beginning Sept. 1 2013.
NPO Managing Director Audio Jan
Westerhof was pleased that the public
and commercial radio stations have
joined forces. “Ultimately, it is the listener who benefits and that is what we
cater for,” he said.
NPO and VCR said they intend to
communicate jointly with the Dutch
government and the industry for consumer electronics with the aim of
turning DAB+ into a success in the
Netherlands. NPO also pointed out
that important issues for both parties
include the advent of smart phones
with DAB+ reception and the availability of radio sets with both FM and
DAB+ receiver capability. The partners
are also collaborating in the field of
marketing and public relations.
Nigeria Gets New
VOA Hausa Show
Nigerians have a chance to hear a
Voice of America Hausa-language service radio show.
The 30-minute program, called “Tattauna” in the Hausa language (“Dialogue”
in English), includes the latest news
from reporters in the region, analysis and
roundtable discussions of issues behind
the headlines, commentaries from civic,
religious and community leaders, and
the voices of ordinary people.
Airing on shortwave, the program is
also streamed on the VOA Hausa website and is available on mobile devices
in Nigeria.
Northern Nigeria has recently been
the target of a series of deadly terror
attacks blamed on the insurgent group
Boko Haram that has called for Sharia
in northern Nigeria. VOA Hausa service
Chief Leo Keyen says the new radio
program will “provide a place for the
kind of serious dialogue that is essential to solve problems and build democratic institutions.”
Reporters from around West Africa
will contribute to the program, which
is produced and broadcast from the
VOA studios in Washington. VOA
programs are broadcast to Nigeria
on radio, television, the Internet and
mobile in both English and Hausa.
Nigeria has VOA’s largest audience in
Africa.
Raidió Rí-Rá Begins
Broadcasting
on DAB
Irish-language youth station Raidió Rí-Rá began broadcasting on the DAB platform in
Dublin and Waterford July 1.
Nominated for a Barr 50 Gnó
le Gaeilge 2010 award, which recognizes excellence in business, and for the
Oireachtas na Gaeilge communications’ awards in 2009, 2011 and 2012, Raidió
Rí-Rá has been active in offering music and Irish-language services to young
people since it began broadcasting.
The station is available online, and is active in utilizing social networking
sites like Twitter and Facebook. It has also developed a free-to-download iPhone
application,
“It is essential that young people in Ireland have the choice of Irish available
to them as part of any new communications project such as DAB, and Raidió Rí-Rá
hopes to provide the best possible radio service, full-time and on a national basis,
on DAB, FM and digital television systems in the future,” said Traic Ó Braonáin,
Raidió Rí-Rá chairperson.
“Four hundred seventy-five million people have access to digital audio broadcasting worldwide so far, and as such it is the perfect medium for taking Irish out
of the classroom, where it is seen solely as a school subject,” says Braonáin, “and
broadcasting Raidió Rí-Rá directly into the ordinary daily lives of young people in
Ireland, through music, through talk radio and through great fun on the radio.”
Raidió Rí-Rá will be available on DAB in Cork and Limerick before the end of
this year, and nationally in the future.
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inte r n a ti o na l ed ition
Vol. 36, No. 8
August 2012
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Editorial Contributors
Algeria: Laïd Zaghlami; Argentina: Jorge J. Basilago, Rubén
G. Margenet; Australia: Jason Ford; Austria: Nada Muster;
Bangladesh: Md. Azizul Alam Al-Amin; Barbados: Arturo Valentino;
Belgium: Marc Maes; Bosnia and Hercegovina: Tayfun Kesgin;
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Green; Hungary: Drew Leifheit; Iceland: Hans K. Kristjansson,
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Community Radio Serves a Purpose
◗commentary
By Azizul Alam Al-Amin
DHAKA, Bangladesh — Community
radio is sprouting up around the globe.
And with many international broadcasters facing enormous difficulties and
reducing their services, the growing
number of community stations couldn’t
come at a better time, particularly in
regions such as Africa and Asia where
poverty and lack of infrastructure run
abundant, as does the need for education
and information.
Global scenario
Take Radio Ruyuk, for example.
Located in the 718-hectare village of
Mandalamekar in the West Java province of Indonesia, the station creates
social awareness and stimulates a sense
of responsibility toward the environment
by broadcasting information on organic
farming, herbal plants and medicine in
the local Sundanese dialect.
Radio Ruyuk urges locals to pay
attention to the condition of the village’s
forests and wildlife; every Sunday it
broadcasts a live talk show on environmental issues concerning the area. Today
there are more than 400 community
radio stations in the country.
Another example is Mama FM.
Founded by the Uganda Media Women’s
Association in 2001, the station is based
in Kampala, Uganda, and is one of the
first women’s radio stations in Africa.
It targets females 15 to 45 years of age.
Broadcasting gender-sensitive educational programs, Mama FM provides practical experience for female journalists and
aims to ensure a space for rural women’s
voices to be heard.
In Mozambique, Buzi community
radio in Buzi, located in the Sofala province, helps tackle issues such as domestic
violence and child abuse. It plays a positive role in bringing community members together to discuss topics that affect
them and has become an open forum to
share sensitive matters. With the support
of UNICEF, there are more than 60 community radio stations in operation across
Mozambique.
Like Uganda’s Mama FM, Radio
Purbanchal of Nepal is a community station established and run by women. In
eastern Nepal, Radio Purbanchal serves
as an important platform for women to
share experiences and discuss pertinent
issues. Much of the audience is illiterate
and unaware of their rights so the station
helps to create awareness in rural communities with news updates and practical
information. Nepal introduced community radio in 1997 and as of last year,
Azizul Alam Al-Amin
During Radio Padma’s opening ceremony the country’s Information Minister
Abul Kalam Azad said that “the government is committed to facilitating the free
flow of information and to honor people’s
right to obtain information.”
Community radio has already made
a significant contribution toward a better future for Bangladesh. In the events
of natural disasters such as tsunamis,
cyclones and floods, the stations warn residents, thus reducing the loss of life and
damage. The role community radio plays,
especially around the coastal areas, is
not negligible nor is the help the stations
bring to farming communities in rural
areas, notifying them of erratic weather.
Community radio addresses social
counted more than
150
community
radio stations.
In India there are
more than 4,000
community radio
licenses available,
according to the
Ministry of Information and Broadcasting. Only 47
such stations were
operational in the
country however
as of Nov. 1 2009.
But that number is
increasing steadily.
In addition to the
above-mentioned
countries, there are
tens of thousands The Next Generation of Radio Listeners
of community radio
issues at the local level to empower marstations around the world.
ginalized groups and encourage active
Social progress
participation of the disadvantaged comBangladesh formally entered the
munity through implementing the develera of community radio in October
opment agenda.
2011 with the inauguration of Radio
Considered to be an alternative, effecPadma. The community radio movetive mass-media platform for the rural
ment in Bangladesh began in 1998
disadvantaged population to express
thanks to the NGO Network for Radio
their thoughts, community radio serves
and Communication (BNNRC) and the
as an important stage to engage thoughts
United Nations Economic and Social
on social, cultural, environmental and
Council.
other aspects.
The Bangladesh government realized
Giving a voice to the voiceless, and
the importance of community radio
educating for a better tomorrow — an
and created the “Community Radio
important aspect that should not be overInstallation, Broadcast and Operation
looked.
Policy 2008.” Bangladesh is the second
Azizul Alam Al-Amin, a reporter
country in South Asia to formulate a
and radio researcher, writes on the
policy for community radio. In April
industry for Radio World from Dhaka,
2010 the government approved commuBangladesh. Contact him via email at
nity radio for the first time. It initially
alamin@librabd.net.
approved 12 stations followed by two
more in May 2010. Today the country has 14, most of which are already
running. By the end of 2013 all of the
country’s 64 districts will have community radio.
5
6
An Axel Technology Oxygen console
runs in the on-air studios of Radio Haq.
RadioWorld | radioworld.com
Mozambique
vice providers like Telecomunições
de Moçambique (TDM), MCel and
Vodacom to come up with a working
agreement where Radio Haq would cosite and add its own antennas to those
companies’ towers.
“TDM responded promptly and favorably to the idea of developing a memorandum of understanding whereby Radio
Haq would use the TDM networking and
pylon infrastructure at a negotiated cost,”
(continued from page 1)
many requests from neighboring areas to
expand its signal coverage to reach new
listeners.
Going national
The station thus successfully applied
to the Mozambique licensing authorities
for permission to develop the station into
a national radio service.
“Though such a move was unprecedented for a community radio station, the
application was reviewed favorably and
the authorities have granted provisional
permission for the station to transform to
a private national service,” he said.
As part of the expansion, the radio
organization will unveil in September
an 18-meter tower that, says Suleiman, is
expected to yield “the best sound quality
available in the targeted 18 (out of 21)
districts of the Nampula province.”
The station has one on-air studio and
a production studio. The air studio is
equipped with an Oxygen 4 console from
Axel Technology, a Denon DN-C635 CD
player, a Tascam 102MKII cassette deck,
three Røde mics and three Fostex T-7
headphones. Its production quarter features a Behringer mixer, two Heil PR 30
mics, a pair of Fostex T-7 headphones, a
Denon DN-C635 CD player and a Denon
August 2012
DN-780R cassette player.
“We do not have any immediate plans
to change studio equipment because we
are satisfied with their performance
and we have not encountered any problems to warrant replacing them,” said
Suleiman.
The station however is focusing on
upgrading other areas of the station. It is
in the final stages of replacing the current
wooden framework, which supports the
soundproof tiles in both studios, with a new
wooden structure and new acoustic tiles.
Distribution question
“We will fit new double-glazed rubber gasket doors to each room and install
acoustic drop ceilings and clad the
walls with acoustic wall solution,” said
Suleiman. “We are also redesigning the
on-air studio to minimize reverberation
and applying an
Auralex acoustic
foam solution.”
On the distribution side of
things, the station makes use
of a 30 W Audio
TX STL mounted
on an Audio TX
STL Rack, and a
Behringer audio
processor.
Radio Haq also
Jumito Zeferino, head of news, works in the studio.
hopes to invest in
a VSAT terminal and lease bandwidth on
said Suleiman. “As Radio Haq would be
a satellite to distribute its programming
the first private radio network here to do
past the borders of Mozambique to cover
this on a national level, they would set
other countries in southern Africa includan important precedent and write a new
ing Zambia, Zimbabwe, Angola, South
chapter in the country’s broadcasting
Africa and the Democratic Republic of
sector.”
Congo.
Defying the odds
“Though satellite fees can be prohibiThis partnership would also mean that
tive, this system has the distinct advanRadio Haq would be the first station to
tage of providing a clear signal anywhere
take advantage of the TDM mast space
within the satellite footprint no matter
and fiber optic bandwidth at this level.
how remote,” he said. “The signal can be
Both of these resources will become
received by a low-cost satellite receiver
limited as the sector develops, so Radio
and fed into the local FM transmitter.”
Haq has a distinct advantage as an early
Suleiman is enthusiastic about distribadopter.
uting the Radio Haq signal via satellite
While the TDM partnership appears
but he concedes that the task ahead is not
attractive to Suleiman, he says that the
simple. He needs to convince the finanstation cautiously is considering alternacial investors and other partners that this
tive methods of signal networking and
technology is viable.
expansion such as independent pylons
Considering the various dynamand working more closely with the cellics, satellite distribution of the Radio
phone operators.
Haq signal is the most feasible option,
“We understand that TDM does not
explains Suleiman. “We need to underhave a complete infrastructure and cotake a large-scale practicability study to
sites with MCel in certain areas. This
identify the most strategic sites for our
means that Radio Haq needs to conFM transmitters for rebroadcasting our
tinue its bid to develop a memorandum of
signal via FM. At the moment, due to the
understanding with MCel either directly
world economic crisis, we are having difor via the TDM partnership,” he said.
ficulties convincing our contributors to
The cellphone companies have a more
fund such type of projects. On the other
comprehensive pylon infrastructure than
hand there are other supporters who are
TDM and provide signal delivery potenwilling to defy the odds and would come
tial to even the most rural areas, explains
to our rescue and support us,” he said.
Suleiman.
To achieve these objectives, Radio
Suleiman says that if all goes accordHaq is in the process of discussing posing to plans, Radio Haq will soon rank
sible strategic partnerships with seramong the best stations of its type not
only in just the province of Nampula and
but in Mozambique as a whole.
Lameck Masina reports on the industry for Radio World from Blantyre,
Malawi.
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— your xNodes will be streaming audio in under 30 seconds.
DUAL ETHERNET PORTS for redundant network links. The
overnight jock kicks out a connection? No problem; the other
one takes over so your programming never skips a beat.
xNODES HAVE AUTORANGING INTERNAL POWER SUPPLIES, but
can use PoE (Power over Ethernet) too. Perfect for those out-ofthe-way places where a power cable is inconvenient. Hook ‘em both
up for redundant, auto-switching backup power.
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you’ve got a lot of one audio type to work with. But what if you
need a little of everything? This is the Mixed Signal xNode. Think of
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analog ins, 3 analog outs, a digital AES/EBU input and output, and
2 GPIO logic ports.
xNODES WORK WITH BOTH LIVEWIRE AND RAVENNA
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NO NOISY FANS HERE. Front-mounted heat sink keeps
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mono operation or 4-in, 4-out stereo. Both signals intermix
seamlessly on your Axia network.
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manage an xNode from anywhere. Or, use Axia iProbe software
to manage your entire facility – back-up and restore settings,
automatically update software and more.
TWO xNODES MOUNT SIDE-BY-SIDE, so you can create your own
custom mix of I/O types within a single rack space. Pair up an AES/EBU
xNode with a microphone xNode, or match a GPIO xNode with an
analog unit. Or combine a couple of Mixed Signal xNodes for the
ultimate mix of mic, analog, AES3, Analog and logic I/O.
AxiaAudio.com/xNodes
Axia Audio, a member of The Telos AllianceTM. ©TLS Corp. 2012.
RAVENNATM ALC NetworX GmbH
8
August 2012
◗who’sbuyingwhat
FEBC Korea Opts for Axia The Far East Broadcasting Co. facility
in Seoul has selected an Axia Element
for the heart of its broadcast studio.
As part of a major, two-year building
renovation, which began in March, FEBC
Korea station management decided to
take advantage of the opportunity to
update its older consoles, which had
served the station for years.
As the initial centerpiece for planned
expansion, FEBC Korea’s first Axia
mixer features a 16-fader mainframe,
complete with accommodations for
legacy analog as well
as AES/EBU audio
mixing. U.S.-based
systems integrator
ZiemerTronics supplied the console
through its local
Korean partner, Jeail
Elec-Trading Co., Ltd.
The console will
interface with other
equipment via the
Axia Livewire standard, a modular
Ethernet-based digital
audio network. Up to
10,000 audio streams may be handled
via a single Cat-6 cable.
Engineering Assistant Manager BeomYong Lee installed the Axia system. He
explained that the installation went
smoothly, and for any questions that
arose — since the technology was new
to them — Jeail and ZiemerTronics were
responsive with immediate answers.
“Not only did the Axia Element comply with strict demands of our budget,
but at this point, we envision it as a
modern tool we can use to help our
organization in our important mission,
said Station Establishment Director Dr.
Ihn-Kiel Chang, Ph.D.
FEBC Korea has also recently converted its analog studio to transmitter
link to a new Moseley Starlink 1.7 GHz
hot-standby system and added Belar
modulation monitoring gear.
For information contact Axia Audio
in the United States at telephone:
+1-216-241-7225 or visit www.
axiaaudio.com. DB Digital Picks Factum
Gear for DAB, DAB+
DB Digital Broadcasting, Ireland’s
national independent multiplex and
network transmission provider, has
selected Factum to provide gear for its
new DAB/DAB+ network.
Broadcasting to the cities of Dublin,
Limerick and Cork, the network will
make use of encoders, data broadcasting and multiplexing services from the
Swedish firm.
“Data capabilities are the crucial key
to digital broadcasting for commercial
stations,” said Dusty Rhodes, director, DB
Digital Broadcasting. “A key part of our
collaboration with Factum is to develop
the data side of digital broadcasting.”
Rhodes added that in addition to
listener-focused PAD, DB Digital was
working with advertisers on ways to
promote their products and services
via the screen available on each digital
radio receiver.
For information contact Factum in
Sweden at telephone +46-13-368600
or visit www.factum.se.
Hessischer Rundfunk
Selects Mandozzi
Swiss firm Mandozzi Elettronica will
be constructing new radio broadcast
studios in Frankfurt for German public
broadcaster Hessischer Rundfunk.
Mandozzi will deliver a system that
comprises a redundant IDEA audio
matrix, which features two halves to
be installed in two separate rooms
for higher security. The system also
encompasses four program complexes
with four SERIX mixers each. It is possible, noted the company, to add a fifth
program complex with four mixers.
The mixers, which are equipped with
eight to 20 motorized faders, feature
concentrators (I/O boxes) that are connected to the matrix via redundant
optical fiber. Each of the redundant
matrix halves boasts a routing capacity
of 4,096 x 4,096 crosspoints.
Mandozzi said that its system was
of particular interest to Hessischer
Rundfunk due to advanced functionalities of the SERIX mixers and the
possibility to connect them to a central
matrix architecture.
For information contact Mandozzi in
Switzerland at telephone +41-91-93578-00 or visit www.mandozzi.ch.
TalkSport Chooses
Glensound
U.K. sports radio station talkSport is
leaning on Glensound for the development of a new play-by-play and color
commentary infrastructure.
This after the broadcaster
announced that it had signed a deal
with the Premier League for an exclusive package of international audio
broadcasting rights for the next four
football seasons.
According to the agreement, talkSport will broadcast commentary on
all 380 Premiership games each year
to football fans across the world in
multiple languages including English,
Spanish and Mandarin.
This extensive commentary required
investment in a completely new
announcer system setup so Peter
Ockelford, senior station engineer at
talkSport, approached Glensound with
a brief for the development of the new
commentary infrastructure. The firm
thus developed three products to meet
the commitments of providing audio
coverage for the Premiership commentary — the Fader 3, the Fader 6 and the
GS-FW029.
The talkSport commentary needed
32 commentary mixers — 25 x threechannel versions (Fader 3) and six x
six-channel versions (Fader 6), says
Glensound. These mixers use Penny
and Giles 60 mm faders, giving level
control to the operators, while each
commentator also has independent
monitoring of two external sources.
Most games will use the Fader 3 units,
with the Fader 6 units adding the flexibility for up to six contributors on a
single program.
The Glensound mixers link back
to four custom-designed production talkback and monitoring units,
the GS-FW029. This, the company
notes, allows talkback to 10 separate
announcer locations, with selectable
input monitoring from 12 sources.
For information contact Glensound in
the United Kingdom at telephone +441622-753662 or visit www.glensound.
co.uk.
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10
Top FM Tops Serbian Niche Charts
By Blažo Guzina
BELGRADE, Serbia — In the current
fast-paced, technologically progressive
era, Top FM is working hard to maintain its position as leader of the niche
radio market in Serbia.
Back in 1996, the newcomer to the
scene was the first Serbian regional station to introduce dance format programming, dedicated to the DJ phenomenon.
Within a year’s time, the Belgradebased station also started live audio
streaming, one of the first to do so in
Belgrade.
To keep up the momentum, Top FM
quickly spread its signal coverage from
the region of Belgrade and its suburbs, toward the very flat terrain of the
northern Serbian province of Vojvodina.
Today the station reaches more than 3.5
million people.
Something distinctive
Broadcasting 24 hours, seven days a
week, the station, which mainly attracts
listeners between the ages of 15 and
44, is also available via live Internet
streaming at www.topfm.rs, and draws
in some 60 million hits per year. It is
also in contact each day with more than
200,000 people via SMS, its fan club
and social networks.
In 2008 Top FM began tailoring its
Web broadcasts with themes such as
“Smooth Jazz” and “Retro Dance ’90s,”
and successfully launched a third version of its website.
The station also hosts a series of live
events, through its Top FM party brand,
featuring the best domestic and international DJs on stage, and has broadcast
more than 200 parties in recent years.
August 2012
an important part of this station’s flexible
programming schedule, adapted to the
market demand. And companies have
not remained indifferent to its efforts by
sponsoring the station’s activities.
Market-driven
The view of studio 1
from the control room.
Thanks to Top FM’s unique music
and programming, it has gained a prestigious brand image and has strongly
influenced listener behavior. In order
to meet listeners’ expectations and
tastes, the station constantly updates
and enriches its program scheme with a
thoughtful selection thanks to the help
of international radio strategists.
Striving to keep its place in the
booming industry by giving its audience
something extra, the station boasts exclusive partnerships and access to famous
events such as the Exit Music Festival,
Miami Winter Music Conference, MTV
Awards, Belgrade FOAM FEST and
Sensation.
The hard work has paid off and Top
FM has established itself as a strong
player, sharing a generous slice of the adincome cake. Even its webcasting plays
Brushing up for
Amsterdam…
The professional and enthusiastic
team of less than 20 nurtures and conveys a constructive atmosphere, with
the same inspiration and dedication that
ignited the station 16 years ago.
Top FM originally was awarded a
license as a legal broadcaster due to its
declaration as an IT radio, with a role of
promoting information technology and
the world of hi-tech. The station even
has an IT editor, who is also the producer of a regular weekly program based
upon Isaac Newton’s “Law of Action
and Reaction,” in Serbian “Zakon akcije
i reakcije” (best known by its acronym,
Zoran Modli is shown in his home studio.
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August 2012
ZAIR). The producer of ZAIR is a
famous radio host, Zoran Modli.
Modli was a DJ pioneer in Eastern
Europe in the early ’70s, and is also
recognized for his passion for airplanes.
He was a pilot for Belgrade-based JAT
Airways, and later began working for a
private rental airline, for which he still
flies today. He works closely with the
station’s host Rade Santrač, the producer of the program “Tehnoskop” as
well as with Radoje Milojević (DJ Rale),
widely recognized by his characteristic
baritone voice.
“From the very start Top FM offered
something different here in Serbia: a
DJ type of programming, with a host
who is simultaneously the technician,
operating a mixing console along with
all the other gear in the studio,” said
Modli. “With my experience and dedication to the ‘self-ops’ style of on-air
programing, I have encouraged other
Top FM hosts to continue our one-man
way of hosting shows.”
Later, he moved a step forward by
introducing something that is still rare
in Serbia. He records and mixes a program himself in his home studio. “Once
the program is prepared for the podcast,
I upload it to the PC server, and it is
then downloaded and broadcast initially
by Top FM, and subsequently by some
dozen radio stations in the region,” said
Modli. “This makes me feel like ‘part of
the club’ along with other international
DJ stars who are doing the same thing.”
The station has two studios, one for
on-air program, the other for editing
and prerecording of dedicated parts of
programs and ads. Equipped with an
Axel Technology Oxygen 4 mixer, an
Axel Falcon 50 processor, AKG mics
and Bose control monitors, the station
also is able to produce its own ads.
International feeling
With a format based 95 percent on
foreign music, Top FM’s goal is to keep
listeners informed about the hottest
hits on the international music scene.
By careful analysis of the functioning
of foreign radio stations with a similar
concept, the Top FM’s editors have
adopted the best and most successful
western popular music standards and
radio formats. This strategy allowed
the station to quickly become known
for its so-called top 40 or hot contemporary programs, dedicated to 13- to
35-year-olds.
Top FM radio has its special “DJ
time” formats, with a careful mix of
hits performed by the greatest international DJs. The station has permanent contracts with prominent DJs, and,
according to Article 72 of the Serbian
broadcasting law, is able to announce
the hottest music hits in English without
having to translate them to Serbian.
The station airs five weekly shows
with English-speaking DJs for a total
duration of 360 minutes. It has its own
special way of rotating music hits during the day by broadcasting Class A hits
(the first five positions on international
lists) every 20 minutes; Class B hits (the
remaining 35 positions on international
lists) broadcast every 45 minutes; and
Class C hits (the 50 first chosen hits
from the previous 10 months) every 90
minutes.
The music rotation scheme is published on the station’s website at the end
of each month. In addition, every three
hours the program scheme includes a
block entitled “Flashback — Blast From
the Past,” which concentrates on the
biggest hits from the ’70s, ’80s and ’90s.
Commercials blocks last for maximum of three minutes for every hour
of programming. The station airs short
service information, news and weather
reports every 60 minutes.
“For the near future, Top FM’s objective is the extension of its program
objectives, according to its unique content philosophy and its marketing strategy,” said Saša Krstić, Top FM manager
and editor in chief. “We are continually and undoubtedly marking our place
among FM networks in Serbia, while
preserving our unique program plan,
which clearly and directly translates
into a loyal audience.”
Blažo Guzina reports on the industry
for Radio World from Belgrade, Serbia.
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12
August 2012
Bosnia and Hercegovina
tion. RSG changed its name to RSG 1
Sarajevo and continued to broadcast to
the Sarajevo area at 90.9 on the FM dial.
Newcomer sister station RSG Radio then
began broadcasting to the rest of the
country.
Listeners can tune in to RSG Radio
at 104.3 in Sarajevo and the surrounding areas of Mostar, Čapljina, Bugojno,
Tuzla, Travnik and Goražde. They can
also listen to RSG Radio at 97.5 in
Zenica; 88.4 in Bihać, 87.7 in Trebinje;
and 92.6 in Neum.
A total of 13 transmitters carry the
signals of both stations, with the strongest transmitter located on top of Mount
Bjelašnica (2,067 meters above sea level).
The transmitters cover the Sarajevo
Canton, Srednjebosanska (central
Bosnia), the Hercegovačko-neretvansko
Canton, the Zeničko-dobojsko Canton
and even parts of Southeast Bosnia in
the Republic of Srpska.
“The only city where our signal cannot be picked up is Banjaluka in the north
of the country,” said Adis Kadrić, RSG
Group CEO.
As regards the difference between the
two stations, Kadrić explains that RSG
1 Sarajevo targets 18- to 49-year-olds,
while RSG Radio targets those 35 to 60.
Right strategy
“RSG 1 Sarajevo reaches out to a
younger audience, airing an urban and
pop music format; whereas RSG Radio
features a heavier mix of Ex-Yu music
and local information, catering to an
older audience,” he said.
Both stations broadcast around the
clock with locally relevant information
and news programs on the hour as well
as their own morning, afternoon and
evening shows. On RSG 1 Sarajevo,
“Sarajevski Vijesti” (“Sarajevo News”)
runs on the hour from 8 a.m. to 5 p.m.
every weekday and focuses on local news
and service information.
Since the capital has a lot to offer in
terms of music, sports, fairs and cultural
events, RSG 1 Sarajevo concentrates on
informing its urban listeners about these
activities. In 2010, for example, the station dedicated 12,000 minutes of programming to cultural and sports events,
many of which it supported as a sponsor,
including the Sarajevo Film Festival.
RSG Radio airs news hourly specific
to its coverage areas. It also broadcasts
a program called “Slobodna Evropa”
(“Radio Free Europe”) weekdays at 3
and 6 p.m. and weekends at 3 p.m. The
backbone of the station’s programming,
Senka Kurt, RSG Radio program editor-in-chief, left, talks with guest Jovan Divjak.
however, is the “RSG Danas” (“RSG
Today”) infotainment show, which airs
weekdays from 10 a.m. to 3 p.m. The two
stations also share a few shows including
the weekend “Coca Cola World Chart
Show” and the “Telematch Sport Show.”
The expansion of the RSG group
has also led to a visible expansion of its
workforce. RSG 1 and RSG each have
four journalists, one editor-in-chief and
a number of hosts. Staff produces news,
infotainment and music programs for
each station. In total there are some 35
full-time employees.
“One of the main problems we face
in Bosnia is that it is very hard to find
qualified staff that can meet professional expectations,” said Kadrić. “So,
we always pay great attention to educating our employees internally and also
by sending them to as many media and
marketing seminars as possible.”
Competitive edge
Each station is equipped with its own
on-air studio using a Studer OnAir 500
digital mixing console working with a
pair of Alesis M1 active monitors, Jazler
RadioStar 2.6.4 automation software and
a dozen Electro-Voice RE20 mics.
The main production studio is located
one floor below the on-air studios and is
fitted with a Steinberg WaveLab 6 audio
and editing suite, Sound Forge Pro 10.0
software and Adobe Audition 3.0 software, KRK Systems Rokit 5 monitors, a
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An in-house marketing and production agency, Netra, sells ad space for
both stations. Advertising spots do not
exceed the legally allowed 20 percent of
total programming and mostly come from
medium-sized or bigger companies working in the areas of telecommunications,
banks and consumer-goods industry.
◗marketplace
IP audio codecs: Tieline is
partnering with Wheatstone on
integration of Tieline IP audio
codecs into the WheatNet IP environment. “This will allow Tieline’s
new Genie IP audio distribution
codecs to broadcast pristine high-quality IP audio between
remotely located WheatNet IP studios over a range of managed or unmanaged IP networks like the Internet,” they said
in a statement.
The Genie codec, shown, is an IP audio codec suitable for
distribution use; it can distribute four channels of WheatNet
IP audio via Tieline’s WheatNet IP audio card.
Tieline also released the Report-IT Enterprise application for Android. Its broadcast codec
application can turn an Android
smartphone into a pocket-sized,
HD-quality 15 kHz live audio codec
and portable 20 kHz recorder.
The company also has unveiled
the Merlin IP audio codec. It is designed to deliver highquality bidirectional stereo and full-duplex communications
for point-to-point and remote broadcast connections over the
range of wired and wireless IP networks.
Info: www.tieline.com
frequency modulation
OPTIMOD-FM 5500
puts
coveted five-band
domains. To accommodate network-affiliated
frequency
modulation
and two-band frequency
OPTIMOD
processing
into
a
stations where only locally produced audio
modulation
single rack unitfrequency
package
and brings it to you
requires processing, the 5500 provides
modulation
frequency price
modulation
at the most affordable
ever.
glitchfree switching between standalone and
audio processing modes. In either mode,
Quality sound frequency
is what modulation
5500 is all about —
you can use the 5500‘s wordclock/10 MHz
frequency
modulationby providing
sound that attracts
audiences
reference input to lock the 19 kHz pilot tone
a
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frequency to a high-precision reference like
regardless of frequency
format and
source
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GPS or a rubidium standard.
modulation
Exceptional versatility
allows you to adjust
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The diversity delay can delay its output by
modulation
modulation
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sound will remain
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and no other processors
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allows automation of various events at prefrequency modulation
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The 5500 can be remote-controlled via
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Zvonimir Ðukić-Ðule from the
rock group Van Gogh, left, and
Emir Bukovica from the rock group
Frozen Camels.
Apart from having a competitive edge
in terms of offering nationwide coverage, the latest market research, the
Mareco Index Bosnia and Hercegovina
for October 2011, showed that the RGS
Group is the market leader in Sarajevo
with 25 percent of the pie. The group
holds second position nationwide.
“The density of radio stations on FM
here in Bosnia is very high, but recently
we have noted that only the most competitive ones are gaining market momentum,” said Kadrić. “The market here
however is much smaller than that in
Croatia, Serbia and Slovenia, and I predict that only the strongest can survive in
such a tiny market environment.”
The RSG Group with its two successful stations may just be the one.
Tayfun Kesgin reports for Radio
World International from Sarajevo,
Bosnia and Hercegovina.
OPTIMOD-FM 5500
oe5500_junior2012-01.indd 1
55002012_Lo_rwi
small size,
Big Sound
20.02.2012 09:32:29
13
14
Buyer’s guide
Lawo Rings True for Bell Media
Consoles, Mixers & Routers
RadioWorld
August 2012
Canadian Adds Sapphire Consoles to Installed Lawo Gear
◗userreport
staff can draw on technical expertise
from elsewhere in the company.
by Dave Simon
Layers
Director, Radio Engineering
Bell Media
TORONTO, Canada — Since 2009 Bell
Media Radio in Canada has been using
Lawo consoles and routers in its Toronto
radio operations. The main Toronto system is based on zirkon consoles for the
stations’ master control rooms and crystal consoles used for edit and production
rooms. The backbone of the system is
a Lawo Nova 73 router, backed up by a
smaller Nova 17 router. There are two
zirkon and 14 crystal consoles connected
via fiber MADI to the Nova 73 and Nova
17 routers. Our reasons for choosing Lawo
for our radio operations include its
robust architecture and the ability to
scale. Lawo also is the primary choice
for many of Bell Media’s TV production
consoles, which means that engineering
This year, we have expanded our
Toronto radio operations to include TSN
Radio 1050, an all-sports station. The
decision was made to collocate TSN
Radio with the TSN TV operations at
Bell Media’s Agincourt campus in the
northeast end of Toronto. The plans called for a main on-air
control room, a news booth and three
edit stations. Once again, we decided to
utilize Lawo systems. In addition to the
familiar crystal consoles for the news
and edit/production areas, we used two
new products from Lawo — the sapphire
console in the control room and the
Nova 29 router as the backbone.
The TSN Radio system was designed
to support TV simulcasts, which requires
that the console and router be able to
scale in order to handle the additional
sources required for integration with TV
production. These include video rout-
er feeds and outputs
from various video clip
servers.
The sapphire was
an ideal audio console
for this purpose with
its dual-layer functionality, which effectively
doubled the number of
fader sources that can
be assigned to the console, while also providing a logical grouping
between frequently accessed and occasionally accessed input sources. In our case the most frequently
accessed radio sources are found on the
A Layer, while the TV only inputs were
placed on the less frequently accessed B
Layer. Note that both A and B sources
can be active simultaneously. We utilized a 28-fader control surface for
this project because, in addition to the
TV sources, it is necessary to manage
a large number of satellite and codec
sources for our broadcasts. The Lawo
sapphire systems, along with the backend router, handle all our mix-minus
requirements. The core of the router is the other
new Lawo product, the Nova 29 MADI
router supporting up to 16 bidirectional
64-channel MADI connections, which
provides an overall routing matrix capable of 1,024 inputs x 1,024 outputs. Two
Nova 29 routers in a redundant configuration provide the core router to the TSN
Radio system. All the consoles have dual
fiber connections back to the redundant
Nova 29 core. In addition, a Nova 17
frame provides the additional AES and
analog I/O in our equipment racks for
centrally located codecs and the RCS
master control automation systems.
Bell Media has found Lawo consoles and routers to be flexible and
very reliable. The versatility continues
to improve as we now have ability to
add Ravenna audio-over-IP cards to the
existing system.
For information, contact Wolfgang
Huber at Lawo in Germany at +49-72221002-2930 or visit www.lawo.de.
◗techupdate
Feature-Filled
D&R Airmate-USB
WEESP, netherlands — The
Airmate-USB from D&R
Electronica is designed to fill the
need for a high-grade, low-cost
radio production mixer.
Built around proven low-noise
circuitry, the console features
two internal telephone hybrids
and USB connection to a PC.
It includes six input channels
with balanced microphone inputs on
XLRs and two stereo line level inputs
on RCA connectors. Every mic input
has an insert for signal processors,
and every line-level line input can be
converted into a phono channel by fit-
ting an optional stereo RIAA equalized
phono preamp.
The Airmate-USB has the usual
master controls, such as stereo master
faders, stereo aux send and return
and monitor master; a balance control
can continuously adjust the volume
between main output and stereo cue
signal.
For information, contact D&R
Electronica in the Netherlands at
telephone: +31-294-418014, or visit
www.d-r.nl.
16
August 2012
Buyer’s Guide
◗techupdateS
functions make the OnAir 1500 a compact production unit and mixer. With
point-to-point connectivity it can be
moved around as a backup or secondary unit.
Flexibility is increased with the
REGENSDORF, Switzerland — Studer
addition of a six-fader extension bay,
says that its OnAir 1500 for radio
creating either a 12-fader surface or an
RAIand
Amsterdam
broadcasting
production reflects
additional six faders that can be placed
demand from
customers
for
more
Conference 6-11 September : Exhibition 7-11 September remotely in a producer’s bay or used as
versatility and connectivity, but at an
additional professional-grade fader unit
a redundant surface.
affordable entry price point.
and additional I/O or a compact and
Channel parameters such as EQ and
The OnAir 1500 RAI
is a 12-channel,
cost-effective mixing console for a prodynamics can be edited using console
Amsterdam
six-fader console (expandable to 12
duction room or on-air studio.
controls in combination with the OLED
Conference 6-11 September
: Exhibition 7-11 September channel displays without requiring
faders), aimed at studios needing an
Integrated USB playback and record
Studer OnAir 1500
Offers Options
IBC2012
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Discover
More
IBC2012
Discover
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RAI Amsterdam
Conference 6-11 September : Exhibition 7-11 September
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6-11 September : Exhibition 7-11 September
Discover
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rapidly evolving electronic media industry. It couples
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an additional screen or PC. For more
advanced operation and configuration,
the console provides interfaces for
connecting a PC screen, keyboard and
mouse.
The master section gives the operator comprehensive access to the signal
monitoring and switching for control
room and studio with an internal
speaker preconfigured to output cue
and talkback signals. Audio monitoring is augmented by two 29-segment
stereo bargraph PPMs, providing constant overview of signals; six meter
standards are available. Unique features such as “Headphone Split” allows
the user to listen to two sources, one
through the left earpiece and the other
through the right.
For more information, contact
Studer in Switzerland at +41-44-8707511 or visit www.studer.ch.
DHD Introduces
Core 52/XD
LEIPZIG, Germany — DHD’s 52/XD
Core processing engine is suitable for
audio routing and mixing needs. The
company says it fits into the modular
Series 52 system.
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RadioWorld_discovermore.indd 1
13/6/12 19:12:24
Used in a mixer setup, the 52/XD
gives the operator a console with up
to 64 faders. As a central audio routing system it can handle a matrix with
8,704 x 7,424 crosspoints. In such a
router setup, it can switch audio signals,
fade them and apply DSP processing.
The configuration of the 52/XD,
which features up to four DSP modules,
has a wide range of configurations
via the Toolbox5 software that runs
on a standard PC. DHD also offers PC
software working with the system for
remote control, routing, scheduling and
monitoring.
Using DHD’s External Control
Protocol on TCP/IP can integrate the
52/XD with select automation and
remote control systems.
For information, contact DHD in
Germany at +49-341-5897020 or visit
www.dhd-audio.de.
August 2012
Buyer’s Guide
KPBS Adopts Harris VistaMax Networks
Upgrade to Digital Networking Provides
Flexibility That SoCal Broadcaster Desires
◗userreport
By Leon Messenie
Director of Engineering &
Information Technology
KPBS Public Broadcasting
SAN DIEGO, California — KPBS(FM)
is a public radio station licensed to San
Diego State University, broadcasting local
news and public affairs, NPR, American
Public Media and PRI programming to
listeners in San Diego County, Calif. Our
sister station, KQVO(FM) in Calexico,
Calif., simulcasts KPBS in adjacent
Imperial County, Calif. — occasionally
breaking away to broadcast programming specially produced for the local
audience.
Our studios on the San Diego State
University campus, shared with sister
station KPBS(TV), have remained analog since adding HD Radio services in
2005. A recent PTFP grant enabled us to
implement a major facility upgrade that
dramatically improved three of our five
control rooms along with our network
routing infrastructure.
Completed in March, 2012, the
upgrade included three Harris PR&E
RMXdigital-20 radio broadcast consoles, each outfitted with 18 faders. We
also replaced a legacy hard-wired system with an innovative Harris PR&E
VistaMax network routing solution
based on a distributed architecture. The
concept localizes source sharing, simplifies wiring and enhances network control
in each studio.
The end-to-end Harris VistaMax network solution includes six single-rackunit Harris PR&E VMXpress “edge
devices,” ordered in a variety of analog and digital I/O configurations with
bidirectional logic control. A central 4
RU VMConnect “hub” enables resource
sharing and distribution of any I/O on the
VMXpress boxes.
The upgrade has delivered unprecedented operational flexibility to route
audio signals, share media resources and
reconfigure the control rooms as needed.
On-air sources previously were hardwired to console faders and the complex
network wiring scheme locked each control room into a specific function. This
meant that one studio was restricted to
on-air while another was designated for
news production.
The VistaMax distributed architecture gives us the freedom to devote any
network control room for more than a
single purpose. An operator in one control room can access microphones, ISDN
lines, satellite feeds and other signals
from any networked device or location.
Operators can move shows from one
control room to another. And VMXpress
logic controls can take control of any
networked device — like disk recorders
or servers — from any room.
The new distributed network topology
greatly simplifies wiring, cabling and
equipment maintenance in comparison
to using a centralized routing system. It
17
18
◗techupdate
Buyer’s Guide
New Logitek ROC Console Available
HOUSTON, Texas — Logitek’s ROC console
is an advanced control surface for the
JetStream networked audio platform.
Available in configurations of
six, 12 or 18 faders (including split fader configurations), the ROC includes
Penny & Giles faders, OLED
source indication and a durable
reverse-printed overlay surface in a
tabletop enclosure. RGB-addressable lighting
in the console’s on/off and softkey buttons allow
users to specify any desired color for console functions.
The console’s monitor control module includes controls for
source selection, timer start/stop, two monitor feeds and headphone output along with 12
user-assignable softkeys. Additional modules with 12 softkeys per module are available as
an option. Front-panel headphone jacks (both 1/4-inch and mini) are provided. An optional
onboard Logitek router control panel with OLED source/destination indication allows fast
access to router functions with simultaneous display of five sources.
Logitek offers several metering options. The ROC-SBridge is a four-color LED stereo
meter with OLED display that indicates the current meter source. Two color LCD screens
show metering data, text, clock or timer information; LED “On Air” studio tally and “Mic
Live” mic tally indicators are provided. A larger bridge with 7-inch diagonal LCD display,
dual vertical LED stereo meters and OLED source indication will be available soon. Meters
can also be presented via Logitek’s vScreen user-configurable GUI.
For information, contact Logitek in the United States at +1-713-664-4470 or visit
www.logitekaudio.com.
August 2012
KPBS
also simplifies the process of adding equipment or studios to the network.
The distributed architecture brings the network devices within a few feet of
the console in most situations and it simplifies the connection of every local
control room. Sources connect to the analog or digital I/Os of the nearest
VMXpress device.
Gone are the miles of cables that ran down the hallways, connecting every
individual source to the central router in our terminal room. The VMConnect
hardware lives in the terminal room, requiring hard-wired connections to
the six VMXpress edge devices (three in the studios and three in terminal
room) — and nothing else.
The VistaMax network-enabled RMXdigital-20 audio consoles can be
networked, introducing another level of resource sharing. The Session Recall
feature is a hit with our operators, especially for local news shows like
“KPBS Morning Edition” or “KPBS Midday Edition.” Operators can configure the console according to their production requirements, store the settings
and then recall them at any of the three consoles.
A Harris PR&E VMReact 1RU logic-processing device automates status
monitoring and system control in each studio. The device serves many functions
including automatic, user-defined corrective action when it detects dead air.
The grant money covered three studios and the distributed architecture
upgrade, although two additional control rooms remain tied to the old hardwired system. Having the VistaMax distributed network in place means that
we’ll only have to connect the local sources in each room to a VMXpress
when the budget allows, and wire them to the VMConnect hub. It is difficult
to imagine a simpler way to bring new studios onto the network.
For information, contact Harris in France at +33-1-47-92-44-00 or visit
www.broadcast.harris.com.
August 2012
Buyer’s Guide
Ireland’s iRadio Adopts Axia Audio
In the Entire Installation We Used a Single 300-Meter Roll of Cat-6 Cable
◗userreport
by Andy Linton
Director
Total Broadcast Consultants Ltd
WATERFORD, Ireland — When iRadio, Ireland’s new regional, CHR radio
station was built in Galway, the owners
along with my company, Total Broadcast
Consultants, decided it should be the
country’s first all-digital radio station.
That meant that after the mics, the
entire transmission chain would not leave
the digital domain until it hit the transmitters (all 10 of them!).
Simpler the second time
In that five-studio installation in 2008,
we used over €4,500-worth of multicore
cabling, punchblocks, connectors, termi-
week we had audio playing in the studios.
The guys from our automation provider,
RCS, had never used the Axia IP-drivers
instead of soundcards before, and were
amazed when it just worked.
I had never programmed an Axia system. I was fortunate that Kirk Harnack
of Telos/Axia was visiting Ireland at that
time and gave me a brief starter course.
I was able to get the whole facility programmed and working in two
days, even getting some complex studio
switching and intercoms working using
the company’s Pathfinder Pro — with the
excellent assistance of Axia tech support.
The station management was delighted, and the on-air staff loves the studios.
This was Ireland’s first IP-based radio
facility — still perfect “digital” quality
all the way through, and it showed off
Axia’s networked audio well.
And aside from a headache endured
after the opening party, I had no need for
pain killers at any time.
For information, contact Clark Novak
at Axia Audio in the United States
at +1-216-241-7225 or visit www.
axiaaudio.com.
Have you heard?
AudioScience is
Built for
Broadcast.
nations, etc. The studio installation took
a five-man team five weeks to complete,
what with running the cable throughout
the facility and soldering countless connectors. One wall of the central rack
room was taken up by a Krone punchblock field and we had to use countless
boxes like distribution amplifiers, word
clock generators and switchers to make
it all work.
The results were good, although there
were many problems along the way,
chiefly in getting the consoles to talk to
other equipment and programming the
consoles themselves, which wasn’t easy. I
was not impressed with the support from
the console manufacturer — often there
being no call-backs, which I regarded as
inexcusable for a company in the same
time zone.
In fact, it was a huge headache!
A year later, the broadcast company
secured a second regional licence, this
time to cover the midlands and northeast
of Ireland using a second base, in the
town of Athlone (the site of the world’s
first national broadcast transmitter nearly
100 years earlier!) with four studios feeding eight transmitter sites via satellite.
They wanted to go all-digital again.
In the interim my company had formed
a partnership with Axia, and given what
I’d learned from talking with the guys
from Cleveland, I was pretty confident
that if we used the Axia IP-based console and routing system, it would be a lot
more straightforward this time.
With this installation, using Axia
Element consoles, mixing engines, nodes
and more, in the entire installation we
used — wait for it — a single 300-meter
roll of Cat-6 cable (cost: €100).
I got the IT contractor to run the cable
and terminate and test it.
I personally carried out the installation with two other men. After just one
Sound cards built for broadcast, and
broadcasters. AudioScience cards are
designed for the rigors of broadcasting.
State of the art design and extensive
software support make for excellent
performance in even the most demanding
environments.
ASI6644 This PCI Express card features 4
stereo/8 mono inputs and outputs, analog and AES/EBU. Formats include PCM,
MPEG layer 2 and MP3 with up to 96kHz
sampling.
ASI6685 This Livewire/PCI Express card
has up to 16 record and play streams and
supports Axia AoIP protocols.
ASI5211 features mic input with 48v
phantom power, plus 2 opto inputs and
2 relay outputs.
Broadcast-Centric Features such as
SoundGuard surge protection, TSX time
scaling, MRX multi-rate mixing and SSX
surround sound make these powerful
additions to any broadcast application.
For information, call AudioScience at
+1-302-324-5333 or email us at
salesasi@audioscience.com.
www.audioscience.com
19
20
Buyer’s Guide
◗techupdateS
August 2012
Wheatstone LX-24 Marries Elegance, Features
NEW BERN, North Carolina — Wheatstone says that its latest radio console, the LX-24, marries
traditional modular design with a modern low-profile networkable control surface sporting an
ergonomic, operator-oriented layout.
Each of the console’s 24 input channels has a source display, four stereo bus assigns, four aux
sends, four mix-minuses, mode select, A/B source select and two programmable soft buttons.
Axel Oxygen 4 Is Digital
BOLOGNA, Italy — Axel’s Oxygen 4 Digital is a digital, standalone
mixing console system powered by Texas Instruments DSP processors. It has 18 digital and analog inputs, a crosspoint router, 32-bit
processing, sampling rates up to 96 kHz, sample rate converters on
the digital inputs and EQ and dynamics on every channel. All of these
tools can be accessed from the control surface as well as a PC connected to the mixer via an IP network.
The 2 RU rackmounted engine handles processing and routing.
The engine features four mic inputs, two mono and five stereo ins,
seven digital stereo in/outs with a sample rate converter. There are
dedicated analog outs for program, subwoofer, auxiliary, control room
monitor and headphones.
Signal processing is all-digital. Processing uses floating-point calculations at a word-length of 32 bits. The audio paths within Oxygen
4 Digital are programmable thanks to the presence of an input router.
This eliminates the need for an external patch-bay.
Ethernet connection allows control from anywhere. Oxygen 4
Digital is user-friendly thanks to a memory card slot that can save
desk configurations for recall and individual customization.
For information, contact Axel Technology in Italy at +39-051736-555 or visit www.axeltechnology.com.
Designed for use with Wheatstone’s WheatNet-IP Intelligent Network, the LX-24 allows channel access to any source on the audio network. Four dual high-resolution LED meter displays
monitor signal levels and circular LED indicators clearly show aux send levels. A pan indicator,
digital timer and left and right stereo cue speakers round out the console’s meter bridge. The monitor section of the LX-24 has an array of features: control room and headphone
levels are handled by long throw faders. A CR/HDPN source display calls out which signal has
been selected, and five fast-select buttons instantly call up the four stereo output busses plus an
external source. The headphone panel houses the console timer controls, cue master level and
switched meter assign (the meters can access any signal on the network). Two studio monitor panels have their own source select, talkback and rotary level controls.
The Studio 1 panel houses the console’s named Event Snapshot function, while Studio 2 handles
Send Talkback and features 12 programmable soft buttons. An accessory switch panel with 16
large-format lighted buttons can be programmed for a multitude of functions, including (but not
limited to) source preselects, logic functions, firing salvos, daypart configuration, intercom communication, etc.
A tabletop control surface requiring no counter cut-out, the LX-24 connects to a rackmountable Wheatnet-IP console Blade via an RJ-45 connector to access audio mix functionality and
basic I/O. Additional Blades can be added for more inputs and outputs in a variety of digital and
analog formats. All I/O, as well as output mixes, can be shared with other consoles and devices
throughout the network.
For information, contact Wheatstone in the United States at +1-252-638-7000 or visit
www.wheatstone-radio.com.
PRODUCTS & SERVICES SHOWCASE
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It’s all about Radio!
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D&R Electronica Weesp BV | www.d-r.nl | info@d-r.nl
21
workbench
RadioWorld
by John Bisset
Take Some Transmitter Site Precautions
I
n the May issue of Radio World
International we talked about colored
duct tape. Now standard duct tape can
take a back seat. Gorilla Tape from
Gorilla Glue Inc. has arrived.
I’ll grant you that this waterproof
tape is more difficult to pull off the roll
because it has more adhesive than duct
tape, but it tears sideways with minimal
effort. It also can be ordered off the Web.
Standard duct tape adheres best to
smooth surfaces. Gorilla Tape, with its
additional adhesive, will stick to uneven
surfaces. This makes the tape even
more suitable for OB kits. Its 3-inchwide “Tough and Wide” roll will secure
microphone, speaker or AC cables to
concrete, brick or tile. Reduce your
liability at a remote by securing cables
across thresholds or in a parking lot.
I recently used the tape to cap an open
conduit because I didn’t have a PVC
type or other kind of end cap handy.
Having never used the tape, I plugged
the conduit with a wire wrapped around
some paper towels. My thinking was
that if the Gorilla Tape cap leaked, the
towels would absorb the moisture. If
the tape really leaked and saturated the
paper towel, the wire would help me
remove it in one piece, without the paper
tearing and fouling the conduit.
I needn’t have worried; when it came
time to remove the tape, everything was
dry despite a couple weeks’ worth of
heavy wind and rain. The tape removed
easily and there was no residue as you
would expect with regular duct tape.
Impressive.
For the fun of it, I took a small piece
of the paper towel and rolled it into a
ball, covering it with a couple of pieces
of Gorilla Tape fastened to a painted
plank. I left the plank exposed to the
sun. After two weeks, the tape pulled up
easily, again with no residue. The paper
towel was dry.
The Gorilla Tape backing is both
UV- and water-resistant. With these
two features, the 1-inch-wide roll might
take the place of black wire ties used to
secure outside cables. Contact me with
pictures if you try the tape and find it
successful for this application.
Now the Gorilla Tough guys are selling Gorilla Epoxy. Advertised as quick
setting (within five minutes) the bond
is stronger and will bond steel, aluminum, wood and ceramic. Its easy-to-mix
syringe applies the appropriate amounts
to your project, and a tight-fitting cap
means the syringe can be reused.
Gorilla Glue, Gorilla Tape, Gorilla
Super Glue, Gorilla Wood Glue and
Gorilla Epoxy can be found at your
local hardware goods store or online
Fig. 1: Keep the transmitter building
sealed to avoid this kind of trespasser.
at www.gorillatough.com. Head to the
website for some fun YouTube videos.
M
any of our readers’ sites are located on mountaintops. Those can
get snow, and there’s nothing worse
— or more dangerous — than trudging through the snow to get to a site,
and then having to spend the rest of
the day, or possibly the night, in cold,
wet clothes! As a precaution, engineers
should store at their remote sites one or
two space blankets (aluminized mylar,
see www.mcrmedical.com) as well as
a large zip-type bag containing a spare,
dry stocking cap, gloves or mittens, and
a pair of socks.
Use a gallon-size bag and squeeze
out the air before sealing, and it won’t
take up very much room if you carry a
winter “crash bag.” Nowadays, a handheld GPS is handy, too.
Heavy fog or blowing snow can
sometimes make it easy to become
disoriented. Great tips to keep you safe.
Though I hadn’t priced those “space
blankets” in years, you’ll find them at
the site listed above for only a few dollars — well within the reach of every
budget.
I
t’s a good time to remind readers in
warmer climates that mice and insects
August 2012
Past columns are archived at radioworld.com
love a warm transmitter any time of the
year. Sealing a transmitter building is
less costly than being off the air because
of a failed power supply, which is what
happened here in Fig. 1. This little guy
pictured decided to step on capacitor
contacts while squeezing through the
metal grate — zap! One dead mouse
and one dead transmitter.
Keep in mind that the cameras on
smartphones are handy to document any
damage for your manager or client — or
to submit to Workbench!
We’ve used mothballs in the bottom
of equipment racks to discourage snakes
and vermin. What tricks do you use?
John Bisset has spent 43 years in
radio broadcasting. He is U.S. technical director for Elenos transmitters,
and is a past recipient of the SBE’s
Educator of the Year Award. Reach
him at johnpbisset@gmail.com. Faxed
submissions can be sent to +1-603472-4944. Submissions for this column
are encouraged and qualify for SBE
recertification credit. Find out more at
www.sbe.org.
CONVENTION
133
Broadcast & Streaming Sessions
RD
AUDIO ENGINEERING SOCIETY
The Future of Communications is Here.
Web, Radio, Television, Satellite, Terrestrial,
Mobile TV, and other technologies for
sharing content.
Facility Design
Production
Loudness
Meta Data
Transmission
Listener Fatigue
Codecs & Encoding
Troubleshooting & Maintenance
And much more...
WHAT: AES Workshops, Tutorials, and Special Events
WHEN: AES 133rd Convention, Oct 26-29, 2012
WHERE: Moscone Center, San Francisco, CA
MORE INFORMATION AND REGISTRATION:
http://www.aes.org/events/133/
broadcast equipment exchange
TRANSMITTERS/EXCITERS/TRANSLATORS
RadioWorld
August 2012
TUBES
Transcom Corporation
Serving the Broadcast Industry Since 1978
Transmitters and Broadcast Equipment for Radio & Television
100
500 5
10 10 20 25 30 W
W
KW
KW
KW
KW
KW
KW
Used FM Transmitters
2008 BE FM100C
2000 BE FM 500C
1997 Harris Z5CD, solid-state
1993 Harris Platinum 10CD, solid-state
1998 Harris Z10CD, solid-state
2006 BE FM20S, solid-state
1996 Continental 816R-3C, solid-state IPA
1988 Harris FM30K
Please visit our website,
www.fmamtv.com, for additional listings.
Used AM Transmitters
2.5 KW
1991 Nautel Ampfet ND2.5, solid-state
5
KW
1991 Nautel Ampfet ND5, solid-state
10 KW
1991 Nautel Ampfet ND10, solid-state
10 KW
1999 BE AM10A, solid-state
Please see our web site for a current listing
Exciters & Miscellaneous Equipment
BE FXi250 FM Analog exciter
Bird Wattmeter with Elements
Orban Optimods 8100XT, 8100A
BE FC30, SCA Generator
TV Transmitters- Analog and Digital
Used FLO TV Transmitters
**Rohde & Schwarz**Harris Maxiva
Consultants &
Services
New TV Transmitters- Analog and Digital
OMB, Pineapple and Technalogix
VHF and UHF
TV Antennas
(10 W to 10 KW)
TV STL
800-441-8454 • 215-938-7304 • FAX: +1-215-938-7361
www.fmamtv.com • E-mail: transcom@fmamtv.com
RETUNING & TESTING AVAILABLE • CALL US FOR A QUOTE!
www.radioworld.com
Advertiser Index
page
advertiser
21
AES
19
AudioScience Inc.
3
Avt-Audio Video Technologies GmbH
7
Axia - A Telos Alliance Company
8
Broadcast Bionics
12
Continental Electronics
20D&R Electronica Weesp B.V.
6Delta Meccanica Srl
14Deva Broadcast Ltd
10DHD - Deubner Hoffmann Digital GmbH
11Ecreso Worldcast Systems
16IBC
15Inovonics Broadcast
17
Kintronic Labs Inc.
4
MDO UK
9
Nautel
18
OMB America
2
Omnia - A Telos Alliance Company
13
Orban
23
Telos - A Telos Alliance Company
1
Thomson Broadcast SAS
1
Tieline Technology
24
Transradio SenderSysteme Berlin AG
HATFIELD & DAWSON
CONSULTING ENGINEERS, INC.
Broadcast and
Telecommunications Engineering
Frequency Selection
Antenna System Design
Propagation Analysis
System Design and Specification
PROJECTS PERFORMED WORLDWIDE
9500 Greenwood Ave. N.,
Seattle, WA 98103 USA
(206) 783-9151 Facsimile (206) 789-9834
E-mail hatdaw@hatdaw.com
www.hatdaw.com
This listing is provided for the convenience of our readers.
Radio World assumes no liability for inaccuracy.
web site/url
www.aes.org
www.audioscience.com
www.avt-nbg.de
www.axiaaudio.com
www.bionics.co.uk
www.contelec.com
www.d-r.nl
www.deltameccanica.com
www.devabroadcast.com
www.dhd-audio.com
www.ecreso.com
www.ibc.org
www.inovonicsbroadcast.com
www.kintronic.com
www.stl-ip.com
www.nautel.com
www.omb.com
www.omniaaudio.com
www.orban.com
www.telos-systems.com
www.thomson-broadcast.com
www.tieline.com
www.tsb-ag.com
GET COVERAGE
WITH DRM
•
•
•
•
•
•
TRANSRADIO offers:
Complete DRM-Systems
LW + MW Transmitters up to 2,000 kW
VHF/FM Transmitters and Transposers from 5W to 40kW
Outstanding Solutions for DRM Antenna Systems
Standby and Reserve Systems
Turn Key Projects
TRANSRADIO
SenderSysteme Berlin AG
Mertensstrasse 63
13587 Berlin
Germany
Phone: +49-30-3 39 78-0
Fax:
+49-30-3 39 78-599
E-mail: info@tsb-ag.com
www.transradio.de

Radio Haq Aims to Extend Reach

Transcription

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