Ra THE RADIO TECHNOLOGY LEADER September 2006 www.beradio.com ntrol Digital routing for Air America TRENDS IN TECHNOLOGY Find the right mic for the job FIELD REPORTS HHB Flash Mic and Harr s Z A Prism Businass Media Publication Our commitment stands firm. Best digital systems, best broadcaster solu'ions, best support dMarc and you. Now more than ever. VISIT US AT THE NAB RADIO SHOW SEPTUM _R 20-22, 2006, BOOTH #705 Scott Stud um maestro wwvt .dMarc.nez 888-438-7268 arc from C.cooglk
Transcript
RaTHE RADIO TECHNOLOGY LEADER
September 2006www.beradio.com
ntrolDigitalrouting forAir America
TRENDS INTECHNOLOGYFind the right micfor the job
FIELDREPORTSHHB Flash Micand Harr s Z
A Prism Businass Media Publication
Our commitment stands firm.Best digital systems, best broadcaster solu'ions, best support
dMarc and you.Now more than ever.VISIT US AT THE NAB RADIO SHOW
SEPTUM _R 20-22, 2006, BOOTH #705 Scott Stud um maestro
wwvt .dMarc.nez
888-438-7268 arcfrom C.cooglk
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BERADIO.COM
CONTENTS
ON THE COVERAir America Radio reaches out
with several outspoken talk -showhosts from its new facilities inNew York. Photo by Howard
Mullinack of SAS.Cover design byMichael J. Knust.
comploontroi
:.
Raiff°i11 RADIO TIICHNOLOOV l.AU.11
Features16 Trends in Technology: Microphones
by Chris WygalDecide between tried-and-true or new -and -nifty.
26 NAB Radio Show Previewby Chriss Scherer and Kari TaylorPrepare for the fall convention with our preview.
38 Facility Showcase: Air America Radioby Chriss SchererThe syndicator gets a new home
Columns8 Viewpoint
by Chriss SchererAn HD Radio status update
10 RF Engineeringby John Battison
on FM
14 FCC Updateby Harry C. MartinMore on the FM NPRM
Departments6 Online
at www beradio com
44 Field Report: Harris Zby John Boehm
46 Field Report: HHB Flash Micby Chris Wygal
48 New Products at AESby Kari Taylor
50 Reader Feedback56 Classifieds57 Contributor Pro -File
Meet John Boehm
58 Sign Offby Kari TaylorDo listeners prefer station DJs to be local?
4 September 2006
The remote from Mexico was aspectacular success, in no smallpart thanks to the flawless soundwhich the Tieline G3 provided lrover the public Internet
-Mike Rabey Chief EngineerEntercom Indianapolis
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CONTENTS ONLINE RatifoRADIO TCMNOLOOV
Currents Online Selected headlines from the past month.
WGUC-FM Begins 5.1 Broadcasting with Neural SurroundThe Cincinnati classical music station features surround programming on the analog and maindigital signals. Neural Surround embeds the surround detail in a format compatible with stereoand legacy surround sound formats.
SBE Announces Election ResultsThe four officers were elected to second terms, and six board members were elected, five ofwhich are serving renewed terms.
Eicher Joins SASCam Eicher takes over as the director of sales after five years with Logitek as its director of sales.
Polk Ships I -Sonic HD Radio ReceiverPolk began accepting pre -orders of the units last month and is now accepting general orders for the $599 unit.
Dielectric Hosts First FM Engineering ConferenceOver a three-day period, Dielectric hosted several radio engineering executives at a coast -side facility in Maine to discussthe aspects of transmission, monitoring and maintenance of HD Radio.
Sacks Promoted to VP of Axia AudioMarty Sacks brings upper level management experience includes work with Telos, Systems and Electronics Research.
18 Markets Added to HD Radio Multicast Roll -outThe new multicast markets are within the top 100 markets andrange from Austin, TX, to Ft. Myers, FL.Find the mic
and win!Tell us where you think the
mic icon is placed on this issue's coverand you could win a Heil miccourtesy of Transaudio Group.
The history, education and heritage of radio broadcasting iskept alive at schools, museums, associations and other sites inour list.
Digital Radio Update E-mail NewsletterStay up to date with the source of digital audio broadcastingnews and information. The coverage extends to DRM, satelliteradio and more. Subscribe today.
Advertiser LinksWeb links to the advertisers in every issue are availableonline. Find them all fast.
Industry EventsThe Radio magazine Industry Events section lists upcomingconventions and conferences. This list is updated regularlywith the latest information. Send your event info to us today.
Engineer's Notebook HighlightThe electronic symbols True Type font is a popular downloadfrom the Radio magazine website. The font set is useful forinserting electronic symbols in documents or with a graphicsprogram to make quick diagrams.
6 September 2006
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FM antennasand radiation
When broadcasting was in its infancy, amplitude modulation (AM) wasthe principal modulation system being researched and developed.Once efficient generation of useful RF signals was discovered and
larger transmitter power output stages were developed broadcasters had to findan efficient radiator.
Horizontal wires, vertical wires and poles, loops, flat -top tee antennas and variousother configurations were used, but it became apparent that the vertical antenna,whose height was determined by the operating frequency, was the most efficientand easiest to use. It did not suffer from undesired directional characteristics and
it produced vertically polarized radiation, whichwas soon accepted as preferable for AM and itsground wave characteristics.
Throughout the years the vertical antenna withvarious modifications has become the standard forAM broadcasting. In recent years broadcastingefforts have been directed toward reducing theheight of the vertical antenna, with considerablesuccess. With the introduction of the Kintronic LabsKinstar antenna radio has probably reached thepeak of AM antenna miniaturization, after about100 years of work.On the other hand, the FM antenna has devel-
oped from knowledge of radiation gleaned mostlyfrom AM and amateur radio antenna technology.Prior to World War II, a comparatively smallamount of work occurred in the development ofhigher frequency antennas. Military usage wasfrequently confined to the dipole or folded dipole,steerable directional antennas and occasionallya loop.
For higher frequency transmitter operationvarious modifications of rhombic, curtain andother directional antennas with electronicallysteerable beams were developed for shortwavecommercial radio. The prewar development ofTV, with its need for greater bandwidth, opened
By John Batson,PE, technical editor, RF
The current state of FM antennatechnology provides highly efficientradiators.
the VHF and UHF bands. Then the plethora ofUHF, radar, communication and detection equip-menr developed by the military in World War IIwidened the field.
Moving aheadWork by Major Edwin Armstrong resulted in
the first commercial FM broadcasting on the lowband. But then World War II cut off experimentalbroadcasting and further development of its as-sociated equipment. At the end of World WarII the FCC doubled the authorized frequency slotassigned for the commercial FM band (88.1MHzto 107.9MHz) and the radio world expected tosee commercial FM take off. Many new shapesand sizes of FM antennas and transmitting equip-ment were soon on the market. But, as we allknow, FM progressed rather slowly.
Because of the differences in propagationbetween the AM and FM frequencies, antennarequirements for the new FM service were vastlydifferent from the old AM system. In AM the dis-tance to the service contour for a given power ismainly controlled by the ground conductivity andthe operating frequency.
In FM the distance to the service contour iscontrolled mainly by the height of the antennaabove ground (elevation above average terrain),ERP and lack of intervening obstacles. "Line ofsight" is the major requirement.
Most AM transmitters require tall vertical radia-tors and it is fortunate that vertical polarization isthe preferred choice. FM antennas are relativelysmall but efficient. Therefore, radiating systemscan employ either horizontal, vertical or circularpolarization. Because of the higher frequency,
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and consequent smaller size, many FM antennadesigns are possible.
Early FMWhen FM broadcasting first commenced the FM
antenna was mounted on a tall tower many feetabove ground. It became obvious that existingAM stations could mount their FM antennas ontop of their AM radiators and avoid the expenseof additional towers. Many original FM anten-
nas were designed as top -mounted radiators, which
New constructioncan distort an
AM station's antici-pated service
contour.
should produce a fairlyuniformly circular radiationpattern. However, some-times it became necessaryto side mount an antennabecause of overall towerheight restrictions or othertechnical problems.
The AM transmitter opera-tors were already aware
of the problems of pattern distortion caused byclosely adjacent vertical structures within the highfield area of an AM radiator. This has becomean increasingly difficult problem for FM opera-tors. When small FM radiators are mounted afew feet from the face of a tower the original
basically circular pattern of the FM radiator willbe distorted by reradiation and reflections fromthe tower. Consequently, a coverage pattern fardifferent from the expected may result.
Another point of difference between AM andFM broadcasting is the amount of horizontal realestate required by an FM antenna regardless ofwhether it is nondirectional or highly directional.Twelve tower arrays are not required, only a suit-able supporting structure that will carry the desirednumber of FM antennas and will not conflict withEPA non -ionizing radiation requirements.
The nondirectional AM station may have areaswithin its service contour where there is excessiveinterference, there may be areas of low signal leveldue to the presence of large metallic objects andthere may be skywave interference. A directionalAM station moy have additional problems dueto rew construction that distorts its anticipatedservice contour.As radio broadcasting has progressed and
FM finally came of age, automobile listeningincreased and is more used than AM today. Thehigher frequency (shorter wavelength) signal issusceptible to spurious reradiation from almostany metallic object within high signal level areas.Distant ground features, buildings and terrain cancause trouble through reflections and reradiation
that interferes with the desired signal. Aparticularly irritating form of interferenceis picket fencing. This causes the desiredsignal to vary in signal level and soundlike it was being received through apicket fence.
The terrain in the area of the FM transmit-ter is extremely important. Reflections from
tall buildings and mountainous areas, aswell as intervening large bodies of water,can produce interfering signals from sev-eral; this is known as multipath.
As our experience with FM has grownand our knowledge of high -frequencypropagation has increased a large numberof valuable technical service programshave become available. * Anyone whoplans a new FM station should avail himselfof one of these programs. A properlyprepared and executed propagation/coverage program will frequently exposeunexpected areas of poor reception fromwhat otherwise appears to bean excellentsite. This precaution can save a greatdeal of expensive site error correctionafter construction.
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12 September 2006
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FCC UPDATE
FAA proposestougher tower approval rules
BERADIO.COM
By Harry Martin
The Federal Aviation Administration (FAA) has proposed major changesto the factors it considers in determining whether proposed constructionof new towers or modifications to existing communications facilities are
hazards to air navigation. The proposed changes would have a significant effectonbroadcasters by preventing or delaying tower construction, and restricting changesin existing facilities even where no new tower construction is proposed.
Under the existing FCC rules broadcasters must notify the FAA of any proposednew tower construction or modification that is 200 feet or higher or that lies withincertain specified airport approach paths. The FAA evaluates these notifications to
determine whether the tower is a potential physi-cal obstruction to aircraft and, in the case of FMradio and VHF -TV facilities, whether the facilitywill potentially cause electromagnetic interference(EMI) to aircraft navigation equipment.
In its pending rule making, the FAA is proposingto expand the scope of its review of FCC -licensedcommunications facility applications, particularlytheir EMI effect. At a minimum the new rules, if
DatelineOct. 2 is the deadline for radio stations in Iowa and
Missouri to file their biennial ownership reports.Oct. 2 is the date on which radio stations in Alaska.
Florida. Hawaii, Iowa. Missouri. Oregon. the PacificIslands. Puerto Rico. the Virgin Islands and Washingtonmust place their annual EEO reports in their public filesand post them on their websites.
adopted, will cause significant delays in the con-struction timetable for otherwise routine towers. Ad-ditionally, whole new classes of FCC applicationswill be made subject to prior FAA approval.
Among other changes, the FAA proposes: The filing of notices of proposed new construc-
tion for any man-made structure (whether a toweror a building) that will support a radiating elementused for radio frequency transmission on the fol-lowing frequencies: (i) 54MHz to 108MHz, (ii)150MHz to 216MHz, (iii) 406MHz to 420MHz,(iv) 932MHz to 935/941MHz, (v) 952MHz to960MHz, (vi) 1,390MHz to 1,400MHz, (vii)2,500MHz to 2,700MHz, (viii) 3,700MHz to4,200MHz, (ix) 5,000MHz ro 5,650MHz, (x)5,925MHz to 6,525MHz, (xi) 7,450MHz to
8,550MHz, (xii) 14.2GHz to 14.4GHz and21.2GHz to 23.6GHz. This covers the FM
and VHF -TV bands as well as some frequenciesused for remote pickup facilities.
The filing of notices with respect to any changeto a communications facility previously approvedby the FAA that operates on any of the abovefrequencies, including a change in frequency, theaddition of a frequency, an increase in ERP equalto or greater than 3dB and the modification of aradiating element, which increases the height ofthe antenna mounting location 100 feet or more,changes the antenna specifications (includinggain, beam width, polarization or pattern), orchanges the antenna azimuth/bearing (e.g.,point-to-point microwave).
The filing of notices of any change in thetype of antenna used by a communications facil-ity operating on any of the above frequencies,if the antenna type was specified in a previousFAA determination.
No -hazard determinations would not be ef-fective until 40 days after their issuance, or afterresolution of any appeals, instead of the currentpractice of making them effective on the date ofissuance. Notices of construction would haveto be filed 60 days in advance, instead of thecurrent 30 days.
The filing of notices of any proposed newtower construction or modification near a privateuse airport or heliport that has at least one FAA -ap-proved instrument approach procedure. Notice ofproposed new tower construction or modificationon or near a private use airport or heliport is notcurrently required.
To make changes in the FAA's evaluation schemefor the five airport runway "imaginary surfaces"(in FAA parlance, horizontal, conical, primary,approach and transitional surfaces), the agencyuses to determine whether a proposed new ormodified facility may potentially be a hazard. #
Martin is a past president of the Federal Communica-tions Bar Association and a member of Fletcher, Heald& Hildreth, Arlington, VA. E-mail [email protected].
14 September 2006
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TRENDS IN TECHNOLOGY
New and nifty,or tried and true?
E20 zr.t.'
New options for the old standby
r eo
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By Chris Wygal
The time finally arrives when your GM asks you to have a seat in his office.He explains that the company is headed in a new direction and lookingfor change. Just when you think you've lost your job, he says, "It's time to
rebuild the on -air and production facilities." So now, as you enjoy relief and certainjob security, the equipment list, floor plans, time schedules and budget issues startracing through your head. And because you're guaranteed to lose sleep for thenext few weeks, you start thinking of some fresh new products you'd like to use andyou ask yourself this question: "What's the one item in the facility that every on -airand production staff member will have an opinion about?" Chances are, they'll havesomething to say about the microphones.
There exists a breed of audiophiles who obsess over makes, models and manufac-turers in their microphone arsenal. They miserably fiddle and fuss over placement,proximity and voice type when setting up mics for their sessions and on -air events.On the other hand, there is a rising number of audio engineers and production
people who are less particular about microphones. They rely on good preamps,processors and postproduction techniques. This creates room for implementingless expensive microphones. Plus, the availability of inexpensive non-linearediting software has paved the way for new institutions such as podcastingand home recording studios. Thus, a massive crowd (with limited cash flow)is now in the market for inexpensive, yet effective microphones.
The rundownAKG has recently introduced the Perception 100, 200 and 400 mics, which
accommodate general purpose miking needs. The Perception 100 and200 are much alike, offering a cardioid polar pattern and 1" gold -sputtereddiaphragm (a design feature that prevents shorting in high SPL situations).The Perception 200 adds a boss cut filter and 10dB switchable preattenu-ation pad, adding increased headroom for close miking. The 200 is alsopackaged with a metal carrying case and elastic spider shock mount, anadded plus when compared to the 100's metal stand mount. The dual -diaphragm deluxe Perception 400 takes the 100 and 200 design a notchhigher in performance and price, offering features such as a polar patternselector, which switches between cardioid, figure eight and omnidirectionalpickup patterns. The Perception 400 is packaged with a metal carryingcase and elastic spider shock mount and is better suited for more critical mik-ing applications, especially when budgets are less limited. The 100, 200and 400 models offer a rugged all -metal design and each weighs about11b. Optional accessories for the Perception series from AKG include a 48Vbattery supply and dc/dc converter, studio pop screen, external windscreenand floor stand.
The designs of the Audio-Technica 40 Series microphones seem the sameat first glance, however each mic brings unique characteristics to the table.The A-T4033/CL, a tribute to the A -T4033, contains a vapor -deposited gold
16 September 2006
From New York to Alaska, Logitek fits just right.Logitek's Console Router Systems can be scaled for any size application, whetherit be 24 netwcrked Audio Engines in the USA's bp market or a sirg e engine andcontrol surface in Barrow, Alaska, the northernmost racio station in the USA. With
our flexible architecture and affordable prices, Logitek is just right -or your market.Logitek Console Router Systems, 1300+ systems strong. You should be next.
diaphragm that has been aged to ensure consistentperformance and a nickel -plated brass acoustic elementbaffle that provides increased stability and sensitivity.The capsule and housing design are constructed to rejectinternal reflections, noise and vibration. The A-T4033/CLhas a switchable 80Hz highpass filter to reduce unwanted
low frequencies.Designed much like the 4033/CL, the AT -4040
is a utility side -address condenser. The 4040comes with a specially tensioned diaphragm.The 4040 has a switchable 80Hz highpass filterand 10dB pad.
The Audio Technica 30 Series offers the AT -3035 and AT -3060, two side -address condensermics whose designs are more economical thanthe 40 Series, and still provide a great deal ofquality for project studios and broadcast studiosalike. The 3035 is designed much like the AT -4040, while the 3060 mim'cs the AT -4060 inits tube design. A real plus to the 3060 is thesimple 48V phantom power supply requirement.Audio Technica also boasts the 20 Series that
New choices from long-establishedmanufacturers offer highperformance with an economical
price, such as the AKG Perception 400.
from a design perspective looks just like the 40 series.This includes the AT -2020, an affordable approach togeneral side -address miking needs, and the AT -2041, apackage including an AT -2020 and AT -2021.Audix has created the CX112 that fills the studio
sideaddress condenser role in the extensive Audixmicrophone line-up. The single pattern cardioid con-tains a gold -sputtered diaphragm capsule that captureswarm sonic characteristics, making it excellent for digitalrecoraings. It lends itself strongly to instrument miking,as it can handle SPls near 145dB. The mic comesequipped with a switchable 10dB pad, bass roll off,and can be switched on and off. The Audix SCX-25 isa unique condenser in its design and engineering. Thelarge diaphragm capsule is mounted above a small,slende body that contains miniaturized circuitry, allow-ing the SCX-25 to leave a small, elegant footprint. Thecapsule is internally suspended, eliminating the need foran external shockmount.
Electro-Voice's RE -20 offers a heavy steel design andhum -bucking coil reject EMI, and an integrated wind filterreduces and nearly prevents pops and sibilance. TheRE -20 oehaves much like a condenser in its frequencyand transient response; however, the dynamic Acoustalloydiaphragm makes it effective in high SPL environments.Proximity effect and off -axis coloration are greatly reducedby Variable -D technology. Electro-Voice didn't stop how-ever with the RE -20. The RE-27ND is built just like the
FM antennas combiners injectorstransmission line components
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GuideRE -20, except for its attractive satin nickel finish, and some changesin the diaphragm. The RE-27ND contains a neodymium alloy magnetand a reinforced diaphragm dome. This offers an increased output ofnearly 6dB, and a noticeable response to high frequencies.
Other approachesThe Heil Proline is a series of dynamic cardioid studio microphones
that not only meet or exceed sonic requirements, but are pleasing tothose who appreciate classic radio aesthetics. The Heritage studiomicrophone mimics the Elvis microphone of the 1950s, with its chromefinish and birdcage design. Looks aren't everything however, as the
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Guide1 1/s" aluminum low mass voice coil construction and close attentionto the phasing plug assembly produce a linear cardioid pattern, re-ducing proximity effect and responding nicely from 40Hz to 18kHzla design common in the Proline series). A blue foam breath blastscreen fits inside the shell, replacing the traditional silk screens usedin older microphones.
The Heil Classic Pro Studio Microphone is a throwback to thefamiliar 1930s RCA broadcast mic. However, while the Classic Proand Heritage models may look old, they are equipped with today'stechnology. The Classic Pro is also a dynamic cardioid, and behavessonically like the Heritage. Heil took the opportunity to have some fun
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New and nifty,or tried and true?
with its retro Classic Pro and Heritage designs, but theProline also offers microphone solutions that aestheticallycompare to today's microphone construction.
The PR -20 and PR -30 are internally constructed muchlike the Classic Pro and Heritage Studio Micro-phones, using the same Proline element, lowmass voice coil and sorbothane shock mountsystem. The PR -20 design matches that of ahand-held mic, while the PR -30 looks more like
a standard shock -mounted studio microphone.Heil mixes things up with the the PR -40 by usinga unique copper -wound voice coil, neodymiummagnet structure and the Heil DM 6 dynamicelement that creates frequency response as lowas 28Hz. The PR -40 delivers the characteristicsof an expensive condenser microphone, butwithout reproducing background noise, andeliminating the need for phantom power.
Sennheiser also has a stake in affordablestudio microphones, touting the MD42 1 ll.
Function is important,but form can add somepersonality like the Heil
Classic Pro.
The MD42 1 ll handles high SPLs and comes equippedwith a five -position bass roll -off switch, making it flexiblein correcting proximity effect.
Neumann has two mics tailored for broadcast use.The BCM 104 condenser mic offers an independent,functionally -optimized design derived from 3D simula-tions. The large -diaphragm condenser capsule featuresa cardioid directional pattern with internally switchableproximity effect compensation. A second switch allowsthe sensitivity to be reduced by 14dB.
Housed in a similar package, the BCM 705 is a de-parture from traditional Neumann designs because it usesa dynamic mic element. To enhance low frequencies,the entire chamber surrounding the capsule has beenenlarged and acoustically coupled to a rear entrance port.The same wire mesh pop screen principles used in theKMS 105 and BCM 104 microphones are used in thismic, removing the need of foam in front of the capsule.The 104 and 705 have changeable, color -coded headgrills for easier indentification.
Shure's KSM line boasts the KSM 27,32 and 44 sideaddress condensers. These mics contain Class A discretetransformerless amplifiers lfor fast transient response andno crossover distortion), 1" gold -layered low mass Mylardiaphragms, 15dB pads for high SPLs, three -stage popprotection grills, and internal shock mount design. The
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KSM 44 has added features such as exter-nally biased dual diaphragm construction,and a three -position low frequency filter forgreater proximity effect correction.
The 55SH Series II is reminiscent of theclassic Shure Unidyne II birdcage design.The 55SH is great for use in unfavorableacoustic conditions, because the dynamicunidirectional cardioid pickup patternminimizes sound from behind the mic. The55SH is outfitted with an on/off switchand cartridge shock mount to reducestand noise.
The Shure SM7B is a dynamic studiomic. The cardioid polar pattern providesminimum coloration of off -axis sound; avaluable feature for inexperienced voiceand on -air talent. The SM7B comes withbass roll -off and middle frequency emphasisadjustments to help tailor sound, and aninternal air suspension shock isolation systemthat reduces mechanical noise. The SM7Bships with the A7WS windscreen for addedprotection against plosive Ps, and allowsfor warmer vocal pickup.
Other quality, yet affordable studio micro-phones to look for include the JoeMeek JMSeries, the Studio Projects B and C Series,the Rode NT1-A, NT2-A, NT3, NTK,NT I 000 and 2000, the Rode K2 and theRode Broadcaster. All these microphonesare a part of the growing number of micmodels that our favorite manufacturers aremaking available to fit the expanding need
for cost-effective microphones. While the availability of condenser,tube and dynamic studio mics have become more widespread, theirquality hasn't fallen markedly, and if in fact newfound project studiosare the driving force in making microphones more affordable, theradio industry can certainly take advantage.
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September 2006 25
Get ready for the conventionThe
summer is ending, so it's time to plan for the fall conventions.While the NAB convention in the spring is the main event for
broadcasting, it covers such a wide range of interests that radio issometimes lost in all the activity. The NAB Radio Show is radio'schance to take the main stage and highlight everything that is ofunique interest to radio broadcasting.
Dallas is a new site for the show, after having visited Philadelphia(twice), San Diego, San Francisco, Seattle and Orlando over thepast several years. The two conventions in Philadelphia are consid-ered big successes by the NAB and the exhibitors, and from yourfeedback to us, it seems like you as an attendee considered thema success as well. We'll see if Dallas proves to be a good loca-tion. Merging with the R&R convention this year is sure to increaseattendance if nothing else.
To help you make the most of your time during the convention, ourpreshow coverage includes four parts. New Products highlights someof the products that you'll find while visiting the exhibitors. Be sureto note that exhibit floor hours have changed this year comparedto previous conventions.
Insight to Sessions previews the sessions with a technical focus
as well as some non -technical events that may be of interest to thetechnology manager or engineer. Be sure to check the sessionguide on site for any updates to the schedule or to confirm a ses-sion location.
The Exhibit Hall Map will help you find the exhibitors fast. Whilethe convention floor is much smaller than the exhibit floor in thespring, don't waste time wandering and wondering. Hone in onthe manufacturers and service providers you need to see.
The Exhibitor List is the final piece to help you find your way.Some of the exhibitors-such as Radio magazine and the FCC-areoutside the exhibit hall around the Chantilly Foyer. These exhibitsare open at all times during the convention.
Make the most of your NAB Radio Show time with this preview,and I'll see you in Dallas.
- Chriss Scherer, editor
The 2006 NAB Radio Show heads to
Insight to SessionsHD Radio takes the spotlight again
By Chriss Scherer, editor
The exhibit floor and the sessions are the two main activitiesduring any convention, and this year's NAB Radio Show has a
full agenda of sessions slated. With the NAB's and the industry'sinterest in HD Radio, it's no surprise that this topic is prominent inthe technical sessions.
With the show heading to Dallas this year, the organizers of anotherDallas -based conference decided to band with the NAB and nothold its own convention. The Society of Broadcast Engineers DallasChapter 67 worked with the NAB to provide technical session onthe morning of Sept. 20. In addition, the chapter will proctor an
While we will profile the technical sessions here, there are plentyof non -technical sess ons to attend as well. To get a completepicture of all the session activity, consult the NAB Radio conventionguide at the show.
26 September 2006
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The 2006 NAB Radio Show heads to
Tuesday, Sept. 192 p.m. to 5 p.m., Miro RoomHD Radio: All the Basics and More
Broadcast Electronics has arranged a three-part tutorial on HDRadio. Each one -hour portion will cover a different aspect of imple-menting HD Radio and start on the hour. Each session focuses onitems of interest to everyone involved in the HD Radio transition,but specific interests will be included and are noted in parenthesis.The HD Radio conversion topics (in order) are processes, pitfalls,strategies and successes (managers and programmers); technicalplanning and realization (engineers, business staff, owners); andnuts and bolts technical issues (engineers).
This seminar will be repeated on Wednesday from 2 p.m. toP m
Wednesday, Sept. 209 a.m. to 9:55 a.m., Metropolitan BallroomPlanning Considerations for Upgrading to HDPresenter: Alan White, Continentai Electronics
White will review the basic elements to consider when planningan HD Radio installation, including general site considerations, STLand audio path requirements, audio processing, studio equipmentneeds and transmitter equipment needs. Stations that have notbegun an HD Radio installation will find this session helpful.
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10:10 a.m. to 11:05 a.m. Metropolitan BallroomTransmitter Installation, Setup and Tuning ProcessPresenter: Richard Garrett, Continental Electronics
The transmitter side of an HD Radio installation can be the largestphysical portion of the effort. Garrett will cover more details of sitepreparation and planning and review the installation process. Fromthere he will cover the operational characteristics of tuning an HDRadio amplifier and how it differs from tuning an analog amplifier,monitoring and evaluating the HD Radio transmitter operation andmaintaining the HD Radio system
11:05 a.m. to noon, Metropolitan BallroomSystem Verification and Measurement ProceduresFitj3GI Janie/ Dickey, Continental Electronics
Going deeper into the test and measurement details, Dickey willdiscuss the test equipment needs of a station transmitting an HDRadio signal, and describe the required measurements to ensurethat the system is operating within the spectrum mask and at its bestefficiency. He will clso review several measurement techniques andways to document these measurements.
2 p.m. to 5 p.m., Metropolitan BallroomSBE Certification Exams
To take an SBE exam during the NAB Radio Show, it is recom-mended to submit a certification exam application to the SBENational Office in advance. Some on -site exam registrations willbe accepted. Download and complete the SBE Exam Applicationfrom www.sbe.org before arrival to save time. On -site applicationswill be accepted beginning at 1:30 p.m.
Thursday, Sept. 219a.m. to 10:30 a.m. - Radio Technology Forum Peril_9 a.m. to 9:45 a.m., Metropolitan BallroomReal Time Adaptive Correction ExplainedPresenter: Geoff Mendenhall,Harris Broadcast
An explanation of the basics of how linear and non-linear pre -cor-rection works in HD Radio or DRM systems without a lot of math sothe typical radio station engineer can understand the concepts.
9:45 a.m. to 10:30 am., Metropolitan BallroomRadio Studio Buildouts:Tools, Process... Results!Presenter: Steve Davis, Clear Channel Radio
An overview of the process of planning and overseeing radio studioconstruction projects, from the architectural and equipment selectionprocess, through installation and move -in.
2:30 an to 5:30 p.m. Radio Technology Forum Part II2:30 p.m. to 3:15 p.m., Metropolitan BallroomNetworking and Link Issues WhenImplementing MulticastingPresenter. Richard Hinkle, Broadcast ElectronicsThis will be a practical approach to understanding the issues
encountered when implementing multicasting for your HD station.The focus of this paper will be how to set-up networks to ensure arobust multicast system without compromising your main network. In
addition he will provide insight into STL link issues, limitations andpossible solution.
28 September 2006
Insight to Sessions3:15 p.m. to 4 p.m , Metropolitan BallroomAdventures in AM 1BOCImplementationPresenter: J.S. Sellmeyer, Sellmeyer Engineering
A discussion of some of the RF issues involved withproperly implementing AM IBOC issues together withexamples of the steps necessary for nn optimum 'nodon the transmitter.
4 p.m. to 4:45 p.m., Metropolitan BallroomAudio Processing In TransitionPresenter: Frank Foti, Omnia Audio
As broadcasting moves closer to a full digitaltransmission system, the requirements for audio
processing have changed dramatically. Thereis an effect on FM and AM within the traditionalanalog channel and the digital path. This
discussion will provide comprehensive insightabout the implementation of audio processingin a digital broadcast facility.
4:45 p.m. to 5:30 p.m.,Metropolitan BallroomHD Radio Coverageand Interference IssuesPresenter: Doug Vernier,
V -Soft CommunicationsThis review will cover the major signal issues
facing the transition to HD Rradio. Wherewill my coverage go? Will my analog stationreceive interference? What new research isbeing done and where will it take us?
Friday, Sept. 229 a.m. to noon,Metropolitan BallroomDigital Radio MeasurementWorkshopPresenter: David Maxson,Broadcast Signal Lab
Broadcast engineers familiar with analogsignal measurements are now challenged tomaster new techniques for evaluating theirdigital signals. To ensure good signal qualityand minimize interference, it is necessary tomake accurate measurements of hybrid IBOCsignals. In this session, David Maxson willreview scalar measurement techniques withspectrum analyzers and power meters, andwill provide an introduction to vector measure-ments of IBOC signals. He will also attemptto answer the vexing question, "Is my spectrumanalyzer up to the task?" The session willalso touch on the effects of amplifiers, filtersand antennas on AM and FM IBOC signalcharacteristics.
Exhibit floor hoursWednesday, Sept. 202 p.m. to 8 p.m.
25 -Seven Systems 322ABC Radio Networks 621AEQ 521Air Force Recruiting 619Airshift Media 227APT- Audio Processing Technology 316Arbitron 505Armstrong Transmitter 714Army National Guard 717Arrakis Systems 14Audemat-Aztec 623Audioarts 615Audio Science 317Axia 208Barix Technology 224BIA Financial r,,i..._, ..516Bid4Spots.com 620BMI 618Boulder Blimp 700Broadcast Electronics 305Broadcasters General Store 400Burk Technology 519Burli Software 201Business Talk Radio Network 803Christian Hit Radio Satellite Network 819Coaxial Dynamics 817Communication Graphics 500Comquest Callout 805Comrex 513Continental Electronics 60.D.A.V.I.D. Systems 206Dalet Digital Media Systems 20Dielectric Communications 309Digigram 217Docsoh 527Dolby Laboratories 318Enco Systems 616Energy-Onix 600ERI-Electronics Research 414Exhibit Arts /1 '-7,
FCC 115Feed the Children 626Firstcom Music 701Global Security Systems .709Google 705Hams 405HayHouseRadio.com 221Hippie Radio 809Inovonics 715Isee Radio 323Jam Creative Productions. 422Jampro Antennas/RF Systems 417Klotz Digital Audio Systems 326KLZ Innovations 718Lan International 209ALarcan 522LEA International 423Liquid Compass Streaming Media 427Logitek Electronic Systems 314Magic Egg Software 614Mayah Communications 220Media Monitors 720Media Professional Insurance 418Mediaspan Online Services 421Micro Communications, Inc. 320Mid -Atlantic RF Systems 419Moseley Associates 301NAB PAC 111National Campaigns 116National Weather Service 18
1.1 -.411 -CANMrnowr{CwP
no' EngineeringSonic Excellence
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Meo gaalSys
227 326 327
224USA 25.Sr, Coy Jan
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220 221 320 321 42Sluder Dolby
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219 318 319 41.Digogram
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208 209A 209
204
202
201 300
DielectricCompany Booth
Nautel 205Neural Audio 405Non -Stop Music 215Omnia 208OMT 512Orban/CRL 413Practical Promotions 827Prophet Systems Innovations 209PTEK 723Pulsecom 612Radian Communications Services 526Radio Advertising Bureau 109Radio Express 108Radio magazine 107Radio Membership 112Radio Music License Committe 10Radio Systems 300
205
101
102
30
301
103 20
104±105
Company Booth
Radio Traffic.com 820Radioad.com 204Radiodifusion.com 327Radyne-Tiernan-Xicom 716
SoftwareAirshiftBooth 227Aishift Airtime: Airshift Airtime supports the work-flow of me small and medium -size radio station trafficprocess. Manage customers, contracts, campaigns andsingle spots, and schedule them on daily playlist withthis system. Airtime stores all the data in a fast SQLdatabase, which is stored locally on the same computer.The main window provides real-time information of thescheduling process.+358 50 365 0577; www.airshift.tv; [email protected]
September 2006 31
September 2006 33
stereo audio transport. It operates using Enhanced Apt -x
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The 2006 NAB Radio Show heads to
111 MbThe 2006 NAB Radio Show heads to
LASNetwork audio decoderBarix TechnologyBooth 224
Exstreamer 100, Instreamer 100:The Instreamer 100 encodesaudio from analog and digitaldevices into the MP3 formatin real-time for point-to-pointor multipoint delivery over theInternet or IP-based systems.
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Newsroom softwareProphet Systems InnovationsBooth 2of)News Builder: News Builder is the comprehensive,stand-alone newsroom software that enables reportersto wri-e newscasts, receive and revise wire copy anddigitally record, edit and playback audio.
No, this product doesn't remove naughty words, but if you do run a profanitydelay or simply have a buildup of digital latency, talent can't listen to theprocessed air signal. Instead, their feed is probably direct from the console.Compared to the air sound, this can seem weak, dull and lifeless.
Our Model 255 Triband Spectral Loading processor has zero delay and candeliver a dense, tight, and punchy 'broadcast' sound to headphones andcontrol room speakers... a sound you can't achieve with a general-purpose"utility compressor." Other 255 applications include the program feed totelephone hybrids and IFB processing.
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Production consoleWheatstoneBooth 615G-7: This consolefeatures 12 user -programmableswitches, automaticfailsafe DSP/CPUcard options, a
redundant powersupply optionswitched meterswith system -wideaccess, GUI setupsoftware, automa-tion -friendly protocol and event schedulingsoftware. No PC is required for independentoperation. The console also features amixing router based topology, expansionand compression on all input channels,four -band parametric EQ on all input chan-nels, variable high- and low-pass filterson all input channels, event storage andrecall, four stereo output buses and eightmix -minus outputs.
Artisan: This flexible, modular controlsurface for the Logitek Digital Audio Engineoffers multiple frame sizes to accommodatetwo to 30 faders along with two mastermixes, eight sub mixes, four aux mixes, 24mix -minus outputs and three monitor outputs.
5.1 surround processing is available on onemaster mix, one sub mix and one monitorout. Available modules include fader, moni-tor, master and effects. Two sizes of meterbridges are also available, along with theVscreen software application, which allowsthe user to build full -screen meter banks aswell as router controls. All parts in the surfaceare isolated from the ac mains power forsafety. The power supply includes 25 GPIin and 25 GPI out connections for externaldevice interfacing.
Complete control* Air America Radiotakes digital control
gob
By Chriss Scherer, editor
4. 41,
38 September 2006
PREVENT BROADCAST DOWNTIME WITH
Air America Radio is a national, progressive -entertain-
ment, talk radio network that launched in March 2004.The network is known for its outspoken personalities
including Al Franken, Jerry Springer, Randi Rhodes andMike Malloy. And while some listeners may take issue withthe views and opinions of the show hosts, the New Yorkradio facility is based on a solid operating platform.
When Air America Radio launched it used a small facil-ity with one studio for the talent and the board operatorsand one studio for the show producer. While this facilityworked, space was tight and the equipment did not meetthe reliability needs of the network. In addition, the leaseon the space was due to expire in about a year. Thework began to relocate.
While planning the new facility, several priorities wereestablished at the beginning. The equipment had to bereliable; Network outages were unacceptable. The facil-ity had to meet the ergonomic needs of the staff -thereneeded to be more than one studio to accommodate theprogramming needs.
A site was selected and the work began in July 2005.The clock was running to vacate the old facility, and JuanDiaz, then vice president of engineering, had to keep atight schedule. It took iwo months to build and relocatethe facility, which went live on Sept. 15, 2005, but thetransition was not without a few obstacles.
The work beginsThe overall facility layout was conceived by Diaz. He
took the ideas to Chad Phielen at Roscor who developeddrawings. A centralized audio routing and mixing systemwas planned, and Sierra Automated Systems was chosento supply Rubicon surfaces and a 32KD router.
Roscor also designed and built the custom furniture, cre-ated the prewiring assemblies and provided the on -siteintegration services.
The facility houses three live talk radio networks. Theyare the Air America Radio main channel, the Air AmericaRadio syndication network and the feed for GreenstoneMedia. All of the programs carried on these networksoriginate from the New York studios or from various satellitestudios around the country. The network programmingis delivered to radio affiliates and XM via satellite byWestwood One. A T1 line with ISDN backup deliversthe audio to the VVVV1 uplink. The Internet feeds forReal Networks, Windows Media and MP3 are fed fromencoders at the studio to Shoutcast for distribution. Up untilSept. 1, Air America also fed WLIB New York directly viaa T1 with ISDN backup and provided a feed with localcommercials and IDs.
Studio overviewThe main control room, also called mission control, is the
largest studio and is centered around the largest Rubiconaudio control surface manufactured to date. The 40 -slot
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Complete controlconsole features a built-in telephone system control, intercom, talkback,studio-to-airchain routing and delay control. The four producer posi-tions, each with SAS turrets for talkback, monitoring and live -to -airmic control, look in to the two adjoining talk studios.
Talk studio A, the larger of the two talk studios, has a 24 -slot Ru-bicon surface, which is used when AAR originates several live talkshows at the same time or when the intimacy of talent and boardop in the same space is appropriate. Talk studio B is the smallerstudio and it is equipped with a small Mackie mixer.
The news studio is used to provide on -the -hour news, while a thirdcontrol room is used for production. The production studio housesa 16 -slot Rubicor console.
The Rubicon surfaces share audio sources and destinations througha network of the SAS 32KD router and several Rio frames. This
centralized routing system allows any source to be called to any inputof any control surface. As many as four airchains are used at anygiven time, although more outputs are available. To ensure that thewrong words are never aired, each control surface airchain feedsa profanity delay. The flexible audio routing presented a challenge
The host position in the large talk studio faces the in -studio engineer position and the main control room.
to the facility to ensure that the control and status of each delay unitwas provided and displayed to the appropriate talent, producerand board -op position. SAS designed a logic system to analyzewhich airchain is being fed from each surface, and then route theappropriate status and control to the proper positions.
As a backup for audio routing, each studio has two 25 -pair trunkcables that run to the rack room, with patch bays inserted aroundthe router. The goal of equipment reliability has been achieved,and the backup routing has not been needed for any emergencyuse yet. The patch bays have been used for planned maintenanceon the router system for system updates and additions.
Construction challengesAny construction in New York has to face challenges, and this
project was no exception. At the beginning it was understood thatthe studio building, having been built in the 1920's, was consid-ered a landmark. As such, nothing could be done to the building'sexterior, and nothing could be added that was visible from the street
40 September 2006
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or from adjoining buildings. This prevented AAR frominstalling a generator at the site. Instead, a 1 50kWUPS was installed. The UPS can support the facility for10 hours. To accommodate the weigh' of this unit, thefourth floor that AAR occupies in the eight -story buildinghad to be reinforced.
In case of a long power outage, MR has a contractwith a company to deliver a drive -up generator in lessthan three hours if it is needed. Power lines from thetransfer switch were routed to the street level to connectto the temporary generator. In addition, all the necessarypermits were secured to allow the generator to be parkedon the street, and to allow MR to move any vehiclesthat might be in the way.
Another difficulty was encoun-ered after the projectbegan. The original architect had limited experiencein business design and none in studio design. As thelimitations were discovered, a new architect, JensenDesign Associates, was brought in to complete theproject. The project was already on a tight schedule,and several days were lost when some walls and a doorhad to be relocated.
Now that the facility is complete, the staff has the roomit needs to operate comfortably and the equipment reli-ability to provide uninterrupted programming. Like manyfacilities today, the focus has turned from audio routingto data routing, and the SAS routing system fills this needwell. The IT staff et MR, Director of IT Michael Borges
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September 2006 41
Complete controland IT Support Tech Gonzalo Londono, are charged withthe iet.ponsibility to maintain this pert of the operation.
There's a lot going on in tnis facility, and thanks to digitalrouting, Air America Radio maintains complete control.!
Mark to Juan Diaz, formerly of Air America F?adio, Roy Press-man ar Pressman Engineering and Technology, and Howardfalullinwic of SAS for assistance in preparing this article.
The production cortrol room.
Snap, Crackle, Pop?Drop outs?
Intermittents?
AcousticalDesign DetailsBy Sam Berkow
When we began our design efforts forthe new Ar America Studios, we had
to address four main issues: studio layout,accommodation of technical equipment,acoustic isolation and internal room acoustics.These are key issues in any studio design,but raised some unusual challenges in thisinstallation.
Studio layoutThe Air America Studio Suite houses the
company's news team, show producers,administration and technical staff. We firstcreated a space programming document thatdescribed the wish list for each space, includingshe expected functionality of each space, theexpected staff size and the equipment load.This document was reviewed and revised by Ar
America's management, technical staff and key producers.From the space programming document we drew
a number of configurations for the studio suite. Westarted with two control rooms, two studios and severalproduction and edit rooms. After reviewing the availab'espace and functionality, we combined the two controlrooms into one larger space that could serve bothstudios. The small engineering station in each studioallows multiple studios to be operated simultaneously,with isolated producers.
Technical equipmentA key consideration in the design was to define the
equipment locations and cabling requirements. Weredesigned tne studios at Air America to support on -airradio and in -studio video shoots. A cable trough and acable raceway were laid within the technical spaces, andthese two cable paths were linked to a cable tray systemoutside the suite.
Acoustic isolationAcoustic isolation is a vertical and horizontal problem.
Vertically in a NYC high-rise, tenants above and belowthe studio cannot be disturbed. Horizontally, the need orisolation was increased so adjacent studios can work onindependent projects simultaneously. Using a built-upisolated floor helped achieve this isolation and providedspace for the cable trough system without having todisturb the floor slab. Lastly, the ceilings for the studiosand control room were designed to be supported by thesidewalls of the rooms themselves. This design eliminatesany rigid connection between the ceiling and the slababove, and can simplify duct runs.
Internal room acousticsTo address the acoustics of the studios and the control
room, we set two goals: tonal balance and quiet. Tonalbalance requires that low frequencies are controlledwithout making the room too dead. Sound absorbingacoustical panels and diffusive sound elements wereused to treat the room. A band of fabric -covered panelscontaining absorptive and diffusive materials rings bothstudios. Each room was shaped to reduce modal lowfrequency behavior, with walls and ceiling slanted to directsound into treated areas, which included a soffit in eachroom designed to control low frequencies.
Silence is an extremely important and often overlookedcriteria for broadcast spaces. The ambient noise criteriafor each room in the suite was for the ambient noiseto be lower than NC -20. This criteria is not particularlystringent, but realistic in a NYC high-rise environment. Toachieve this, the box -in -box isolated construction wascomplemented with a low -noise HVAC design.
Berkow is founder of SIA Acoustics, New York.
FACI_ITY FOCUS
The technologybehind Air America
SAS RubiconNM=
The SAS Ruulcor Brc.dsast Cut Iscje Cur itrL) Su faceis the flagship console o' the SAS Connected DigitalNetwork. The Rubicoi is availaae in frame sees from8 to 40 wide. Input rrocules feature eight bus assignbuttons, an unlimited lumber of automatic mk-mirusbuses, pan/balance, mode select (stereo, re.erse, mono,left, right), effects sends. recorc split for VoxPo/Shortcutphone recording, and e>tensive user prograr- magi ity tcdo a most anything redu red in a sophisticated broadcastplan-. Rubicon interfaces to the SAS RIOLink. the remoteVO interface that concentrates al studio wiring into a singleCATS cable back to the TOC. Af The TOC, tie SAS 32KDDigital Router/Mixer is the hub of the Connec:ed D.gitalNetwork, providing system -wide mixing, routing, control,corrrnunications, anc intercom.
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Tascam MD -350
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Advertisement September 2C06 43
FIELD REPORT .BERADIO.COM
Harris Platinum ZClear Channel Chicago,owner of seven stationsserving the city and sur-
rounding area, recently completedits FM transmission build -out atthe Sears Tower. WGCI-FMhad been operating in a valleybetween tall buildings, and anew building was about to beerected across the street from our600 -foot high antenna. The sitethat offered the fewest restrictionsto adjacent -channel interferencewas the Sears Tower.
The first of I 1 Harris Z -Series FMtransmitters (a Z10 transmitter) was
installed in December 2000 whenWGCI-FM moved its main transmitter
site to the Sears Tower. One antennaaperture was available within the FM area ofthe building's east antenna mast, but we choseto diplex WGCI with another co -owned stationalready operating from the site. The cost wasconsiderably less than installing a new antenna,
Performance at a glanceHot-swappable
PA modules
Soft -failure modes
Split-level compatible
Easy interface forsecond exciter
Frequency agile overentire FM band
N+1 versionavailable to instantly
switch frequency
and the power -handling capacity of the antennasystem was roughly 33 percent greater than ourproposed total input power.
WKSC-FM was the next station to receive aZIO transmitter. The station had been operat-ing with a pair of alternate -main Harris FM25Ktransmitters at 10.5kW TPO. Once the WKSCZ10 was installed a third Z10 was purchased tooperate as a frequency -agile transmitter betweenthe two stations. WLIT-FM replaced its single -tubetransmitter with a Z10 in 2002. Because all theClear Channel Chicago FM stations are backedup with auxiliary sites, another new Z10 wascommissioned alongside the WLIT transmitter asan auxiliary site transmitter for WNUA-FM.
WNUA's main site is located in the John HancockCenter across town. Z1Os were installed herefor this station and WVAZ-FM's main transmission
By John Boehm
site. Our eighth ZIO was installed in October2005 at the Prudential WKSC-FM auxiliarytransmitter site.
Going digitalBack at the Sears Tower, the challenge arose to
insta'l HD Radio transmission equipment. WLIT,WKSC and WGCI are co -located, with WKSCand WGCI's transmitters in one room and WLITin an adjacent room. Several options existed,including the installation of a separate communityHD Radio antenna and small combiner. Costsand timeliness were large factors in discouragingthe space combining method. The favored optionbecame Harris' split-level combining system, alsoknown as mid -level combining.
Split-level combining uses our existing Harris Digitexciter -soon to be a Flexstar HDX-FM exciter-inthe Z10. The output is split between the Z10 IPAinput and the second power amplifier/HD Radiotransmitter, a Harris Z6HD. The majority of theexciter's output continues to be routed to the Z1 0IPA input, and a small sample of the RF is sentto the Z6's IP2D linear maximization input. The
outputs of the Z6 and Z10 are comined througha 6dB hybrid combiner.
Many installation options exist to make HD Radiowork. Because each of our five FM stations haveauxiliary transmitter sites, we did not install RFbypass switching. Such switching normally con-nects a transmitter directly into the antenna shoulda Z6 or Z10 transmitter or the 6dB hybrid fail.We also opted not to use the split-level controller,which can control the exciter muting logic fromthe controller (rather than the traditional transmit-ter controller). This decision kept the exciter RFoutput path as simple as possible, installing theRF splitter in the Z10 cabinet. Only one RF cablewas required to connect the Z10's Digit exciteroutput to the Z6 IP2D input.
Space was another consideration; we ran outof room in the previous configuration. What wasa wall and hallway soon was converted to trans-mitter floor space. The three Z6HDs transmittersplus two additional equipment racks were placedwithin he wall. The hallway that faced the front of
44 September 2006
The transmitters for WGCI and WKSC.
these transmitters was converted to interior spaceby relocating a doorway. We cannot see bothsplit-level transmitters at the same time, which issometimes a nuisance. The one requirement wealways insist on when installing a Z -Series trans-mitter is clearance to roll out the power supplyso we can have access to all components foundin the supply. Supply failures are rare, but theydo occur. Not being able to physically reach allof the supply components for future maintenance
Since 1979 Mager Systems,Inc. has been customdesigning and fabricatingaward winning furniture forthe broadcast industrynationwide. We are still theinnovators and leaders insolid surface tops andapplications which comeswith a 10 -year warranty.Our complete one -stop -shop includes installation,turnkey pre wiring,switches andcomponents,conferencerooms, reception desks, andoffice furniture. Our blendingof art form with cutting edgetechriques, and a clearunde-standing of eachclient's application allows usto produce your showplacetailored to your budget.
FIELD REPORT
would prove frustrating, at the least.For the reject load resistors, all three stations use
the Bird model 8922 Termaline RF coaxial termi-nation, a 5kW, oil -cooled load with a 15/8 EIAflcnge. If the Z6 transmitter should fail in the split-level arrangement, the loads will dissipate about3kW of heat.This could causedamage to the
load resistor anddielectric siliconefluid seals if wedidn't use forcedairflow around
loads have high -limit temperature, snap -actionthermometers to activate alarms or shut downtransmission equipment connected to the load.
The three split-level systems have been operating
problem -free since mid -December 2005.
Boehm is the transmitter supervisor for Clear Chan-nel Chicago.
Editor's note. Reid Reports are an exclusive Radio rnagaiine featurefor radio broadcasters. Each report is prepared by well-Qui:VW staff ata radio station, production facity or consulting company.
These reports are performed by the industry. for the industry. Manu-facturer support is limited to providing loan equiprrent and to aiding theauthor if requested.
It is the responsibility of Radio magazine to publish the results of amdevice tested, positive or negative. No report shoild be considered iindorsement or disapproval by Radio magazine.
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September 2006 45
FIELD REPORT .BERADIO.COM
HHB Flash MicDRM85 By Chris Wygal
We live in a time when electronics are shrinking in size, while at thesame time they are providing unprecedented availability to endlessmedia sources. The (pod is a prime example of a downsized per-
sonal media device that adds functionality to our lives. Fortunately, the broadcastindustry has followed suit, because capturing audio is easier today than it wasjust two years ago. Who would have thought that CD and Minidisc technologiesare already facing obsolescence?
HHB has teamed with Sennheiser to place the cart behind the horseso to speak,and economically employ a familiar item from the news gathering industry. At
press conferences, print media reporters put flashrecorders in front of the interviewee, but a radionews reporter would hardly consider using thesetypes of devices to capture on -air material. But
what if HHB was to take the idea and combinea premium Sennheiser hand-held mic and a user -
Performance at a glanceSwitchable AGC
Internal 1GB flashmemory
USB Interface forfile transfer
10 second pre-record buffer
Omni -directionalSennheiser mic capsule
18.5 hours ofrecording time
Nine user templatesfor settings
Uses two AA batteries
Headphone amplifier
friendly flash recorder into one unit? It is calledthe Flash Mic DRM85. It's a news and interviewgathering powerhouse the size of a typical wirelesshand-held mic. Weighing 13 ounces, the micchanges the way reporters capture the news andit fits nicely in the palm of your hand.
Few people enjoy tough learning curves andlengthy instructions, so when the mic arrived withits thin 40 -page booklet explaining features andspecifications, it was a breath of fresh air. Afterleafing through the manual Ito find out what thethree buttons and jogswitch do), my goal was toinsert the batteries and use the Flash Mic until I hadto read the enclosed literature. I simply pushedthe red record button, and put the mic in front ofco-workers and asked them to talk. I used theAGC function to ensure good levels and to seehow the processing affected recorded material.To my surprise, the compression and limiting inthe mic AGC were transparent. I heard greatlevels and good sonic response from the soft-spoken and loud -mouths alike. The LCD display
indicated that the flash drive was recording andclearly displayed audio levels. After stoppingthe record function, the Flash Mic automaticallysaved the material and assigned each file a tracknumber. To test the user -friendliness of the mic, I
gave it to our afternoon drivetime host to use at aspeaking engagement. She recorded her speechwith no problems. I officially deemed the FlashMic c true plug -and -play device.
In the fieldOn July 2 at an Independence Day concert I
took the mic backstage to grab some interviewswith producers and talent for a radio segment.Most were confused by my only holding amicrophone, but after a brief explanation eventhe seasoned audiophiles in the group were im-pressed by the concept and design. In additionto its novel appeal, I found that the Sennheiseromnidirectional microphone capsule capturedclear and true sound. As an added bonus,handling noise is suppressed by its solid andstable construction.
Windows and Mac recognize the mic as aremovable storage device (connected using thesupplied USB cable) and dragging and droppingis quick and easy. However, on July 2Ididn't havenon-linear editing capabilities. So with some patchcord creativity using the headphone output, theFlash Mic became a playback unit. Of course, theheadphone output is traditionally used to monitorrecording levels. As far as inputs, the mic usesthe omridirectional condenser microphone only.There cie no auxiliary line or mic inputs.
Sometimes noting a particular spot in interviewmaterial comes in handy. The Flash Mic makesthis task easy. While recording, tap the recordbutton to create a "marker." When the audio fileis opened, using software such as Adobe Auditionor Sound Forge V4, a flag is placed on the filemaking The marked portion easy to locate.
46 September 2006
FIELD REPORT
More featuresThe Flash Mic is packaged with a Flash Mic Manage' CD-ROM
application, which is Windows and Mac compatible. The Flash MicManager is not necessary for standard operation, but it allows fordetailed control and customization of the Flash Mic. For example,software allows the user to upload as many as nine presets to theFlash Mic and it comes with an interface that imports audio to a
ternal memory, the FlashMic offers six available16 -bit linear PCM or MPEG
recording formats rangingfrom uncompressed 48kHzWAV (three hours of record-
ing), to compressed 32kHzMP2 (18 hours and 25 minutes of recording). A record lock featureprevents accidental stoppage during recording and levels are manu-ally or automatically controlled. The mic also features a switchable100Hz high-pass filter and an internal real-time clock.
The big question concerning the mic dealt with battery life. It takes
two AA alkaline or nickel metal hydride rechargeable batteries. I con-
ducted a battery life test with fresh alkaline batteries and it recordedcontinuously for seven hours. When the battery life begins to dwindle,the LCD display and backlight begin to flash. Changing batteries
Detail of the operatingcontrols, display andconnections.
doesriot erase
recorded material,but the batteFies must be
changed within 60 seconds orthe internal clock will reset.
Having used the latest technology in media storage and transfer,this product is a considerable milestone for HHB and Sennheiser.Reporters, public speakers and anyone looking to capture audioon the fly now have an easy, economical avenue. Not only is theFlash Mic a great idea, it delivers excellent sounding audio withno strings (or wires) attached.
Wygal is the programmer, engineer and Web designer for WRVL in Lynch-burg, VA.
Editor's note: Fled Reports are an exclusrve Rada magazine feature for radio broadcastersEach report is prepared by well -qualified staff at a radio station, production tacky or consultingcompany.
These reports are performed by the industry. for the industry. Manufacturer support is limited toproviding bar equipment and to aiding the author if requested.
It is the reSPOoSibility of Radio magazine to publish the results of any device tested, positive n,negative. No report should be considered an endorsement or disapproval by Radio magazine.
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NEW PRODUCTSby Kari Taylor, senior associate editor
.BERADIO.COM
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el designed specificallyfor installations that need tamper -proof controls.The unit offers new algorithms such as selectableDSP inserts on the inputs and outputs, EQ, delay,compression and limiting, and bandpass andcrossover filters. The system provides four inputs,eight outputs, and monitors and controls signalrouting as well as the processing of multiple unitsusing Ethernet equipment.
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48 September 2006
Find the micwinnerJuly issueCongratulations to
Cal Walkerof Cal Walker Media
Services in Matthews, NC.His name was drawn from
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The mic icon was on the metal supportbetween the red and green cables.
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Sound controlAuralex AcousticsBooth 1605
Audiotile: The new 24 -piece set absorbs echoes andother undesirable reflections though a wide range of frequen-
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Condenser boundarymicSennheiser ElectronicRooth -1-02Evolution 912: The pre -polarizedcondenser microphone with half-cardi-oid pick-up pattern offers a frequencyresponse from 20 to 20,000kHz anda maximum sound pressure level of
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September 2006 49
READER FEEDBACK .BERADIO.COM
LPFM forumWith regard to your editorial, Micromanaging the FCC
in the July issue, it sounds like you don't realize that itwas the FCC who hod ruled, repeatedly, that third -ad-jacent channel protections were not required, and thatsecond -adjacent channel separation was sufficient. It
was lobbying on Congress that forced the FCC to adoptthird -adjacent channel separation despite the FCC's standthat there was no reason for it.
You are undoubtedly correct that many LPFM stationswill fall away over time. Many people will not appreci-ate the challenge that is 24/7/365 broadcasting. Butothers will do a great deal of good with these licenses.In our case, I represent a small private school that hasbeen awarded a construction permit and we are wellinto the planning for a student -operated radio stationwith near professional quality recording studio facilitiesand multiple studios. We have partnered with a localradio club to get additional technical resources. Wewill be creating original radio theater, original localmusical performances, talk format and other things.One of our talents is a gentleman who has spent mostof his life creating and preserving old-time radio theatertechniques and scripts.
There is a certain freedom in not having to generate aprofit. If you have the right mix and quantity of dedicatedtalent willing to support a program like this as a labor oflove, it can accomplish things that neither commercialstations, nor the average PBS/NPR station can do.
If many stations fall away, then nobody but they are thepoorer for it, but the community can benefit from LPFM.
Tom ScottWilsonville, OR
Safety firstI read with interest your article Tower Inspect-
ing and Climbing in the July issue of Radio.I have just celebrated 50 years in broad-casting. My jobs have ranged from chiefengineer (before some smart guy inventedtransistors) to station owner. However, as a14 -year -old, I started by climbing towers fora small firm in northeast Texas. I discoveredat an early age the value of leather pegs overthe nails in the soles of my boots.
My main concern is the photo in the ar-ticle that shows two young men climbing intandem. Any old climber (and I mean reallyold, like myself) will tell you don't climb intandem. If the lead (the guy on top) falls, hewill take out the climber below. The bottomclimber should be on the other side of theflower. No exceptions.
Enjoyed the article.Paul R. Beane
owner; KLVT AM -FM, Levelland, 7X andKZZN-AM Littlefield, 7X
general manager, KRBL-FM, Lubbock, TX
Good point, Paul. Safety should always bethe top priority, and this was a bad examplethat slipped by us.
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I enjoyed your June Viewpo,n!Digital Radio very much. It was propheticand challenging. On the technical careerside of things, I'd like to share someobservations.
I suspect in 10 to 15 years commercialradio as we know it will be quite different,and this will affect the role of the broadcastengineer. There is a mixture of dread,curiosity and excitement in my conversa-tions with my colleges across the country.Nothing is happening slowly these daysand it can be a bit unnerving at times.What are the associated emotions?
Ra
- t CIwiLecti for remote!
7111, Maim
1111. AB2DO Remy,
sdltlfteuon
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z-111:2
Dread. I think because we don't knowwhat radio station we will work for; I
mean, who really knows where all theIP stations live and do they even have anoffice for a CE? Where is the transmit-ter site? Think about a computer in thedashboard of a car that can receive athousand signals from Wi-fi, to satellite,to terrestrial. The listener doesn't carewhere it comes from, so long as it's whathe wants and it's affordable. Televisionwill face the same issues.
Curiosity and excitement. Technicalpeople are naturally drawn to new tech-nology and the techno tsunami is comingfast! Perhaps faster than we would like.Positioning for the broadcast engineer inthe brave new world you described willrequire some homework, open mindsand fast feet!
Keep up the good work. Keep soundingthe trumpet!
Steve Cornerpresident
Broadcast WorksTyler, 7X
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Editor - Chriss Scherer, CPBE CBNT, cscherereprismb2b.cornTechnical Editor, RF -John Battison, P.E., batcom@brightmetSenior Awriate Editor - Kari Taylor, ktayloraprismb2b.comSenior Art Director - Michael J. Knust, mknusatprismb2b cornArt Director - Robin Metheny, rmetheny@prismb2b coin
Technical Consultants - Harry C. Martin, legalKevin McNamara, CNE, Computers and NetworksMark Krieger, CBT, IBOC, Contract EngineeringRuss Berger, Broadcast AcousticsDonald L. Markley, P.E., Transmission Facilities
Senior Vice President - Peter L. May, pmay0prismb2b.cornGroup Publisher - Jonathan Chalon, IchalonOprismb2b.cornMarketing Director - Kirby Asplund, kasplundOprismb2b.cornVice President of Production - Lisa Parks, [email protected] Director of Production - Curt Pordes, cpordeseprismb2b.comGroup Production Mgr. - Julie Gilpin, igilpinOprismb2b.cornProduction Coordinator - Nick Stroup, nstroupeprismb2b.cornClassified Ad Coordinator - Sarah Goulding, sgouldingaprismb2b.cornVP Audience Marketing - Jerry Okabe, [email protected] Marketing Dir - Barbara Kumrner, bkummer@prismb2b cornAudience Marketing Mgr. - Sonja Rader, sradereprismb2b.corn
MEMBER ORGANIZATIONSSustaining Member of: Acoustical Society of America
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Member: American Business Media, The Missouri Association of Publishers
magazine
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List Rental ServicesMarie BrigantiWalter KarlPhone: (845) 732-7054Fax: (845) [email protected]
Meet the professionals who writefor Radio magazine.
This month:Field Report, page 44.
John BoehmTransmitter
SupervisorClear ChannelChicago
Buehtii L1as beeninvolved in radiobroadcast sincehigh school inthe early 1970's
His introduction to a real broadcastenvironment was at Homewood-Flossmoor high school, when hewalked into WHFH for the first time as afreshman in 1971.
Since 1978, Boehm has heldengineering positions with a variety oflicensees and has been the the chiefengineer of six stations.
IRadfoWritten by radio professionalsWritten for radio professionals
Radio, Volume 12, Number 9, ISSN 1542-0620 is publishedmonthly and mailed free to qualified recipients by Prism Bust-ness Media, 9800 MetcaH, Overland Park, KS 66212-221 6(www. prismb2b.com). Periodicals postage paid at ShawneeMission, KS, and additional mailing offices. Canadian PostPublications Mail Agreement No 40597023. Careturn address: DHL Gbbal Mail, 7496 Barh Road, Unit 2,Mississauga, ON Era 1L2. Additional resources, includingsubscription request forms and an editorial calendar areavailable online at beradio.com. To order single copies call866505-7 i 73 or 402-505-7173.
POSTMASTER: Send address changes to Radio PO Box2100, Skokie, IL 60076-7800 USA
PageNumber
AdvertiserHotline
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Acoustic Systems 51 800-749-1460 www.acousticsystems.com
Acoustics First 12, 56 888-765-2900 www.acousticsfirst.com
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This index is a service to reaciers. Every effort is made to ensure accuracy, but Radio magazine cannot assumeresponsibility for errors or omissions.
September 2006 57
SIGN OFF \AMAN.BERADIO,COM
by Kari Taylor, senior associate editor
Do you remember?
Sample and HoldListener preference
Don't know w9cY° of.
Yes22%
Does it matter whether aradio personality is comingto you locally or broadcastingfrom another city?
No8%
Source. Paragon Media Strategies, 2006
The McCurdy SA 14023 extended rangemeter provided accurate self-contained audiomeasuring in 2RU. It featured a VU meter and
optional peak program meter to allowsimultaneous monitoring of averageand peak signal characteristics. The
meter offered a wide input level rangefrom -50 to +30dBm in 2dB steps. It
supplied 600n termination or a 2041bridging balanced input via front -panel/4" phone jacks or via rear -panel
barrier terminals. The front -panel jackwas provided for an isolated monitoroutput. Simultaneous balanced outputprovided fixed monitoring. This photois from 1988.
That was then
The hard drive turns 50 this year. The RAMAC,or Random Access Method of Accounting andControl, was the original hard drive. It beganshipping in the fall of 1956. The system used50 spinning, 24" -wide disks and offered about5MB of space. In the 1980s, desktop computerhard disks were introduced with 5MB using5.25" platters.
Today's entry-level drives have at least 8,000times more capacity. Just look at the AppleIpod Nano: 0.27" thin with 4GB of storage.The hard drive has come a long way in the last50 years.
Photo courtesy of the Magnetic Disc Heritage Centerwww.magneticdiskheritagecenterorg
58 September 2006
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