Ben Brinitzer has installed a number of HD Radio systems. He shares his top 10 tips for a successful installation
Dan Mansergh shares his insight about the importance of program service data, and offers a tip on how to start providing it
The reality is that there aren't that many analog consoles made any more, and installing them, in the old-fashioned way, just isn't that economical
When many people hear the term "small market radio" they get a mental image of old, worn-out equipment, shag carpet on the walls and rundown surroundings. WLOH in Lancaster, OH, defies this stereotype
Punching in, leaving the light on, mic identity and staying connected
With the increasing amount and complexity of digital audio equipment, video multiplexing/de-multiplexing, complex routing paths and cable defects/influences, problems can develop with the digital audio signal
Radio broadcasters rely heavily on their telephones. Whether used for news, interviews, contests, requests or talk radio, the ability to easily manage phones on-air is a long-standing requirement, and that’s unlikely to change
Vehicle maintenance, checking for leaks, and wasps and bees
When I first assumed the chief engineer duties at WHKP, I inherited a facility that, while beautiful and functional, was aging as far as broadcast equipment. The station had been using a DOS-based automation system since the mid-1990s for traffic and play-out of commercial material
Flying springs, analog cell phones and extra pieces.
WKNO-FM, an NPR member station in Memphis, began operations on April 1, 1972, on 91.1MHz with 40kW of effective radiated power. The station launched its HD Radio signal in the fall of 2007. Up to that point, we underwent incremental upgrades and adjustments to the original installation.
We live in a time when we must take a good look at the definition of radio. Why? Consider the story of a college sports fan who wanted to hear the radio broadcast of a recent football game, but wasn't near a radio. He used his cell phone to get online, navigate to the station that carried the football game broadcast, clicked on Listen Live, and heard the game. He wasn't listening to FM or AM signal propagation. He was listening to a digital audio stream, but wasn't it the same material that was heard over the air?
When I began evaluating surround technology, I had a number of mandates to fulfill as the technology specialist for CPRN, and its flagship stations, KVOD-FM Denver, and KUSC-FM Los Angeles. CPRN provides 24-hour broadcast programming and Internet streaming for its 60 public radio station network, as well as HD Radio programming distributed through NPR.
You can't capture everything, but you want to hear almost all the details you can possibly put into it. What you end up doing is filling holes. When something falls out of the mix, you find it and grab it. If something pops up you grab that, too.
We spent a few hours talking through how everything would be handled, from power access to running the audio and com (including video) lines from the performance space, through the kitchen and out to the truck.
For this presentation by Nachito Herrera, we had three keyboards added at the last minute on a small stage and we were able to work things out.
We want our listeners to experience Toast as one program. When the broadcast moves from location to location, we don't want the audience to feel a jarring change. Our Boston venue is the David Friend Recital Hall at Berklee College of Music, while our new West Coast venue, Yoshi’s in San Francisco, is a 400-seat nightclub. But the audio teams managed the sound so that we created one program out of many parts.
Wart remover, the spaghetti alternative, and send a tip, win a book.
Salem Communications owns three stations that serve the Omaha market: KCRO-AM, KGBI-FM and KOTK-AM. Each station has a history that goes back many years, and the stations’ previous studios had seen a major part of that history. Salem acquired the three stations in 2004 and 2005, and it was known early on that new facilities were a necessity.
Presenting in surround really makes the experience so much better. Jazz typically lends itself to doing surround, because you generally have a real audience and real musicians. It is not heavily post-produced.