INTERNATIONAL EDITION The Modern Radio Studio

Sponsored by November 2017 From the Publishers of Radio World

Latest News: 2wcom’s MM01 Audio over IP Codec Offers Outstanding Versatility

2wcom is one of the world’s leading manufacturers, suppliers and system integrators of professional radio broadcast technology. Customers around the world benefit from first-class support, quality “Made in Germany”, exceptional expertise and experience. Especially conceived and developed with attention to quality and reliability, the MM01 AoIP codec offers a perfect support for an effective work in the world of audio networks by providing a wide range of useful functions. The MM01 uses IP-based audio network technologies (Layer 3) for real-time streaming and supports the most important standards for AoIP compatibility (EBU TECH 3326 incl. SAP and RTSP, AES67, Ravenna and Livewire). All known audio coding algorithms are processed, like MPEG 1/2 Layer 2/3, AAC LC, HE-AACv1&v2, AAC-LD, G.711, G.722, E-aptX and PCM. Depending on the algorithm selected, you can achieve an end-to-end delay of less than 10 milliseconds. Another highlight is the implemented latency control, which makes it possible to synchronize the runtime exactly to the microsecond. In case of studio-to-studio environments, the new Easy2connect feature allows you an uncomplicated connection setup. Specifically, this means it is possible to configure a phonebook via a web interface, which contains the information of the available codec algorithms and the corresponding phonebook entry for each studio. By clicking the phonebook entry the SIP connection is established, which negotiate the codec algorithm. Furthermore, it is also possible to use Easy2connect to build up a one-time SIP connection, e.g. when a reporter and studio only need to be linked once for a special live broadcast situation. In order to ensure the best possible transmission quality and robustness features like Dual Streaming (IP packet- based redundancy) or the exclusive Stream4Sure (to synchronize seamlessly backup streams of different quality to the audio sample) are available. In addition, you can activate the Pro-MPEG FEC error protection mechanism, which allows you to recover lost packets. An optional integratable FM tuner for monitoring purpose complements the backup concept. Conclusion: On the one hand, the well-thought-out and versatile feature concept helps you with SSL and STL applications in your daily work making it possible to set up sophisticated broadcasting environments, such as live broadcasts, audio description or in-ear monitoring, and even SFN. On the other hand, the requirements for the best possible audio quality and transmission economy can be optimally harmonized depending on the given conditions.

Contact 2wcom for more information: Phone: +49 461-66 28 30-0 Email: [email protected]

ADVERTORIAL INTERNATIONAL EDITION The The Modern Modern Radio Studio Radio Studio What it takes to get it right

Sponsored by November 2017 From the Publishers of Radio World What does it take in the 21st century to design and build an efficient, cost-effective, forward-looking radio studio? Whether refitting an entire network or building 4 a large or small single radio station, broadcasters need to consider the steps required for their new facility to Top Technologists accomplish their business objectives. There is no single Discuss Studio Design way to plan a studio project, so we talked to experts for their ideas, to give the reader a basis to work from. Marguerite This latest Radio World International eBook takes a 13, 24, 31 Clark look at examples of successful studio builds, from the Newswatch Editor in Chief simple one-man broadcaster to large, national networks. We ask broadcast technical executives to provide insight into how they plan or modernize their facilities and integrate the latest technology; how they are selecting the best equipment for their specific 16 needs, and more. Audio Gives Way to Hear how leading radio technologists answer these questions: What User-Oriented Apps should the modern studio have? How should it be designed? What are your “go-to” choices for equipment? Where do you start — at the console and work from there? How do you handle room and acoustics design? Who 18 manages the installation? Do you invest in staff training? How has IP tech- BRUZZ Inaugurates New nology affected the radio studio? How is visual radio changing the way you design your studio? On-Air Studio Radio World has published 38 eBooks exploring the many facets of radio station and network operations including mobile reporting, studio/trans- mitter links, visual radio, studio apps, social media, consoles, digital radio 25 developments and more. Find them at www.radioworld.com/ebooks. AoIP Codec Requirements Let us know how we can make these handy reference guides more useful for SSL Applications to you. — Marguerite Clark 26 Wheatstone Brings Nordjyske Medier Together

28 Grupo Renascença Transitions to AoIP

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 3 Top Technologists Discuss Studio Design Technical executives offer advice on how to best modernize one’s radio studio

By Marguerite Clark

Radio World spoke to leading technologists from private and public broadcasters regarding what it takes to design and build an efficient, cost-effective radio studio. Those who replied to the questions below include Mirosław Ostrowski, technical director, Radio Wrocław in Poland; Gerry Pyne, general manager, Queensland Remote Aboriginal Media stream audio/video signals; should the intercom system (QRAM), Australia; Gary Kline, owner and CEO, Kline Con- to be in touch with the central control room and other sulting Group, United States; Frédéric Bourgeais, technical studios; is signaling (red, green, yellow, blue lamps) director of Alouette, France; and Eugenio La Teana, head of required; where will the PCs be located? And of course, Research & Development at RTL 102.5, Italy. what’s the budget for the project?

Radio World: What should the modern studio have? Gerry Pyne: A modern studio should have a workspace Mirosław Ostrowski: There are many important ques- designed to meet the workflow needs of the organiza- tions to consider before building a studio. For example, tion for which it serves. This will vary according to the what is the main purpose of the studio; will the studio be type of use the studio will get, and in today’s industry connected or separated from control room; how many there tends to be more production and voice tracking audio sources are necessary; will listeners be broadcast style activities and less live on-air work done in studios. live; how many mics do you need in the studio/control Good lighting and acoustics are key. Of equal importance room; how many mix-minus feeds will you need to man- is the overall experience the studio provides for staff and age telephone hybrid/hybrids, OB vans, outside trans- guests. General layout needs to take into account good mission links, inter-studio connections; do you plan to ergonomics, and increasingly we need to consider visual attributes such as sight lines between the operator and people sitting as various positions around the studio. Mirosław Ostrowski Video/web cameras continue to play an increasing role is technical director in the modern radio / production studio. The equipment of Radio Wrocław in no longer needs to be a dominant feature of the console Poland. desk furniture, and this leaves more scope for imaginative design and room to layout documents and other things during studio sessions.

Gary Kline: It should have unparalleled capability to send and receive every form of modern media known today as well as be ready for the future. Skype, FB live, streaming, terrestrial, YouTube, Twitter, POTS, SIP, mobile device APP, iTunes, etc. The modern studio should be ready to accommodate written (i.e.; text, WhatsApp) or any audio/video method of communication that today’s audience uses often to interact. For sure, the modern studio should have cameras and easy-to-use integration

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 4 to operate them. If it takes more than a few seconds to get a Skype guest on the air, then that is too long. There Gary Kline is should also be an excellent social media aggregation owner and CEO of tool in the studio with direct tie-in to, again, Skype, FB, U.S.-based Kline Twitter, POTS, etc. One main command center to monitor Consulting Group. and control all forms of communication. You should have many mix-minus busses and they should be automatic so every one local or remote and hear and speak to one another flawlessly.

Frédéric Bourgeais: For Alouette it is about the perfect mix between the two worlds: analog and digital. Analog because it gives us a clear, warm sound. Digital because music is all digitized today.

Eugenio La Teana: We believe multiplatform and cross media distribution are a distinctive part of our station identity. Therefore the studio has to be designed and ity to both understand how the situation is evolving, as equipped in order to properly allow and ease our multi- well as to point out specific details on the “screens.” faceted distribution strategy. RTL 102.5 pioneered the visual radio experience many years ago in Europe, and Radio World: How should it be designed? we are continuously developing our visual concept, so Ostrowski: Technical directors should listen care- the studio has to be flexible, in order to suit our evolving fully to the future users of the equipment and follow needs. The essence of the radio is being “live,” so the stu- up with them during the design process. Ergonomics dio must be capable of instantaneously adapting to any- is very important. Everything should be within reach. thing that happens: our studio is a large room, with cine- Sound is the most important thing in the studio and in ma-grade video projectors picturing each studio wall with radio. It is therefore imperative that there are no “noisy” images capable to enrich the message we deliver. In the devices like computers or fans nearby. They should be case of breaking news, we can immediately have graphics, installed behind the studio walls but as close as possible archive material and any live video feed from the internet to shorten cable connections. For the connection of PC available for projection to the studio walls, surrounding keyboards, screens and mouse devices, use KVM extend- the news presenters and giving the audience the capabil- ers to send all the signals via one Ethernet cable or fiber. To save space, it’s useful to use a keyboard switch for the control of four or more PCs. Tablets can also serve as a small mixing console, and the clock, loudness meter or intercom are just one click away. We use the DHD touch- screen module. In addition, studio furniture should com- bine aesthetics and functionality, cables should be easily accessible and special attention should be paid to the glass window separating the studio and control room. It shouldn’t be mounted vertically for acoustical reasons and it’s better to tilt the glass so dust doesn’t accumulate, while considering the reflection of light, which could impede visual communication between the studio talent and the sound engineer.

Pyne: The studio should be designed with a primary focus on the user experience rather than past practice of featuring a large and complex looking console at the center of the room. Technology advancements have opened up new frontiers previously not possible in stu- Gerry Pyne, general manager, Queensland dio design and today’s studio can be a far more inviting Remote Aboriginal Media (QRAM), Australia. environment for workers and guests. Flexibility in design Continued on page 6 ❱

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 5 teners about facts in the very moment things are hap- Eugenio La Teana pening, but it is also “alive,” with people at the core of is head of Research it. Therefore our studio is a large open space: the main & Development at desk for the presenters stays in the center of the studio. RTL 102.5 in Italy. At the back, we have the desk for the news presenters and the technical room is inside the studio, with nothing in the middle: We believe the visual and, in general, any non-verbal interaction between the on air talents and news reporters, as well as between the presenters and studio engineers, can enrich the overall message our sta- tion delivers to our listeners. We chose to remove all the chairs: Presenters stand in front of the mics, they are free to move and walk across the studio. Our voice reflects the movements of our body, so this way our presenters, being free to move and “gesticulate” as if they were talk- ing to their friends (Italians love to gesticulate, you know), can deliver a richer message through their voice. In addi- ❱ Continued from page 5 tion, through our visual feed, their movements and their is also increased through the flexibility that new technol- look, enrich the listening experience. ogy brings to the industry. Studios no longer need to consider space for a range of traditional items from the Radio World: What are your “go-to” choices for equip- past such as CD players, reel to reels, cart machines, turn- ment? tables, etc. This can all vanish into the digital realm in a Ostrowski: There are many great, cost-effective products modern studio design. out there. It’s important to test certain products in the context of one’s studio because it needs to fit into the Kline: It should be designed with the highest standards feel and tradition of that particular station and also be in quality and engineering practice. This should include accepted by station staff. Sometimes you have to make acoustics inside the room, acoustics between rooms, compromises because a product may fill most but not lighting (especially for visual radio), ergonomics including all requirements. Most stations are on a tight budget but low-profile mics and low-profile computer monitors, and you should be prepared to pay the necessary amount for well-planned layout with plenty of room for talent and essential gear, such as a console, which you’ll be using for guests. Don’t forget about clocks, monitors and other many years. As a public radio station, we are obligated to interior design choices. In fact, hire an interior designer follow regulations when purchasing gear. It’s not always if your budget permits. You can build a studio that looks easy to provide a detailed description of our requirements so much different and cooler than the old standard four to our superiors without stating the brand names, etc. walls with sound panels and a few track lights overhead — today’s modern studio should incorporate much more. Pyne: Our policy is to transition to an all IP digital net- Look at ESPN or the BBC or TV5. When you show your work, so any time we upgrade a studio or build a new studio on TV (or someone’s computer or phone screen) it should look really cool and well integrated into the frame. Stand out from the rest. There are some amazing radio studios doing this today. Capital Radio in London and Nash Radio in Nashville are a couple of examples.

Bourgeais: Our station is situated near the Atlantic coast facility we only look at IP solutions. In the Black Star Net- so we designed our studios like a beautiful, wooden ship, work we have made the choice of basing systems on the with some nice curves and maple and cherry wood. This Wheatstone/Wheatnet platform. This extends to accesso- provides quite the atmosphere and generally very good ries and other equipment and where possible we will use acoustics, which is very important. Our goal is to provide Wheatnet-compatible equipment as a first choice and fall a warm welcome to our guests and that they feel com- back to AES67-compliant equipment. Having a network fortable when broadcasting live from our studios and where every piece of equipment can be configured to working with our team. communicate over the wire to every other item is very desirable and allows for a highly flexible and resilient La Teana: Radio is basically “live,” and can tell the lis- Continued on page 8 ❱

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 6

a “new device” which was not previously available. One Frédéric Bourgeais thing is certain however, we always opt for professional- is technical director grade equipment. of Alouette in France. Radio World: Where do you start? At the console and work from there? Ostrowski: We first define our requirements. In a digital world, there are various philosophies about how to con- struct and manage audio consoles. If you already have one and can configure it, then it won’t be easy to change it for something new. For us, we prefer to let our tal- ented engineers manage the digital consoles we already have. We are sticking to our DHD boards. We broadcast three 24/7 channels and need to reconfigure the mixing consoles quite often following the changes and require- ments in the program itself and sometimes in the way our talents or DJs run their shows. Before making a deci- sion about the console you have to know how it should ❱ Continued from page 6 cooperate with the rest — playout systems, signaling, system. In our case it is also important to use equipment intercoms, other studios, OB vans, telephone hybrids, that can be remotely monitored via SNMP and web GUI. mics, PCs, headphones and video systems. Today’s con- Our network playout system is based on RCS Zetta, GSe- soles are flexible and configurable, but they sometimes lector and Aquira, and these products all integrate well use different technologies (AoIP, Dante, AES/EBU, MADI, with each other and with the Wheatnet platform. etc.). Protocols such as Ember+ facilitate communication between different devices and it’s important to be sure Kline: That depends on the purpose for the studio (on- that the console can interoperate easily with your other air, production, video, voiceover booth, newsroom, etc.). studio gear. Generally, though, I always go for an AoIP console with a fully IP-based workflow and infrastructure. No punch Pyne: We always start by looking at the required work- blocks, very few XLRs, and loads of redundancy and flows for the studio. From there we work and design the backups. For phones today, always SIP/VOIP with excel- hardware to match rather than allow the technology to lent call screening software and — as stated above — tie determine the overall design and workflow. in to a central social media platform for total control. I always work with trusted vendors and manufacturers Kline: Typically, yes. But it really depends on the size of who have taken care of me in the past and who I know the facility that’s being built and what the purpose is. I will be there if there are problems, questions or very tight think it might be more accurate to say I always start with deadlines. a customer needs analysis and then work from there. I know that I am going to use an AoIP console so it’s more Bourgeais: We look for quality and reliability when pur- a matter of what size and model will go in each room. chasing gear. We are not here to reinvent the job, but to How many inputs/outputs are needed overall in the plant find the right products for our station. and what special needs are required. For example, will the facility be running a sports network with many feeds La Teana: We don’t have a “must.” First we develop our or will it be internationally focused with different music vision for a specific improvement or completely new beds fed to different locations? And if so, are there copy- design. Then we look for equipment capable of turning right issues and do I need to plan for that. Or perhaps, our vision into reality. Sometimes, we are unable to find there will be live broadcast video and radio coming from the right product to fit our needs from manufacturers of the same room — so that may require some thought radio broadcast gear, so we also search for products out- before you get to console selection. No matter what side the radio realm, for example by looking toward the though, it’s going to be IP, and everything I purchase will cinema industry. What really matters though is our ability support that somehow. to successfully implement our vision. The equipment fol- lows the concept, so we don’t have “mandatory” or “for- Bourgeais: It depends on one’s budget. But for us the bidden” choices. We have to turn ideas and projects into mixing desk is fundamental. Therefore, we start from reality, so nobody cares if we need to design and create there and build the infrastructure around that. Generally,

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 8 we have the same mixing desk in every studio, each with and equipment noise within the studio. different options. Kline: It’s a multi-person and multi-stage process. For La Teana: Unlike TV, radio can’t rely on a different studio starters, I work with the client to determine required STC/ for each show. Typically, in radio a single studio has to fit noise ratings and evaluate cost versus benefit. In a per- all the possible genres and kinds of programs being pro- fect world, we would build to Abbey Road standards, but duced. So we start from the center of the studio. Radio how many stations need that, or can afford it? Some can. has to be at the heart of everything, so the desk for the Many can’t. So, everything starts with a spec on acoustic on-air talents stays in the middle of the studio. The rest, requirements. Then, I work with an architect to design including technical equipment, stays around the core of those acoustics into the room(s). Over the years I have radio, so along the walls of the studio. developed construction standards, which are my base- line for any studio build. I usually then hire an acoustical Radio World: How do you handle room and acoustics engineer (I have a few go to professionals I have worked design? with before) and then review the drawings for any Ostrowski: The goal is to get the best sound possible for tweaks. I’ve even been known to hire an acoustician to a radio program so good acoustics are necessary. I sug- bring in test equipment to measure vibrations and natu- gest employing an experienced company to handle your ral resonance frequencies in base building construction studio acoustics. It’s more expensive but your listeners before finalizing the design. We also choose (together) and your staff will appreciate a good audio atmosphere. things like studio doors with specific sound ratings, ceil- If you have a very limited budget then there may be no ing material, floor construction (floating in certain cases), question of acoustics. What I would suggest in a case sound panels, etc. In this process we also review the cho- like that is to use low-sensitivity, but still good, dynamic sen elements for look and feel so that the studio colors, fabrics and other elements remain congruent. The GC or construction supervisor is also part of the process so no A modern studio should have unparal- one is left out. This is especially true as you evaluate costs leled capability to send and receive every versus benefits (as mentioned before). form of modern media known today as Bourgeais: We use ABSO, a specialized acoustic company well as be ready for the future. based in Paris.

— Gary Kline La Teana: Room design must provide the highest flex- ibility. We decided to go minimal as regards furniture and chose to not install “fixed” furniture but to get the maxi- mics, such as the Shure SM7, and speak into them from a mum in terms of visual impact using video projectors to close range. That solution is not ideal however, particu- give the walls a different look, depending on programs larly with guests or when you have a few people in the being broadcast. This lets us immediately change the studio. If at all possible, consider acoustics in the design. shape and the look of the studio, or even of a single part Also, don’t forget about acoustical isolation and check of it. We outsource acoustic design, and we supervise for holes in your studio walls. And remember, noise can their activities. be transferred by floors and sneak through windows. You could “wall up” the window, but the best, albeit Radio World: Who handles the installation? expensive solution is to build the studio as a box in the Ostrowski: In general, for the installation of equipment box. Some larger broadcasters do this for their most in the studio and the back room, we carry out most of important studios. This type of setup is particularly useful the installations ourselves. This allows us to know the for control rooms and studios, which are being used for configuration in its deepest details. We also know the sound recording purposes. habits of our station staff and the expectations of our editorial staff. Fortunately, we have some really good Pyne: This will depend on the location and design of the engineers in house who are curious, capable and willing environment the studio is being built. Main consider- to implement the newest technologies for us. When it ations come down to the protection of the studio from comes to complicated installations such as that of virtual outside noise intrusion and mechanical noise through disk arrays, virtual platforms for servers or data back-up building structure, flooring, ceilings etc. and then the systems or multi-modular production and playout sys- internal treatment that ensures the right “vocal sound” is tems, we use outside resources with highly specialized achieved. Other considerations include air conditioning Continued on page 12 ❱

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 9 WheatNet-IP Audio Network Totally Essential

It turns out that there are very few essentials in life. Of the 118 elements in the periodic table, only 25 are essential to life and just four of those make up 96 percent of the human body. So it is for IP audio networking, too. While most any audio network can perform basic routing, WheatNet-IP is an end-to-end IP audio network system made up of the wares and functions essential to life in the modern broadcast studio.

IT'S IN THE ECOSYSTEM AUTOMATION, CODECS AND OTHER FRIENDS IP audio networks are for routing, yes. But don’t forget More than 56 third-party brands integrate into the WheatNet-IP what will be hanging off that network, now and in the environment for seamless workfows across the studio and between future. WheatNet-IP is a complete IP audio network automation systems, codecs and more. ecosystem of consoles, talent stations, AES67. AN ESSENTIAL. I/O units, accessories and virtual tools. It Adding a new studio? includes online mixing and processing, Just plug in and go. The WheatNet-IP audio network is AES67 compatible. scripting tools, audio drivers, and gigabit Can’t find the exact This means that you can transport audio between architecture. There are more than ffty your WheatNet-IP networked facility and a remote element or surface you elements that make up the WheatNet-IP production facility that has a AES67 compatible network, need? Build your own audio network, any or all of which can be such as Dante®. connected together for any sized operation console using our new or purpose. reconfigurable LXE FULL CONTROL platform. Or, build your ON THE SURFACE IP connectivity isn’t just about access. It’s about control. own interface using our The more logic you can put on the network, the more WheatNet-IP audio network comes with ScreenBuilder app with control you’ll have over change. Control is built into a wide variety of control surfaces, from onscreen buttons, meters, each WheatNet-IP connection point that is shared with layered, multipurpose IP networked and other widgets that talk other IP connection points across the network, giving boards to network appliances such as the directly to any element that you access to not only all sources at once, but also the TS-22 talent station and the rackmount touches the WheatNet-IP presets and any associated logic that go along with SideBoard — even the Glass-E virtual mixer each feed for controlling such things as mic ON/OFF, audio network – consoles, that can be loaded onto your laptop. or changing remote mic settings for IFB, processing codecs, profanity delay, Our newest addition: The LXE forever and other parameters. This makes a world of difference console that can be reprogrammed for any transmitter readings, when it comes to being able to handle the unexpected application, any time. and more. or to repurpose a studio for multiple productions. VIRTUAL INSIDE AND OUT Your Forever Console WheatNet-IP audio networking has been doing virtual long before virtual was cool, and not just on the surfacebut inside the network itself. In addition to our Glass E virtual mixer for the laptop and tablet app for the LXE console, every I/O BLADE that makes up the WheatNet-IP audio network includes two stereo x2 utility mixers. aving these virtual mixers at every I/O point on the network makes it practical to do online mixing of sounds, segue remotely between feeds, virtually overdub and pan, you name it.

UPTIME ALL THE TIME There used to be a perception that IP wasn’t reliable. In the early years that may have been the case, but not so today. niue to the WheatNet-IP audio network is its distributed architecture, so if one part of the network fails for any reason, the rest will keep on functioning. Each IP connection point or BLADE Say goodbye to fxed hardware. stores the entire confguration of the network onboard, which Instead of mapping switches, means failover is immediate. buttons and knobs to a particular function on a console that can never be changed, any button anywhere on our new LXE IP networked console can be programmed at any time for, say, talkback, cue, start/ stop, processing, etc. or for toggling between functions which can also be tied to different elements on the network. The LXE is Linux based Fact: One I/O BLADE in particular that’s been operating at with a touchscreen interface, so you can pinch just the right a station for years now has logged more than 1,053 days of amount of E and boost or cut freuencies using touch. continuous uptime – not including the 1,400-plus days already elapsed before the BLADE was rebooted for a UPS battery change. All total this BLADE, which happens to be serial number 001 running at Cox Media Group in Tampa, Florida, has logged 2,453 days of continuous uptime with the exception of one re-boot due to routine maintenance. t

We network everything even the IP console itself Our new LXE console can be split up into separate fader banks and connected together through Ethernet, offering a more dynamic split- console confguration for sharing mutes, tallies, speakers and other resources. With multiple consoles accessing a common I/O point, talent can share sources and feeds in real-time, plus open and close mics, apply signal processing, handle IFB backlinks and essentially work closely together from separate LXE fader banks located anywhere inside, or outside, the studio. They can Ten in One even co-produce from an auxiliary LXE Windows or Apple tablet in real-time while another board op is actively producing on the Who says you need studios with consoles and main LXE surface t automation workstations for radio stations One workstation with CS etta and WheatNet-IP with an IP-6 control surface does it all. Shown is an entire -station operation on the bench at CS’ lab in Frankfurt, just before it was shipped to its new home BROADCAST AUDIO PERFECTIONISTS® at Sok F in Greece. Sok F is believed to be one of the frst all-IP station operations in Greece. t Designed and built in the USA Phone +1-252-638-7000 wheatstone.com | [email protected] ❱ Continued from page 9 engineers. This is also a way for our engineers to accumu- manufacturers’ premises to learn more about their prod- late more knowledge so they can manage the systems ucts and participate in training courses. This is especially after the installation is complete. Often times, training necessary for the more complex equipment like mixing courses are needed to run the ICT infrastructure, which consoles, which need the user to configure everything. evolve incredibly quickly. We are on air 24/7 so there is For less complicated gear, we depend on user manuals no room for issues. I would say, that it is imperative to for the most part, or contact the manufacturer in the have experienced engineering staff under a radio broad- case of a specific issue. Our station also provides English- caster’s roof if possible. language courses for our employees. This helps them to understand documentation, which is usually in English, Pyne: In our network this is generally handled internally. and also makes people, especially the older and more experienced ones, more open to contacts with the out- Kline: Installation of equipment is usually a mix of the side world. local engineer, local contract engineers/integrators and possibly engineers from within the same company but Pyne: Staff training is very important to us and we do from another market. I only work with people I trust invest in external training provision for new systems and and usually bring in subject matter experts for various equipment wherever possible. aspects of the installation. For example, I may bring in IT gurus to help with router and firewall programming, Kline: Some. It depends on the skill level of the staff, in broadcast IT gurus for AoIP setup and design, video addition to other factors. If a new automation system is part of the install, which nobody has seen before, then definitely, yes. If visual radio (video) is a new addition to IP technology has touched the studio then the answer is yes. New phone system with lots of new buttons? Yes. In some cases, I have built virtually every part of our studio a single temporary studio with all the new gear at the old design criteria. facility so staff can train and work out any possible issues before the move to the new facility or studio. — Gerry Pyne Bourgeais: Not very much. But that’s just because our staff is always so busy. We do however take the time to attend major exhibitions in the United States and Europe experts for visual radio, etc. I can’t stress enough how to be sure we keep up with the latest trends and tech- important it is to have excellent IT staff working on the nologies. project, before, during, and after. Bad IT design will lead to problems — sometimes in the future at the worst La Teana: Yes, but not in the conventional sense. RTL time and can be confusing to solve. Most everything in 102.5 loves to explore new territories, trying technolo- a modern studio is IP based so it must be done well and gies and pioneering new ways of making radio. So our done efficiently. Different IT experts have different opin- people are asked everyday to find the best way to find a ions sometimes about how something should solution to a new, unconventional requirement. be handled (VLANs, PORT assignments, etc.). Many times they can’t immediately find inspi- There may not be one single way to do ration from within our industry, so they are something but there are bad designs and obligated to start designing and sourcing implementation — avoid it. We’ve all been from scratch. This commonly indicates a there — walked into a plant where we trial-and-error approach. We invest in this started shaking our heads. particular form of training on the job. Basi- cally, our people don’t have an “everyday Bourgeais: Our in-house technicians man- task.” We ask them to dig further into some- age this for our station. thing they (and essentially nobody) is familiar with, and to look for the best possible resolution, La Teana: We design the overall installation plan, then also from a budget-wise point of view. we often work with third-party professionals to get the job done. Radio World: How is IP technology affecting the radio studio? Radio World: Do you invest in staff training? Ostrowski: IP technology is becoming more central to Ostrowski: Yes. When possible, our engineers visit radio broadcasters. I have however seen some reluctance

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 12 in implementing the technology because two various in a hurry. It can also make it a little more confusing to worlds are trying to connect into one — IT and radio. The troubleshoot a problem or trace out a workflow — no two different teams of specialists need closer coopera- more analog wires to troubleshoot with a simple tester. tion between them. IT specialists need to move closer You’ll need some IT knowledge and a good computer to the audio world and understand an essence of sound, skillset (and a laptop!). But I think most engineers in while audio professionals should get closer to IT issues. IP radio today have all that — it’s been over a decade since brings many advantages, such as easy audio access, ubiq- things started moving to IP in radio. Hard to believe, I uity and flexibility. know. IP is not in its infancy anymore.

Pyne: IP technology has touched virtually every part of Bourgeais: IP technology has facilitated our lives. Five our studio design criteria. It introduces flexibility and years ago we virtualized our entire premises. The tech- workflow that have not been possible in previous gen- nology allows us to exchange, control or remote-control erations of technology and it also introduces a new scale gear, share songs and files. It’s very reliable for our needs. of reduced cost to the design. Studio builds are now sim- pler and take less time to complete and when studios are La Teana: We’ve been implementing IP now for a redeployed to different uses they can be reconfigured decade. We started our visual experience within the within the digital domain simply and quickly — often at analog domain, but a couple years ago, we transitioned the simple push of a button. IP technology has had a pro- everything to IP, including our video feeds. found effect on all areas of the broadcasting industry. Radio World: How is visual radio changing the way you Kline: IP has made it easier and more efficient to multi- design your studio? task and create a much more exciting product on-air. The Ostrowski: We now have two studios that feature visual technology has also made it much simpler (and cheaper) radio. Each studio is equipped with an automated sys- to install gear, configure everything, and modify things Continued on page 14 ❱ Newswatch Orban Offers New Optimod The 8700i is designed for analog or digital applications

Orban has a new member of the Optimod proces- sor family, the 8700i. The 8700i is designed for analog or digital mis- sions. Its I/O complement includes Dante AES67 plus a 192 kHz AES3 MPX output along with two digital SCA inputs. Orban says that a new program-adaptive subharmonic synthesizer ensures punchy bass, even with older program material. In addition a phase skew corrector/multipath mitigator ensures crisp reception when receiv- ers blend to mono and minimizes energy in the stereo subchannel without compromising separation. The phase skew corrector uses a proprietary multidimensional processing algorithm that can simultaneously correct multiple phase problems, like a combination of analog tape gap skew and comb filtering caused by multiple-microphone pickup of a single instrument in the original recording session. The 8700i also has a split architecture, branching after the stereo enhancer and AGC, providing for separate FM and digital processing. There are two equalizers, multiband compressors and peak limiters, allowing the analog FM and digital media processing to be optimized separately. It contains a set of Optimod 8500 presets, Orban’s Xponential Loudness algorithm along with Bob Orban- designed MX presets that take advantage of the onboard MX peak limiter. Other features include an RDS/RBDS encoder, dual power supplies, remote control, SNMP alarms and a loop- through connection for insertion of a ratings encoder (such as Arbitron) to be inserted between the output of the audio processing and the input to the stereo encoder.

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 13 ❱ Continued from page 13 tem with four PTZ cameras. The software controlling the instead of multiple cameras can help with this. camera movement and changing scenes is very nice with some artificial intelligence elements. But when it came Kline: It means we pay attention to the design of the to designing the studio, we had to predict where the room, the layout, for example. You’ll want to have great cameras would be installed. It was difficult to find a com- camera angles — none of this wide-shot stuff with mics promise between the best camera positions and ensur- in front of people’s faces. That’s a pet peeve of mine — ing they didn’t interfere with the studio’s daily normal mics covering a major portion of the frame. You want operation. After defining the best camera positions we wide shots when appropriate but also intimate close-up had to plan the routes for all cables (video, power sup- angles. You need excellent lighting — I usually hire a ply, control and spare). All the cables end in a separate lighting designer and install TV studio lighting — not small equipment room where the computers are located. too much but enough to light up the room for HDTV. The room also houses the machine for video streaming, You should also think about where the video switcher converting and recording. Now we use live video stream- will go and who will operate it. Much like you place your ing to the internet and we can record any part of the call screener in the room. Have plenty of flat screens for program, especially when we have some famous guest or promoting that special guest’s new album or book, or very interesting discussions or debates. Then we use the to pull up a listener calling in on Skype. Make sure you have enough internet bandwidth in the facility to handle uploads or live HD streaming. Choose a great visual radio system — there are a few good ones out there. Make For visual radio, we use good sure you have graphics and logos well thought out. Your video cameras, but without the system should easily incorporate those into the shot as proper lights the video wouldn’t well as Twitter and Facebook feeds and advertising. Don’t forget about monetizing the product! One more time: be acceptable. lighting — don’t cheap out on the lighting! If you can’t —Mirosław Ostrowski afford a designer, find someone from the local TV sta- tion or production studio and buy them lunch for some insight and advice. I pre-wire every studio I design now for camera positions, even if they aren’t a part of the ini- material as on-demand content on our website. Lighting tial budget. is important. We use good video cameras, but without the proper lights the video wouldn’t be acceptable. We Bourgeais: Today, we use live video mainly for cover- consulted on the subject of lightning with a TV and film age of our one-off live events. We like the mystery radio specialist and he advised us to use LED panels. One pair offers so for now there are no cameras in our studios. for one person in the studio — the first panel illuminates Audience ratings show us this method is working. the person from the front, the second from the back. It makes the picture more natural and spatial. There is also La Teana: Our studio was designed to be a visual radio a LCD screen to show what the streamed video looks like studio. Everything, including lighting, walls, furniture, the and it’s possible to carry out corrections. When streaming fact the presenters don’t stay seated but stand in front of video from the radio studio you also have to consider the the mic, was designed to ensure the best possible radio scenography. It’s not enough to tidy up the studio and listening experience and a great visual experience. Visual turn the lights on. We use scenography lighting made of is a key part of our message. Today listeners can find so colorful LED tapes. It allows us to quickly change the col- much attractive content to listen and watch, including ors and overall look of the studio. on the internet. So we have to stay competitive. It’s not just a matter of offering fantastic “radio,” it is a matter of Pyne: To cater for the increasing demand on visual fea- appeal. Radio has to be designed and produced in order tures within the radio studio we need to consider a range to be successful nowadays. Various web services, includ- of visual aspects within the overall design. Camera angles ing YouTube, offer audio and music content. We have to need to have clear sight lines to talent and this needs to convince listeners to stay within our channels, notwith- mess together well with the placement of screens, mics standing the platform they choose. That’s why even a and mic stands, seating arrangements and this all has the video we post on Youtube, or anywhere else, can’t only potential to affect the room acoustics. These things need be just great “radio” — it has to be engaging in a wider to be well planned from the beginning. Cameras need to sense. be positioned in a way that does not cause talent to “play to the audience” and things such as multi-angle cameras Davide Moro contributed to this article. n

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 14

Q Radio Set the Scene for Radio

When independent broadcaster, Q Radio needed to move their Belfast Studios, it represented an ideal opportunity for them to start afresh and bring their unique brand to the forefront of Northern Irish Radio. In today’s instant and content hungry world, modern radio needs to provide more than ever to engage, maintain and grow audience, however this needs to be in addition to, not at the expense of making great radio. Radio in Northern Ireland, particularly Belfast, is highly competitive. Q Radio seized the opportunity to get ahead by enhancing live content through well produced video; live streaming, and making this engaging content instantly available and shareable on social channels — Facebook, Twitter, YouTube, Facebook Live. However, Q Radio realised that their choice of technology was key in helping them meet their brief of within an affordable budget. There’s no doubt that many large corporate radio bands do multiplatform very well, with generous budgets feature rich phone in system, multi-faceted Social Media akin to grand-scale TV production, but we all know that System, and Virtual Director visualisation system. All on radio generally demands more for less! This is where one screen, this was a simple choice for Q’s state-of-the- sophisticated software coupled with the right hardware art studios. makes all the difference. With years of expertise and “We knew Virtual Director was the perfect solution for experience in providing turn-key projects, Q Radio us as soon as we saw it. It’s unobtrusive yet powerful. It selected Richard Lawley of Radio Studio Services to help allows us to quickly produce quality video clips to share on them solve problems, design and deliver their dream. social media, increasing our presence, and strengthen- Q Radio chose Axia consoles, Fusions for their main ing our brand with minimal effort. The system also live on-air studios, and IQs for production and news booths. streams so our online listeners can also be viewers of Richard Lawley enthused…”The Axia IP audio platform “QTV”, giving them a live view of the presenters at work in enables us to provide powerful, flexible control of client the studio, with nice switching and branded graphics de- stations’ audio in a far more economic format than ever tailing now and next playing tracks. We’re the only station could be achieved with traditional analogue equipment, in Northern Ireland to do radio like this, and it’s paying off. and the user interfaces are all attractive and ergonomi- Our listeners and advertisers love it” says Jonathan Gold, cally pleasing, enabling us to design studios which en- Programme Manager, Q Network. Indeed, Facebook share hance the creative process for presenters and production figures quickly soared, hitting 7.3K for an entertaining staff”. drive time link about Siri! With the IP Audio network in place, There is no doubt that Q Radio studios integration between console, PhoneBOX, were designed to be seen. The brand- OASIS, Virtual Director and playout sys- ing is clear, thought has been given to tem is seamless. camera positions, the lighting is right, Broadcast Bionics talkshow software and the ambience inspires the best in “PhoneBOX” is a real game changer. It’s the presenters. It’s the epitome of the a multitool for the studio, incorporating a modern studio.

ADVERTORIAL Audio Gives Way to User-Oriented Apps Simplicity, flexibility and agility are key to the 21st century radio studio

textual and synthetic user-oriented apps. GUESTCOMMENTARY The various audio routing and process- ing control panels give way on the main By Pascal Malgouyard operator screen to these apps, which often rely on virtualized automated The author is head of marketing at Digigram. solutions and virtualized equipment As we move forward, a main challenge for that facilitates common tasks. These can broadcasters increasingly will be to generate and range from voice tracks to complete live disseminate the same content on different plat- talk shows, and all other content creation forms, such as on air broadcasts, podcasts and that helps the broadcaster promote its web radios. repertory and increase listener engagement. To successfully achieve this task, one must prioritize Broadcast equipment and tools for the studio will simplicity and flexibility. The radio studio of the 21st cen- continue to include hardware, particularly when a large tury is being built largely on software-based solutions, number of channels are being routed in real time, but blurring the limits inside and outside the studio. The many of the functions once performed by silos of sepa- industry is making a distinct move away from assembling rate gear will instead be carried out by smart distributed specialized component technology, associated to techni- AoIP endpoints driven by software algorithms running cal deployments and lengthy training. on servers. Virtualization is taking hold, with cloud or on-premise solutions becoming increasingly popular thanks to their The modern studio needs to ability to enable economical pay-as-you-go models or to facilitate private hosting with maximum control over include contextual and synthetic workflow productivity and content. user-oriented apps. Broadcasters can obtain the power of hardware-based gear in various software-based solutions that are easy to install, use and maintain and often comes with 24/7 sup- port. In addition to being economical, this new technology To implement this new generation of broadcast tools, lets studio staff focus more of their time and energy on the radio studio must establish an infrastructure capable the content that distinguishes a station from its competi- of supporting open, interoperable components and a tion. Audio quality also remains a must, since a distinctive variety of real time audio formats, with associated control sound it is the radio trademark! and metadata. AoIP is a must and AES67 networking audio has SOFTWAREBASED become the “de facto” standard. With proper infrastruc- Rather than integrating an array of technical hardware ture design, the studio — at least small and medium components, facility designers are progressively employ- studios — can efficiently mix general purpose IP and ing radio production solutions that simplify routine tasks AoIP on the network without compromising overall per- and allow broadcasters to concentrate less on the tech- formance and reliability. nical aspects and more on the content creation side of With these vast capabilities, radio broadcasters gain things. the productivity and agility they need to stay ahead of To this end, the modern studio needs to include con- the competition. n

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 16 REAL. VIRTUAL. RADIO.

ruby – Radio never looked so good.

Meet ruby, the new radio console ruby’s powerful visual interface mixing and one-touch AutoGain from Lawo. So elegant and is designed for fast-paced mic calibration, your operators will uncluttered, you might think radio, with fingertip access to tackle the most complex shows something’s missing — and source, bus, and mix-minus with ease. Even voice-tracking you’d be right. We’ve moved assignments, as well as EQ and while on the air takes only the most of the controls that litter dynamics processing — freeing push of a button. Be prepared: the faces of other radio consoles your talent to perform instead of your talent may actually thank onto an intuitive context-sensitive searching for settings. You can you! And because ruby is touchscreen, while essential even use ruby’s GUI-building engineered and built in Germany, controls like faders and monitor app to centralize control of studio it might just be the last console selectors are right where you’d software and peripherals. With you’ll ever need to buy. expect them to be. ruby gives you intelligent AutoMix hands-free the best of both worlds: familiar ruby, from Lawo. The console with physical operations, and a modern a refreshingly new point of view. graphical interface.

www.lawo.com BRUZZ Inaugurates New On-Air Studio In September, Brussels-based BRUZZ opened its new studios, which feature visual radio and more

By Marc Maes specialists TVV Sound for the implementation of the audio segment. The new studios were decorated in BRU- BRUSSELS — BRUZZ was launched in April last year, as ZZ’s brand imaging colors. a joint brand name for FM Brussel, TVBrussel and print The construction of the new broadcast studios kicked magazine Brussel Deze Week (This Week in Brussels). off in May with the transformation of the cafeteria. “To FM Brussel’s first broadcasts began in 2000 as a college protect the historical value of the building, we had to radio station, it then became a professional radio broad- be careful building the studio. We replaced the existing caster, catering for the Brussels area. doors with acoustic doors but, for instance, we kept the “In 2004, we relocated our studios and offices to the old outside windows. This is not the ideal solution in former VRT building,” said Karel Feys, one of the sta- terms of thermal or acoustic insulation but the windows, tion’s founders. “The former ‘studio Flagey’ has great as protected heritage of the building, give the room iconic and symbolic value and is the perfect home extra charm,” said Feys. for a station, where we broadcast from the 4th floor.” “The fact that sometimes one hears the siren of a According to Feys, the location is ideal for an urban sta- police car or fire truck could seem disturbing but the city tion and, in addition, BRUZZ has access to the national in itself produces quite a bit of noise, such as the Djembé broadcaster’s former Studio 6, which it uses for its TV drums on the square at night in front of the building — broadcasts and for occasionally recording “unplugged” that’s the sound of Brussels entering the dry acoustics of sessions. our on-air studio.” They also integrated the main former double entrance NEW BRAND door into the new studio, explained Feys. “It’s an eye- After joining forces with TV Brussel and Brussel Deze catcher, offering visitors a great view from the 4th floor’s Week under the umbrella “Vlaams-Brusselse Media,” the main hall.” group then created the BRUZZ brand. BRUZZ is subsidized by the Flemish Community, and the Brussels Flemish Commu- nity commission. Earlier this year, BRUZZ began building new on-air studios in VRT’s former cafeteria. “We wanted to move the studio closer to BRUZZ’s news and editorial office and make opti- mal use of the synergy of radio, TV, print and online media,” he said. The BRUZZ radio landscape was built by Videohouse after winning a public tender. As the main contractor, Videohouse The fourth-floor entrance hall offers a view of the new on-air studio.

appointed radio infrastructure ©MMpres

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 18 Photos: ©MMpres BRUZZ Technical Radio Coordinator Lore Devos, left, station Presenter Loïc Thaler takes the helm. founder Karel Feys and DJ Loïc Thaler in the new studio.

A voice-over booth is situated next to the editorial office. Karel Feys tests the visual radio display for the station’s Sept. 4 studio launch.

THE CORE The broadcaster equipped its on-air studio with a new “Without compromising the working environment of Axia Fusion modular console and PowerStation controller our presenters we have been able to introduce visual in combination with a Zenon Media playout system. “The radio — correct lighting, mic arm stands and displays new studio marks the switch to Axia,” said Feys. “This has mounted from below the DJ’s position, bearing in mind to do with the great flexibility offered by the Livewire the functionalities a self-op studio requires,” said Feys. audio network. Livewire has many advantages compared “BRUZZ adopted the MusicMaster music scheduling to Dante — they have established a protocol of their software. Our music programmers still have quite some own, also with virtual GPO.” impact on the music selection: BRUZZ has a typical An important feature in the new studio is the imple- ‘urban pop sound’ format targeting the dynamic popula- mentation of visual radio. Four automated voice-activat- tion of the Belgian capital.” ed Panasonic AW-UE70 cameras, controlled by a Broad- cast Pix Mica integrated production switcher and Vox CONTENT SHARING voice-automated control with monitoring in the central The BRUZZ on-air configuration is completed with control room, have been providing live images with the FAR Audio monitor speakers, and a Telos VX Prime AoIP BRUZZ signal since Sept. 4. Continued on page 20 ❱

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 19 BRUZZ has a large editorial space that serves radio, TV, print and online media. ©MMpres ❱ Continued from page 19 mitter in Laken, covering the greater Brussels urban area telephone hybrid and talk show system. “We use the on 98.8 FM,” he said. VX Prime in combination with Skype TX for radio from The construction of the new studios started on June Broadcast Bionics. This setup offers maximal flexibility 1 with the old on-air studio remaining operational. Feys both in talking to our listeners as well as with our report- was particularly happy working with Videohouse and ers,” underlined Feys. TVV Sound in terms of technical support and consul- “Today, we’re also experimenting with WhatsApp, tancy. offering close to telephone quality, but we prefer not to take risks and are using Skype TX. Another plus is that we SYNERGY can use the Skype content for TV or online distribution — “We also received a lot of input from Telos and Zenon what you hear is what you see.” Media on the implementation of their products. BRUZZ uses Axia Pathfinder control software to create Technical radio coordinator Lore Devos took on the custom panels for studio switching and other monitor- administration and training of BRUZZ’s extensive broad- ing or routing services. This can cast team, which comprises be done on a tablet, smartphone ©TVV six full-time staff and plenty of or any other device. The station’s volunteers. on-air landscape further consists “These volunteers repre- of two Zenon Media displays, two sent the city’s subculture, we Axia displays and a large screen dis- have our finger on the city’s play for visual radio and Skype TX pulse. The most popular par- conversation items. Zenon Media’s ties that take place in Brussels Cartwall software display is used have their own radio show on to insert quotes and interviews in BRUZZ, and on Sundays, we news items. have “The Bulletin,” a radio The radio signal is channeled via show eyeing expats in the Axia Fusion’s onboard DSP to an Brussels area,” said Devos. Omnia.11 audio processor in the “A mobile DJ-booth in both so-called crow’s nest tower of the the on-air or production stu- former VRT building. dio that is fully compatible “From there on, we use a micro- The Axia Pathfinder display is used for monitoring and and equipped with a Zenon wave link to our Neetra DATX trans- routing control. Continued on page 22 ❱

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 20 IQOYA KEEPS YOU ON AIR

POWER

SD CARD ONLY

IGRAM OK IQOYA *SERV/LINK Aoip ❱ Continued from page 20 playout system caters for the different musical styles. “Just meters away from BRUZZ’s radio studios is We leave DJs the option to use vinyl, CDs or USB con- BRUZZ’s spacious editorial room. It houses up to 60 jour- tent.” nalists and staffers that cater to the various media we New radio staffers are trained in BRUZZ’s production offer. A specific ‘radio island’ is located close to the on- studio, equipped with an Axia iQ 8-fader main frame plus air studio and Koen Van Dijck, our station manager and an Axia QOR.32 integrated console engine, offering iden- producer, has a seat at the central editorial desk, together tical functions and features of the on-air studio. with his print, TV and online media colleagues, where all “In an ideal world, all presenters would use the same of BRUZZ’s content is scheduled and planned.” configuration and user settings for the consoles. Today, Next to the main editorial space is a pre-production we have specific settings for the station’s morning drive station serving both radio, TV and online. “We use the show and for the programs between 7 p.m. and mid- booth for separate presentations, voice tracking via the night,” explained Devos. “These settings are loaded into Zenon playout system or telephone interviews,” contin- the console bearing the adage that we want to take the ued Devos. “Livewire connects this separate booth with purely technical aspect away from the DJ in favor his or our on-air studio.” her intuitive and creative presentation.” On Sept. 4, BRUZZ inaugurated its new radio studios One of BRUZZ’s key strengths lies in content inter- and launched visual radio, with live broadcasts on TV changeability: radio interviews can be used for TV and during the 7 to 10 a.m. morning drive and the 4 to 6 p.m. online media, while the TV channel’s audio signal is fit for evening bracket. radio. “Today, radio also offers a challenge in the visual field,” concluded Van Dijck. “This new radio studio brings CITY VIBE BRUZZ a big leap forward putting our station literally in “Our mission is to highlight Brussels and its diverse the picture. The interaction between radio and TV will cultures. We want to play a role in the city’s social life, become more intense, a real challenge to the whole local both by focusing on events in existing venues like AB or media scene. BRUZZ is definitely on the right track.” Bozart, as well as smaller social projects. The cross-media Marc Maes reports on the industry for Radio World from synergy we have is a key instrument,” said Devos. Antwerp, Belgium. n ©BRUZZ Presenter Bram Van de Velde was the first to host his morning show “Uptown” in the new on-air studio.

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 22 SONIC IMPROVEMENTS YOU CAN HEAR AND MEASURE OPTIMOD-FM 8700i

brings hyper-compressed music back to life, reduces listening Xponential Loudness™ fatigue and actually improves listeners’ hearing using adaptive psychoacoustics. It’s like an audio magnifying glass that brings out hidden detail, clarifying audio and inspiring audiences to listen longer. with AES67 support provides a dual-redundant Dante dual-redundant Audio-Over-IP Ethernet connection for two stereo audio inputs and two stereo outputs with about 5ms delay provides a full 5-band FM dedicated Low-Delay DJ Monitor Output processor that lets you dial in your preferred amount of “FM clipper sound.” allows you to monitor the 8700i-processed FM and HD audio Built-in streaming server wherever there is a LAN or Internet connection using free OPUS and MP3 codecs. adds modern-sounding bass punch to older recordings while Subharmonic synthesizer retaining musicality. and safety bypass relays ensure 24/7 operation with Dual redundant power supplies no dead-air.

ORBAN Headquarters / Orban Labs, Inc. / 7209 Browning Road www.orban.com Pennsauken, NJ 08109, USA / [p] +1 856.719.9900 / [email protected] ORBAN Europe GmbH / Monreposstr. 55 / 71634 Ludwigsburg DE [p] +49 7141 22 66 0 / [f] +49 7141 22 66 7 Newswatch Ramogi FM Leans on Lawo for Visualization Kenya station adds video content to radio programs with the help of Lawo crystal IP desk, VisTool

Nairobi, Kenya-based Royal Media Services Limited is invest- ing in visual radio with its latest project, Ramogi FM. With the launch of the visual radio internet station, the elec- tronic media house, which runs more than 14 radio and TV sta- tions, is now offering HD visual content alongside its live radio programs. In addition to allowing the broadcast of live studio streams, the visual radio system also supports promotional vid- eos, advertising and image inserts. As part of the broadcaster’s move toward visualization, it Ramogi FM’s new visual radio system lets listeners catch a glimpse of on-air hosts in the station’s studio. selected a 12-fader Lawo crystal IP desk to handle audio mixing and camera control, paired with a crystal Compact Engine matrix offering up to 288 I/Os. Lawo says the Ramogi FM visual radio solution is fully automated, with layout plots and overlay graphics generated automatically, according to a predetermined schedule or in response to a specific event. The sta- tion’s live studio features three pan/tilt/zoom controllable cameras, each activated by opening a fader on the audio mixing console. Its visual radio server manages the video sources, using transition effects, overlay graph- ics and titles and then generates a single stream that is sent to the internet. For camera control, Ramogi FM also makes use of the Lawo VisTool touchscreen PC software package. According to Lawo, VisTool supports the creation of custom status displays, tablet- and touchscreen-based button panels and mixing console controllers. It can also be used to capture and manage snapshots for Lawo crystal and sapphire radio consoles. WorldCast Manager Manages the Studio Connects and communicates with all SNMP-enabled consoles, mixers, codecs and other gear

WorldCast Manager is a unified NMS software solution designed for the broad- cast, satellite and telco industries. It provides a centralized web interface (accessible from desktop and mobile devices) enabling the monitoring and management of broadcast networks of all sizes. When deployed in a studio, the WorldCast Manager will connect and communi- cate with SNMP-enabled consoles, mixers, codecs and other hardware equipment as well as with software-based platforms (e.g. automation, newsroom system, music rotation, etc.) regardless of their manufacturer, as long as they support the SNMP protocol. For maximum efficiency, you can incorpo- rate many ancillary devices from the general IT infrastructure as well as facility security and maintenance. For ease of configuration, the WorldCast Manager provides an automated network discovery and auto- configuration engine. Alarms are set based on the equipment MIB files and can be customized to notify the appropriate users via email, SMS, voice call or in-application alerts. The Dashboard view of the WorldCast Manager displays the location of all equipment throughout the studio on a floorplan or flow chart to enable easy interpretation, provide high-level information and access to the equipment tree. For those managing multiple studios or sites, a map-based display is available and provides another layer of monitoring (the big picture view). In addition to real-time performance metrics, the WorldCast Manager captures and stores readings and events to provide the user with detailed historical data and data-mining capabilities. Interactive data visual- ization features can be tailored to provide insights on events and facilitate operational support and decision- making at all levels of the organization.

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 24 AoIP Codec Requirements for SSL Applications Considerations in the decision-making process

should be used. To accomplish this, all GUESTCOMMENTARY imperceptible frequency ranges need to be eliminated from the audio signal. By Anke Schneider The Enhanced apt-X codec standard represents an attractive compromise The author is sales and marketing manager at between economy and pure sound. Due 2wcom. to its increased resolution, it is suitable for An AoIP codec for studio-to-studio link applica- radio broadcasting. Compressed in accor- tions must be compatible with all common algo- dance to the requirements of the wireless rithms, such as MPEG 1/2 Layer 2/3, AAC LC, HE- transmission, the audio has hardly any AACv1&v2, AAC-LD, G.711, G.722, E-aptX and PCM. It should loss as compared to the original track after decompression. also include a wide range of important features, such as This means it is possible to avoid the emergence of cascad- Session Announcement Protocol (SAP) as well as Real-time ing effects due to multiple transmissions. Transfer Protocol (RTP/RTCP). The use of significantly larger bandwidths allows opera- Particularly, Session Initiation Protocol (SIP) ensures tors to transfer transparent audio bit by bit without any interoperability between AoIP codecs placed at different compression by deactivating sound processing. A loss-free studio sites by establishing the connection and negotiat- transmission of the audio signal is possible over PCM with ing the algorithm. a very high sample rate (latency below 1 ms). This complies with the requirements of demanding live applications. REQUIREMENTS With the AES3 format, it is also possible to implement In addition, latency control is extremely important for an absolute bit-transparent transmission of AES/EBU sig- handling sophisticated broadcast environments, such nals in studio environments. For this, AoIP codecs should as live broadcasts, audio description or in-ear monitor- provide IP-based audio network technologies for real- ing. This allows synchronization up to a microsecond. If time streaming like Livewire and Dante (proprietary solu- equipped with GPS or PTP, a sample accurate synchroni- tions) or Ravenna (license-free solution). zation is also possible. To ensure best possible transmission quality, the device THE FUTURE should provide functions for perfect redundancy manage- Mobile applications in connection with AoIP are ment like dual streaming (IP packet-based redundancy) or becoming increasingly important and are enabling all exact audio sample synchronization of backup streams on kind of users to transmit content from almost any envi- different compression levels. Pro MPEG FEC is a feature for ronment to the broadcasting studio and sound studio. error correction by restoring of lost IP packets. In this context, it is important to mention the OPUS Due to the different compression levels, it is not pos- codec and x-AAC standards, which are becoming more sible to achieve the best possible sound with every audio widespread. The basis for transmissions of this type is an algorithm but it is feasible to find an acceptable quality/ AoIP capable device or server in the broadcasting studio cost ratio, depending on the general conditions. and sound studio. Another important consideration is the type of envi- To meet the upcoming additional requirements, com- ronment in which one is working. For example, is it a panies should participate actively in development and small network, a large broadcaster with subnets and integration of specifications such as Tech3326 and Audio routers, or a complex live application? Contribution Over IP. The purpose of these specifications If the most economical transfer is necessary, then a is to achieve device-compatibility among different manu- codec such as AAC with a high degree of compression facturers. n

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 25 Wheatstone Brings Nordjyske Medier Together WheatNet-IP audio networking connects media house’s day-to-day newspaper and radio operations

SPECIALREPORT

By Dee McVicker Above: A close-up of Radio Nordjyske’s main Studio A in Aalborg.

Below: A networked Wheatstone E-6 Series split console running AALBORG, Denmark — Nordjyske Medier newspaper the mid-morning segment at Radio Nordjyske. has been published in the Danish region of Nordjyske since 1767, making it a few years older than the United States of America Constitution. The media company’s radio group hasn’t been around quite as long — a mere 30 years. And yet, they both share one large media house in Aalborg, Denmark, thanks to AoIP audio networking and ample soundproofing that separates the noisy busi- ness of radio from the quiet business of newspapers. Floating floors isolate the two radio stations from the printing business, but the two are very much connected in their day-to-day operation courtesy of WheatNet-IP audio networking. “We pull from resources in the whole organization,” said Henrik Poulsen, the CTO of Nordjyske Medier’s radio operation, which also has a television station in Denmark. “In the old days, it would mean a lot of cables, but with

Radio World International Edition | November 2017 26 one Blade and one Ethernet cable we are up and running before you can get heat on the soldering iron.” Nordjyske Medier’s two radio formats (the predomi- nant AC format Radio Nordjyske and CHR station ANR) feed 37 transmitter sites covering the area of Nordjyske. WheatNet-IP Blade I/O units distributed throughout the facility make up the WheatNet-IP audio network that allows quick studio changes twice a day with up to eight commercial splits each time, all managed using the utility mixers built into the units. Each I/O Blade in the network comes standard with two stereo 8x2 utility mixers that are used for splitting and summing the right commercial feeds to the right destinations in the 37-site network. Each Blade is also able to auto-detect silence, and can be programmed for automatic switchover to a live source when that happens. A Nordjyske Medier custom ScreenBuilder touchscreen. It allows its three studios, A, B and Voice-Tracking, to be configured on-the- In order to keep 37 transmitters and two radio formats fly for either of their station’s twin formats. going, the group looked for “distributed networking with solid failover,” according to Poulsen. At the studios, Poulsen also custom designed a touch- More recently, Poulsen added what he calls “a studio screen interface using Wheatstone’s ScreenBuilder app, in a box” to handle live remote shows for Nordjyske for easily switching between the ANR studios and the Medier’s dual stations. This is made up of a small con- Radio Nordjyske studios. The app allows end users to trol surface for mixing, an I/O Blade for routing sources place faders, meters, labels, buttons, clocks, timers and and submixing, and a Tieline Merlin codec (with built-in other widgets on a PC screen, then define and link their WheatNet-IP audio networking) for signal transport to function to elements in the audio network. the studio. Visual monitoring of all the audio sources running from Everything runs seamlessly on IP; no soundcards the studios to the 37 transmitters is done using Wheat- required. Poulsen occasionally joins in on a Wheatstone Net-IP Meter Software, which captures and shows both Glass E virtual mixer app from his home computer to peak and average levels for all signals simultaneously on remotely manage any issues that crop up. one large monitor screen. n

The meter signal VU monitor screen display showing multiple transmitter feeds for the station’s ANR and Radio Nordjyske program formats.

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 27 Grupo Renascença Transitions to AoIP Portuguese broadcaster moves on-air and production services to an IP contribution and distribution platform

By James Careless

LISBON, Portugal — Grupo Renascença Multimedia (Grupo Renascença), which covers Portugal with four FM radio services, recently wrapped a facility-wide upgrade in Lisbon that transitioned its on-air and production ser- RFM, SIM and Mega Hits. Using Dante’s uncompressed, vices to an IP contribution and distribution platform. multichannel digital media networking technology, Grupo The project, at press time, represents what is believed Renascença’s AoIP infrastructure has increased the capacity to be the largest Dante-based AoIP distribution system in and flexibility of this broadcaster’s internal signal manage- radio, according to AEQ Director of Sales for Special Mar- ment system. kets Peter Howarth. “In our new infrastructure, any studio can be easily used by any of the four services, which significantly expands FOUR NETWORKS their management effectiveness,” said João Pereira, Grupo Comprising four AoIP networks, the facility’s modern- Renascença’s director of Technologies and Innovation. “If ized production and broadcast architecture in addition required, any of the broadcasting signals can be redirected features all-digital audio mixing consoles made by AEQ, between studios, with no impact on the broadcast itself.” which also served as the project’s design and systems Grupo Renascença’s move to AoIP signal distribution integrator. This architecture significantly increased signal specifically, and to a new facility in general, marks the capacity — to the tune of four-and-a-half times the previ- company’s move into 21st century broadcasting. ous ceiling — and enhances redundancy, with two of the “The constant structural changes that we had to make AoIP networks carrying the same complete mix of the over time, which were essential to adapting to new facility’s broadcast services. demands, proved to be incompatible with remaining in The decision to use AoIP networking simplifies the alloca- our 18th century heritage building in downtown Lisbon,” tion of Grupo Renascença’s 15 broadcast studios among the said Pereira. company’s four broadcast services — Radio Renascença, “Although we had some digital mixers and a small switching matrix, all distribution was analog, with its inherent limitations. Our studios’ layout, spread across three floors, hampered our ability to manage the dif- ferent broadcasting signals, as well as complicated user management.”

MODERN FACILITIES The move to Grupo Renascença’s modern facility gave the company and its systems designer/integrator AEQ the chance to address all of these shortcomings. The result is a modern broadcast facility with room to grow in the years ahead. In assigning AEQ to design and install its new Lisbon broadcast facility, Grupo Renascença set a number of stipulations. These included that all of the AEQ audio An AEQ Arena console in the Radio Renascença studio. Continued on page 30 ❱

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 28 Monitor & Manage ALL your Devices ON ALL your SITES with our Unified NMS software

→ Centralized Web Interface View the status of your entire operation in one powerful display → Vendor-Agnostic Monitoring Support ANY device from ANY manufacturer, via SNMP, XML-RPC, GPIO *, Serial * (* Additional equipment required) → Auto-Discovery & Network Scanning → DYNAMIC MAPS AND DISPLAYS Geographic, foor plan, fow charts → Real-time Monitoring & History Tracking Access to real-time and historical readings and events → Alarm & notification Management Filter and send notifcations by Email, SMS, voice call. In app acknowledgement and tracking → Mobile Ready Web client natively compatible with smartphone devices and mobile browsers → Visual dashboard & Analytics Data visualization with advanced fltering to enable decision-making at all levels

WorldCast Systems Inc 19595 NE 10th Avenue Suite A - Miami, FL 33179 - USA +1 305 249 3110 [email protected] ❱ Continued from page 28 consoles be digital; that all signals generated or ending in A third console is installed in the control room. the studios be transported between the studios and the Technical Control Center over IP; and that all studios had DETAILS to be interconnected via a centralized infrastructure, to “Besides the new mixers, the Dante audio distribution allow the use of any signal from any location. system and the AEQ switch matrix, we have installed a AoIP technology was mandated to avoid the inflex- new Telos System VX Engine hybrid telephone manage- ibility associated with using multipair bundles and MADI ment system; renovated our IT infrastructure based in cables, and to maximize fast, reliable routing between HP and Aruba technology; and replaced our telephone locations with a minimum of operator intervention. switchboard with an IP model by Astra/Ericsson,” said Grupo Renascença’s many requirements explain why Pereira. AEQ opted to use Dante, the AoIP technology developed “We’ve also implemented a new automation system — by Audinate, to distribute the facility’s audio signals. Zetta from RCS — supported on a single SQL database “With Dante, the system is entirely plug-and-play, with that contributes to the flexibility of the studios.” an emphasis on easy signal availability,” said Howarth. “If All of the signals to and from these studios, and 10 you need a signal, you just subscribe to it and you’ve got more, are routed through the TCC. Centralizing the pro- it on your console. As soon as you don’t, you just let it duction equipment normally found in individual studios go and the previously used channel is now free. It’s very has substantially reduced the amount of cabling required simple to use.” for the facility in Oporto, as has using Dante over AoIP In meeting Grupo Renascença’s facility requirements, rather than sending analog signals over dedicated wires. AEQ had to be mindful that Portuguese radio broadcast AEQ also installed a TDM router within the TCC; specifi- studios typically use two or three audio consoles. The cally, the AEQ BC2000D modular digital audio matrix. main console operated by the show host, while an auxil- Offering up to 5000 x 5000 audio data channels, the iary console used a guest or journalist in another studio. BC2000D provides the interconnection/routing hub for

This diagram shows a plan of Radio Renascença’s technical upgrade.

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 30 the four AoIP networks. By choosing AEQ’s AoIP Newswatch over Dante approach, Grupo Renascença was Broadcast Bionics Introduces able to get its new Oporto Smart Speaker Toolkit facility on air relatively Allows the radio audience to talk to the studio quickly, requiring less cabling and less labor to Broadcast Bion- achieve this goal than ics’ Smart Speaker would have been the Toolkit allows case with other broadcast listeners to reach architectures. the studio by voice “We’re talking tens, if command. not hundreds of thou- The system sands of yards in audio permits users to cable that we no longer contribute to a radio have to use,” said How- program without arth. “We’d have been interrupting what they are doing by having to phone or AEQ routers and Netbox-32 interfaces installed at Radio Renascença. stuck making point-to- text in. In addition, it says, through information already point connections for stored in one’s smart speaker, the contribution is content close to 3,000 channels in a TDM system, which would fit and ready to air. For example: A listener can express his have added several weeks of integration work. Add or her opinion about a specific song by saying “Alexa, tell Dante’s low latency and great audio quality, and one the studio I like this song,” and the message will immedi- can see why the client was satisfied.” ately appear in the studio’s message queue. “With this setup, we can easily integrate new sound “Smart Speaker Tooklit means audience reaction is sources in our infrastructure,” said Pereira. “Meanwhile, fresh and immediate — a rich source of new content because our system of four AoIP networks includes a and contributors,” Broadcast Bionics states. Dante primary network and a secondary network carry- Stations can connect the Smart Speaker Toolkit to ing the same programming, this provides us with true Google Home, Apple HomePOD and Amazon Alexa via redundancy.” their own apps to leverage studio content. “An article Howarth believes that choosing digital production that appeared in New Electronics in July forecast Ama- and Dante AoIP has proven to be a real problem-solver zon Alexa sales to hit 10 million this year, and Broadcast for Grupo Renascença. “The company’s engineers no Bionics is keen to ensure there’s a place for radio in the longer have to work around the limitations of an aging fast-changing way in which audio is consumed,” accord- analog infrastructure, and focus on the business of mak- ing to the firm. ing great radio for all of Portugal.” n

ADVERTISING SALES REPRESENTATIVES EUROPE, AFRICA & MIDDLE EAST: Raffaella Calabrese, [email protected] T: +39-320-891-1938 | F: +39-02-700-436-999 Email: [email protected] US REGIONAL & CANADA: John Casey, [email protected] Website: www.radioworld.com MILAN, ITALY OFFICE T: +1-212-378-0400 ext. 512 | F: +1-330-247-1288 Telephone: +1-703-852-4600 T: +39-320-891-1938 US REGIONAL: Michele Inderrieden, [email protected] Fax: +1-703-852-4583 F: +39-02-700-436-999 T: +1-212-378-0400, ext. 523 | F: +1-301-234-630 LATIN AMERICA: Susana Saibene, [email protected] T: +34-607-31-40-71 EDITORIAL STAFF JAPAN: Eiji Yoshikawa, [email protected] EDITOR IN CHIEF, INTERNATIONAL Marguerite Clark T: +81-3-3327-5756 | F: +81-3-3322-7933 GEAR & TECHNOLOGY EDITOR Brett Moss ASIA-PACIFIC: Wengong Wang, [email protected] EDITION COORDINATOR, FRANCOPHONE Emmanuelle Pautler T: +86-755-8386-2930 | F: +86-755-8386-2920 EDITOR IN CHIEF, U.S. Paul J. McLane CLASSIFIEDS: Michele Inderrieden, [email protected] CONTRIBUTING EDITOR Emily Reigart T: +1-212-378-0400, ext. 523 | F: +1-301-234-630 WEB EDITOR Michael Balderston Radio World Founded by Stevan B. Dana ADMINISTRATION & PRODUCTION PUBLISHER, RADIO WORLD INTERNATIONAL Raffaella Calabrese Globe graphic © iStockphoto.com / Edward Grajeda PUBLISHER, RADIO WORLD U.S. John Casey EDITORIAL DIRECTOR Paul J. McLane Copyright 2017 by NewBay Media, LLC. All rights reserved. PRODUCTION MANAGERS Karen Lee & Lisa McIntosh

THE MODERN RADIO STUDIO Radio World International Edition | November 2017 31