INTERNATIONAL EDITION Distributed to Europe, the Middle East, Africa, Asia, Australia, the Pacific, Canada, the Caribbean and Latin America
JUNE 2018
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NAB SHOW
• The NAB Show in pictures — Page 12
BUYER’S GUIDE • Stations and technology make radio visual — Page 18
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South Africa’s CapeTalk at 20 “Punches Over Its Weight” Niche talk show station thrives as a forum for democratic society
• Malawi’s Capital Radio provides a platform for discussion among youth — Page 8
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CAPETOWN — Coming soon after the advent of democracy
in South Africa, Cape Town’s CapeTalk radio, part of Primedia Broadcasting, recently celebrated 20 years on-air. Offering the opportunity for public dialog and discussion that was once unimaginable, it has become an essential media outlet for many. While traditional news media struggle, CapeTalk has carved out a niche of dedicated listeners both on-air and through innovative approaches online. Like “unscripted” reality TV, talk radio looks spontaneous but creating quality programming requires meticulous planning and preparation.
“It’s incredibly challenging to do talk radio well,” said Tessa van Staden, program director. “It requires discipline in picking topics and properly prepping interviewers.” Van Staden arrived at CapeTalk back in 2008 after a career as a journalist. Since, she has helped advance what has become an institution. The sister station to Primedia’s 702, a talk powerhouse in Johannesburg, CapeTalk doesn’t boast the numbers of its older, bigger sibling with an audience of about 100,000, just a quarter of the listenership of 702. But what they lack for quantity they make up for in quality. These are mostly “silver surfers,” an upscale demographic in their late 40s and early 50s with the disposable income that advertisers covet. As (continued on page 10)
TWR’s Bonaire Facility Gets 440,000 Watt Makeover
Power boost makes station most powerful in Western Hemisphere BY JAMES E. O’NEAL In an era when most operators are reluctant to spend even very mod-
Listening, watching, reacting, learning…
est sums maintaining AM broadcast facilities, a southern Caribbean Island medium-wave broadcaster has “gone for the gold,” rebuilding its transmis-
sion facility and boosting power nearly five-fold from 100 kW to 440 kW. The rebuild was more of a “second
The Bionic Studio is here. Discover it for yourself at bionic.radio
(continued on page 6)
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INTERNATIONAL EDITION Vol. 42 No. 6
June 2018
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www.twitter.com/radioworld_news www.facebook.com/RadioWorldMagazine CONTENT Managing Director, Content Paul J. McLane, pmclane@nbmedia.com Content Director Marguerite Clark, rwieditor@nbmedia.com Senior Content Producer — Technology Brett Moss, bmoss@nbmedia.com Content Manager Emily Reigart, ereigart@nbmedia.com Technical Advisers Thomas R. McGinley, Doug Irwin Technical Editor, RWEE W.C. “Cris” Alexander Contributors: Argentina: Jorge J. Basilago; Australia: James Cridland; Bangladesh: Md. Azizul Alam Al-Amin; Barbados: Arturo Valentino; Belgium: Marc Maes; Brazil: Carlos Eduardo Behrensdorf; Canada: James Careless; Chile: Juan G. Buenaventura; El Salvador: Soudi W. Jiménez; Estonia: Urmas Loit; Finland: Tapani Ranki; France: Emmanuelle Pautler; Germany: Thomas Völkner; Greece: Panos Polyzoidis, Andreas Tzanakos; Guatemala: Mario Rivero Nájera; Hong Kong: Martyn Green; Hungary: Drew Leifheit; Iceland: Hans K. Kristjansson; India: Frederick Noronha; Indonesia: Mark Timpany; Ireland: Kevin Branigan; Italy: Davide Moro, Giuseppe Camonita; Kenya: Gregory Lagat; Lithuania: Bernd Trutenau; Macedonia: Igor Isakovski; Malawi: Lameck Masina; Malta: Charles Flores; Morocco: Sébastien Nègre; Netherlands: Hans Knot, André van Os; New Zealand: Nick Gerritsen; Peru: Fernando Saravia; Poland: Cesco van Gool; Portugal: Nuno de Sousa; Serbia: Blazo Guzina; Singapore: Patricia Lee; Spain: Raúl Llarull; Turkey: Tayfun Kesgin; Ukraine: Stanislav Kiselyov; United Kingdom: Lawrie Hallett, Will Jackson, Andy Bantock; United States: John Bisset, Scott Fybush, Randy J. Stine; Uruguay: Eduardo Curuchet, Guillermo Pellegrino, Charly Pérez; Zimbabwe: John Masuku Production Manager Caroline Freeland Senior Design Director Karen Lee ADVERTISING SALES Senior Director of Strategic Accounts, TV/Video/Radio John Casey, jcasey@nbmedia.com, 212-378-0400 x512 VP/Market Expert, AV/Consumer Electronics, Education & Pro Audio Adam Goldstein, agoldstein@nbmedia.com, 212-378-0465 VP/Market Expert, Broadcasting, Cable & Broadband TV Charlie Weiss, cweiss@nbmedia.com, 212-378-0478 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.radioworld.com and click on About Us, email newbay@computerfulfillment.com, call 888-266-5828, or write P.O. Box 282, Lowell, MA 01853. ARCHIVES This magazine is available for research and retrieval of select archived articles from leading electronic database and search services, including ProQuest. For microform availability, contact National Archive Publishing Company, 800-521-0600, or search the Serials in Microform listings at napubco.com. Back issues are available. For more information, contact www.proquest.com REPRINTS/PERMISSIONS This magazine may not be reproduced or quoted in whole or in part by printed or electronic means without written permission from NewBay. To obtain permissions, contact Wright’s Media, 877-652-5295.
President and CEO Steve Palm Chief Financial Officer Paul Mastronardi Chief Revenue Officer Tom Rousseau Chief Content Officer Joe Territo Controller Rick Ng EVP/Content & Business Operations Carmel King VP/Digital Media Robert Ames VP/NewBay Plus Joe Braue Managing Director/Europe Mark Burton VP/Audience Development Meg Estevez VP/Content Creation Anthony Savona VP/Information Technology Anthony Verbanac Contact: engage@nbmedia.com 28 East 28th Street, 12th Floor, New York, NY 10016 COPYRIGHT 2018, NewBay Media LLC. All Rights Reserved.
“ La Propuesta de Ovidio” Brings Cuban Spirit to Ecuador The radio show offers rare insight into Cuban culture and music BY JORGE BASILAGO QUITO, Ecuador — Twenty-two years
ago, Cuban singer and actor Ovidio González arrived in the Ecuadorian capital. As he was adapting to his Sunday from 2–4 p.m. new surroundings, he noticed that “My show discusses Cuban roots and Ecuadorians weren’t very familiar offers the audience a vision into the essence with Cuban culture, music and musiof being Cuban,” explained González, who cians, but they were eager to learn. considers himself “never far or outside of González thus launched the radio Cuba” artistically. program “La propuesta de Ovidio” The program, in fact, provides insight (“Ovidio’s Proposal”) in May 1996 to into Cuban music produced and released on help educate Ecuadorians about his the island and often ignored — or unknown native island. — by the mainstream music industry else“I launched the show before the Ovidio González interviews legendary where. film ‘Buena Vista Social Club’ was Cuban singer Omara Portuondo Over the years, González has interviewed released, and my program was already many Cuban musicians and singers for his featuring music from Omara Portuondo, Compay Segundo, the show. His work is praised by many fellow countrymen in Cuarteto Patria with Eliades Ochoa, Ibrahim Ferrer with Los Ecuador. Bocucos and so many Cuban music legends,” he said. “Ovidio is a Caribbean breeze on Ecuadorian radio, I always Initially, González thought La propuesta de Ovidio would be listen to him to listen to Cuba,” said Cuban painter Luis Alberto aired for about a six months. Today however, 22 years later, the Saavedra, who is also a Quito resident. program continues to attract a loyal following, with its listeners “I think he is one of the main Cuban cultural figures abroad, still enjoying their weekend meetings. Public broadcaster Radio and I hope he gets the institutional acknowledgement he de la Asamblea Nacional airs the show every Saturday and deserves,” Saavedra added.
◗MARKETPLACE Cloud-Based Audio Contribution: StreamGuys and Digigram have entered into a partnership that will bring Digigram’s blu Live audio contribution service to the United States and Canada, running on StreamGuys’ cloud infrastructure. Digigram describes its blu Live service a cloud-based solution for realtime, end-to-end management of audio content contribution from journalists, expert voice talent and remote presenters, streamlining live contribution from any internet-connected source to a professional broadcast studio. Combining a cloud SaaS application with professional-grade audio interface hardware at the receiving endpoint, the company says blu Live makes it easy for studios to securely establish and switch between several simultaneous, high-quality bidirectional communications links with remote contributors via a browser-based virtual mixing workspace. Through the partnership, blu Live will run on StreamGuys’ broadcast-grade cloud infrastructure, with services hosted and operated in StreamGuys’ global data centers. The two companies demonstrated the system at the NAB Show. Info: www.digigram.com; www.streamguys.com Systel IP Gear: Spanish company AEQ recently added to its Systel IP equipment. The Systel IP 16 is a multiline VoIP talk show/phone-in system with Dante connectivity. Users can control the Systel 16 by means of the new SystelSet+ control terminal — a touchscreen IP phone running a new configurable control application. The Systel 16 can manage up to 16 VoIP lines and four operator handsets. In addition, Systel IP TV is a multiconference, client application for the external routing of intercom systems for general coordination in TV production centers and related environments. AEQ recently introduced the NetBox DSP and NetBox 32 AD MX audio routers featuring Dante AoIP connectivity. Both units have mixing capabilities, while NetBox DSP can also process audio signals. Depending on the model, it can mix and route between 64 and 160 channels. Info: www.aeq.eu
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June 2018
EBU Releases Digital Radio Progress Report, Part III This month we look at the continent’s DAB digital radio “Newbies” GENEVA — In Part III of our four-part focus on European Broadcasting Union’s Media
Intelligence Service Digital Radio Report 2018, we look at the continent’s DAB digital radio “Newbies.” The 2018 report highlights which European countries are leading the way in the transition to digital radio, which are embracing it, countries that recently launched digital radios services and those currently without a market for digital radio. The study outlines the plans for each country in the four categories. Next month in our July issue, we’ll take a look at the MIS report’s “Wait and See” category. The full Digital Radio Report is available at https://tinyurl.com/EBU-MIS-2018.
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◗NEWSWATCH SAARLÄNDISCHER RUNDFUNK ROLLING WITH LAWO MC296 MIXING CONSOLE German public broadcaster Saarländischer Rundfunk is currently constructing its Studio Eins control room, but one piece already in place that is helping the room be used in the meantime is the Lawo mc296 production mixing console. Integrated with Ravenna technology, the mc296 Grand Production Console is equipped with 40 faders plus the ability to accommodate 16 more, with a full configuration for 184 DSP channels. The console has a routing capacity of 8,192 x 8,192 mono channels and supports 44.1–96 kHz operation. A Dallis input/output frame is available with AoIP options and a Nova router for I/O flexibility. Local I/O provides full connectivity with 16 mic/line inputs, 16 line outputs, eight AES3 input and outputs, eight GPIOs plus a local MADI port. A built-in switch provides four Ethernet ports with network connectivity via two redundant SMPTE 2110/AES67/Ravenna ports with seamless protection switching. The console also features mix-assist systems like Automix, which automatically adjusts the levels of active and inactive microphones while maintaining natural-sounding ambience. There is also Loudness Metering and Loudness Control in accordance with ITU 1770. Studio Eins uses the console to record live radio broadcasts and concert recordings.
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Bonaire (continued from page 1)
coming” for the 800 kHz facility, located in Bonaire, an island that is part of The Netherlands, situated about 100 miles off the Venezuelan coast. The station is owned and operated by Trans World Radio, one of the world’s largest evangelical media organizations. According to Lauren Libby, TWR’s president and CEO, the station went on the air in 1963 at the 500,000-Watt level, but costs associated with operating and maintaining a high-power tube-type rig eventually forced a cutback to 100 kW in 1998. He explained that the decision to boost the station’s power to near its original level was made a few years ago when the need was recognized for a large regional station in Latin America to supplement the small FM operations on the air in that region. “We also had a lot of people in Cuba asking us if we could increase the power to cover the island with Christian programming,” said Libby. “One of the primary motivations was to bring hope and encouragement to Cuba, Venezuela [and] to the whole Latin American region — even down into Brazil — to provide quality Christian programming. Its purpose is basically to encourage people, and to give hope in a world where hope is a pretty precious commodity. That’s why we increased the power.” The superpower move didn’t happen overnight, though. “This was almost a $4 million project and it began about four years ago,” said Libby. “We had supporters from the U.S., Europe and Latin America. Actually, about 10 percent of the donations came from Latin America, which is remarkable when you look at the economy in
many of these countries. “I had people tell me that we would never accomplish it; it will never happen. But it did happen. It’s an amazing story — literally almost one miracle right after another.” Libby noted that the power boost would not likely have been possible without the advances that have been made in broadcast technology, though, citing the greater than 90 percent efficiency of the Nautel solid-state transmitter selected for the project, and also the ability to operate with a much smaller staff. “With the efficiencies now, you’re able to do it at a cost that is doable at that kind of power level,” he said. “Technology has moved forward. Back in the day TWR had close to 100 people doing live radio out of Bonaire. With today’s technology you’re able to do it in a more cost-effective and labor-effective environment.” In addition to Nautel, Libby lauded the efforts of Tom King and Kintronic Labs in achieving the upgrade. “Kintronics did a superb job of creating the antenna solution,” he said.
PREPARING FOR THE POWER BOOST
King said the project was done in phases as funding became available. “It started with the construction of new tuning houses at the tower bases, and they also had to prepare a room in the transmitter building where the old transmitter had been,” he said. “We started work on the RF system in early 2017, and this was shipped and installed and they went on the air with it in July, using their existing 100 kW transmitter.” The next step was the ordering of the Nautel transmitter, which occurred in spring of 2017. Delivery took place in December, with installation following in the transmitter building space vacated by the removal of the tube-type big rig. “I went down to the island with my
The four-tower antenna system by day.
June 2018
broadcast sales at Nautel, said that with off-the-shelf hardware, the mediumwave transmitter coming closest to delivering the original 500 kW wallop is the NX400 model. “The NX400 is rated at 400 kW,” said Lonergan. “However, all of our transmitters have a 10 percent overhead, and TWR decided to go with this model. Otherwise, they would have had to purchase two units and combine them, which would be considerably more expensive. This is a group that runs on donations and they have to have a critical eye as to operating costs. With a transmitter that’s more than 90 percent efficient and running MDCL (modulation-dependent carrier level), this filled the bill and they’re very happy with it.” Even so, the TWR Bonaire station is the island electric utility’s single biggest customer.
Photos courtesy TWR
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Under a starry nighttime sky.
youngest son in January to do final pattern adjustments,” said King. “They went to full-power operations and had a dedication ceremony on the 30th of January.” The new transmitter feeds a previously-installed multi-pattern directional antenna system, allowing the station to target specific audiences during different times of day. “In 1999, we implemented a totally new antenna array for them,” King said. “It consisted of four 450-foot towers in a ‘box’ configuration, with the long side of the array going east-west to produce a broadside pattern going north and south. They also have a separate ‘Caribbean’ pattern with one tower driven and the others acting as parasitic elements.” Hands-down, at its current power level approaching half a million Watts the facility is now the most powerful medium-wave outlet in the Western Hemisphere. Asked why the originally licensed 500,000 Watt operating power wasn’t replicated, Wendell Lonergan, head of
“We used to have our own diesel generators when we were running both the 500,000 Watt medium-wave transmitter, as well as operating shortwave transmitters,” said Libby, explaining that the station’s power plant had been taken out of service several years ago after the tube-type rig was retired and shortwave broadcasting from the island ceased. “We are now looking at putting in a standby generator,” he remarked.
“WE DID IT OURSELVES”
One of the more unusual aspects of the transmitter installation is that the station’s operators, assisted by volunteers, did the work themselves. “This is a bit unusual for a transmitter of this size,” said Nautel’s Lonergan. “However, they had witnessed the NX100 100 kW transmitter installation and had come [to Nautel’s facility] for training on the NX400. I was at the site later and it was a ‘world class’ installation.” Lonergan said the only real glitch (continued on page 8)
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Capital Radio Raises HIV Awareness Among Malawi Youth The station provides a platform for information, discussion BY L AMECK MA SINA BLANTYRE, Malawi — Privately owned
radio station, Capital Radio is giving young people in Malawi an opportunity to talk freely on issues concerning sexuality, HIV and AIDS. UNAIDS statistics puts the HIV prevalence in Malawi at 9.2 percent, one of the highest in the world. Young people account for 18 percent of new HIV infections, particularly those between the ages of 15 to 24. UNAIDS attributes this to the lack of adequate sexual and reproductive health information among youth. Capital Radio’s program, known as “Umoyo Wabwino” (“Better Life”) seeks to address that. The program, run with funding from the President’s Emergency Plan for AIDS Relief (Pepfar), targets 15- to 29-year olds. The live program is cohosted by Madalitso Phiri and Mc Farlane Mbewe. Phiri says the idea was hatched after observing that most youths in Malawi do not have a platform to openly discuss issues concerning HIV, largely because
Capital radio presenter Madalitso Phiri at the audio console hosts Yankho Chilunga and Kulleza Banda (far right)
of the stigma that is associated it. He says AIDS, which is largely transmitted through sex, is not often discussed among the young people because it is regarded as a taboo subject.
“So, in the program we allow them to talk openly, sometimes without limit though not overly explicit. We allow them to express the words that are hidden in their heart, to call a spade by its name,” explained Phiri. The program is more like a chat show rather than a traditional panel discussion. “We talk about various topics;
Bonaire (continued from page 6)
encountered in the project was in getting the transmitter to the site in time for the planned dedication. “Bonaire is not exactly the shipping center of the universe. We had to put our logistics people into overdrive to make the promised delivery date on time, but they did it.” The NX400 transmitter comprises a power supply cabinet weighing upwards of 5,000 pounds, along with four other units with combined weights of 5,200 pounds. The transmitter was shipped in eight crates from Nautel’s Nova Scotia, Canada facility to Bonaire in a single freight container. TWR’s Libby said enhanced power and coverage not only help spread Christian programming to a wide area but are useful in other ways. “When you get into an emergency situation, there’s nothing that beats medium-wave,” he said. “For instance, when the hurricanes came across the Upper Antilles we were on the air every night with weather, encouraging
some are planned and others just crop up in the course of the discussion,” he said. “We allow panelists to talk about their own experiences and that of others as well. We argue, counter argue and — just as important — we laugh out loud.” Another staffer, Jane Kaonga, produces and presents a prerecorded version of the program. Armed with a Zoom recorder and Shure microphone, Kaonga walks into the remotest parts of the country to draw young people into the HIV discussion. “We have talked to youths who have fallen victims of traditional practices that allow elder men to sleep with younger girls. We have also talked to traditional leaders on the matter who have told us such practices need to stop,” says Kaonga. The radio show has already shown an impact. Executive Director of Nancholi Youths Organization, George Nedi, says that through the radio program, they have seen an increase in youngsters coming to have their blood tested at its Voluntary Testing and Counselling facility. “The program has helped us mobilize youth and convince them to turn to VCT. In the beginning, we used to draw in about 9.4 percent but now the figures have risen to 13.5 percent. Most of them literally tell us they were encouraged by the program they listen to on Capital Radio.” [those affected] and talking to people throughout the region live on the air. The Netherland Antilles government says whenever there’s a disaster, just tune to 800 AM because that’s where you can get information. That was one of the reasons that we did what we did [with respect to the power increase] — to allow the Dutch government to be able to talk to the Caribbean all the way from Saba to Aruba. You need this kind of power in the daytime if you’re going to do that.” Trans World Radio is one of the largest media organizations in the world, based on the number of countries its signals reach and the number of languages broadcast on a daily basis. Libby noted that they broadcast to 190 countries in more than 230 languages every day, and overall coverage and language support exceed that of the BBC World Service and the Voice of America. James O’Neal is a frequent Radio World contributor; he wrote recently about Alfred Carlton Gilbert, the “Erector Set” man and radio pioneer. Find past articles at radioworld.com, keyword O’Neal.
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CapeTalk
MAKING THE MIGRATION TO RADIO ONLINE
(continued from page 1)
important is their civic engagement. “We punch well above our weight. These are the decision-makers in Cape Town,” said van Staden.
STARTING FROM SCRATCH
Being the only talk format in the market has obvious advantages and unexpected disadvantages. On the positive side, the audience TSL is incredibly high. Listeners tune in and stay put, hour after hour. Only 10 percent are channel-hoppers. On the downside, most all of the on-air talent and support staff are typically homegrown since there’s nowhere else to learn the requisite skills. The CapeTalk presenters come from varied backgrounds. Journalistic experience is common, but it is an eclectic mix ranging from philosophers to those with a theater background. Afternoon drive host John Maytham, an actor turned host, has been on since CapeTalk launched.
“Knowledge is power, and better informed neighbors make better citizens.”
June 2018
The CapeTalk app provides the live stream, latest articles and audio highlights.
When do you really see how much your audience relies on your online presence? When the transmitter goes down, as it did when a technical issue silenced CapeTalk’s AM broadcast for some 10 days last August. Of course, it couldn’t have happened at a worst time. “We were in the middle of a crucial national story, a motion of no confidence in Pres. Jacob Zuma [Who has since resigned – ed..]. Suddenly, key transmitter capacitors gave up, we were off the air and had to scramble to find replacements. Our online streams shot up — a significant uptick,” said Collin Cullis, product owner: Talks at Primedia Broadcasting. How significant? The typical weekly CUME on the CapeTalk stream is about 17,000. At peak, it jumped to nearly twice that — 29,800. Total listening hours, too, increased from an average of 50,000 hours per week to more than 70,000. When the on-air signal returned, the streams returned to their normal levels. Still, this unexpected experiment yielded valuable insights, a guide for how to prepare for the inevitable migration of audiences online. Cullis is responsible both for CapeTalk as well as 702’s online presence in Johannesburg. Content plus a good delivery platform is the ticket for success. The Primedia smartphone app branded to each station is an interface for a wide variety of content available from numerous Primedia properties. This includes Eye Witness News, a popular information source in South Africa with a newsroom that rivals that of the top newspapers. There is considerable synergy between the news operation and content created on air. “Our on-air interviews with newsmakers often become news stories. Repurposing the content as an EWN piece or as on-demand audio adds value to the app,” Cullis said.
— Tessa van Staden In the morning, Eusebius McKaiser, a nationally known political commentator, is simulcast from the 702 studios. In the afternoons, Pippa Hudson leverages her news experience to focus on topics of interest to consumers. “The biggest job for presenters is to explain complex issues simply, to unpack these in five minute interviews. We encourage dynamic, robust discussion with callers often getting into disputes with hosts. I know, because they call me to complain!” van Staden said. Though pleased with a stable, popular on-air lineup, van Staden is constantly on the lookout for new talent, especially women and those from the rising generation of “Born Free,” those too young to have experienced life under Apartheid.
NEW TALENT
Thus far, attracting younger presenters — and listeners — has proven elusive. Still, van Staden is hopeful that the Born Free will develop a taste for talk radio given their engagement elsewhere. “The younger listeners and students are not apathetic. They want to have their say. We’ve tried putting student contributors on air. But it’s always about us chasing them rather than them seeking us out,” said van Staden.
CapeTalk celebrates its 20th birthday with presenters and producers. Pictured from left to right in the backrow are Amy-Rae Rispel, Lengwadishang Ramphele, Pippa Hudson, Gcwizi Nkuhlu, John Maytham, Tessa van Staden, Nicola Bruns, Markus Hegewisch and Qama Qukula. In the front row are Elliot Sylvester, Barbara Friedman, Jeanne Michel (standing), OB Sitwayi, Colin Cullis.
The place that young aspirants often enter into CapeTalk is as show producers. Getting good producers is a major task, both in terms of training and retention. “There’s no pool of talented producers to draw from. Grooming them is a challenge because they see this as a stepping stone [to other radio jobs]. The typical producer is also 30 years younger than the host,” van Staden said. Controversy is typically the lifeblood of talk radio, driving listenership. Political controversy has been especially pointed. But hammering this popular drum has its hazards. It is crucial to remain responsive to the audience. “We have to keep things varied or suffer listener fatigue. We co-create shows
Colin Cullis in studio with CapeTalk host Africa Melane. The segment was on bad Father’s Day gifts and included a live video stream to allow the station’s followers on Facebook to see some of the terrible ideas.
with callers. Despite what we may have planned, if there’s something our callers find interesting, we turn with it,” said van Staden. Recently, the entirety of Cape Town — along with the international media — has been looking at the city’s water crisis. It may be the first city of its class to run dry as the result of climate change-driven drought.
WATER CRISIS
But CapeTalk has been not just reporting on this. Long before it reached the crisis stage, it has been engaged in an outreach effort working with prominent businesses to cut down on water usage in schools. The Smart Water Meter chal-
lenge has helped 358 schools save over 18 million liters of water through the contributions from 93 companies to acquire the necessary technology. Through this, CapeTalk has established its standing as a solid citizen with both listeners and those that only know the station by reputation. Earning such goodwill in the community provides the authority to do what talk radio does best — to inform the public and to get them talking intelligently about the issues that matter most. “Knowledge is power, and better informed neighbors make better citizens. We like to think that our work is to help make people more thoughtful and less judgmental. We are a platform for people from widely different backgrounds to share and to be heard — from people in shacks to CEOs,” van Staden said.
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June 2018
In Pictures
Paul Kaminski
Nautel Sales Manager Central USA Jeff Welton shared tips and suggestions for HD Radio engineers. “I tell people every HD Radio install is situational, there is no one right way to do an install.�
Colorful flags and screens from Beijing Xiaojudeng Electronic Science and Technology.
Matt Levin talks with Frank Maurizio about Stereo Tool, a software-based audio processor that can be used for both live and file-based processing, made by Thimeo Audio Technology.
Al Powers
Jim Peck
Attendees wait for shuttle busses. NAB reported about 93,000 registrants compared to about 103,000 the year before.
Jim Peck
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June 2018
In Pictures
Aldena’s SEP is a “selective electric isotropic triaxial antenna” EMF measuring system. It’s got a spectrum analyzer and three-axis antenna with an integrated RF switch.
Al Powers
Communications students from Ryerson University, Toronto, led by program director and professor Richard Grunberg, kneeling left, explore the show floor.
Jim Peck
Takashi Kouzuma eyes a board in the Calrec Audio booth. U.K.-based Calrec introduced Type R, a modular, expandable, IP-based radio system.
Mike Erickson of Wheatstone makes a point about processing. Conference planners made more use of engagement or e-poster sessions — under the name “ENGAGE!” — in a room with several speaker stations, allowing attendees to hop from one to another or stick with just one. Speakers were encouraged to have about 20 minutes of material and could then repeat it or dig deeper depending on attendee interest.
Jim Peck
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EN FRANÇAIS
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Actualités et informations des pays francophones
RADIOWORLD
June 2018publicité
La radio serait la source de nouvelles la plus fiable au Royaume-Uni Pendant les urgences locales, 60 % des personnes interrogées se tournent vers la radio pour les bulletins d’information locaux.
Sur les questions de confiance, 79 % des auditeurs interrogés conviennent que les radios commerciales « fournissent des informations actualisées utiles et concises tout au long de la journée ». 77 % sont d’accord sur le fait que les nouvelles à la radio « m’aident à rester informé sur ce qui se passe dans le monde autour de moi », et 57 % conviennent que les nouvelles à la radio « me poussent à en savoir plus sur ce qu’on raconte aux actualités ».
LUTTER CONTRE LES FAUSSES NOUVELLES
En voiture, 85 % des auditeurs de radios commerciales du RoyaumeUni sont attentifs aux nouvelles de la radio
Selon un rapport de Radiocentre les auditeurs préfèrent la radio pour avoir des informations précises à l’ère des «fausses nouvelles» LONDRES — 77 % des résidents du Royaume-Uni interrogés disent qu’ils font davantage confiance à la radio qu’à tout autre média pour obtenir des informations nationales exactes. C’est ce qui ressort de l’étude «Breaking News: How Listeners Value Commercial Radio News» (http://www. radiocentre.org/breaking-news). Réalisée par le cabinet de recherche «Other lines of enquiry» et sponsorisée par Radiocentre, un groupe de radios commerciales, cette étude a porté sur 1 200 auditeurs de radios commerciales du Royaume-Uni, y compris ceux qui écoutent la radio de la BBC (46 % fréquemment et 54 % rarement). « Nous savons que la radio est populaire au RoyaumeUni, environ 90 % de tous les habitants écoutant la radio chaque semaine, mais nous n’avions pas réalisé à quel point on avait sous-évalué les informations de la radio », a déclaré Matt Payton, directeur des relations extérieures de Radiocentre. « 88 % des personnes que nous avons interrogées sont intéressées ou très intéressées pour être au courant des dernières nouvelles. 77 % d’entre elles ont déclaré que la radio est la source en laquelle elles ont le plus confiance pour avoir ces nouvelles, devant la télévision, les journaux et les médias sociaux ».
LES CHIFFRES
Selon les 1 200 auditeurs de radios commerciales du Royaume-Uni, 83 % d’entre eux écoutent les bulletins d’information à la radio le matin et 85 % d’entre eux
écoutent les nouvelles à la radio en voiture. De plus, 60 % de ces personnes écoutent les nouvelles à la radio en cas d’urgences locales. En revanche, les chiffres pour les autres médias en cas d’urgences locales sont de 40 % pour la télévision, 30 % pour les médias sociaux, 20 % pour les applications et sites internet des journaux et 8 % pour les journaux imprimés.
◗DU CÔTÉ FABRICANTS DES
PAR JAMES CARELESS
Grâce aux études sur les «fausses nouvelles» de propagande circulant sur le Web et les médias sociaux, « 61 % des personnes interrogées sont maintenant préoccupées ou très préoccupées par les fausses nouvelles », a déclaré Payton. C’est dans ce contexte que 77 % des personnes interrogées ont cité la radio comme « média de grande confiance » pour la précision de l’information. La télévision est arrivée deuxième avec 74 % lui assignant également le statut de « média de grande confiance ». Les journaux imprimés sont arrivés au troisième rang dans cette catégorie avec 48 %, les applications et les sites internet de journaux occupant la quatrième place avec 45 % et les médias sociaux arrivant en dernier avec seulement 15 %. La conclusion, selon le rapport : au Royaume-Uni, la radio est la source la plus appréciée pour avoir des nouvelles fiables et précises — en particulier à l’ère d’Internet.
La vitrine des produits broadcast professionnels les plus recents.
AETA Remote access : Avec la nouvelle fonction de contrôle à distance AETA Remote Access, il est désormais possible de contrôler tous les paramètres des codecs AETA à distance et en temps réel via Internet, y compris via les réseaux mobiles 4G. Le système repose sur l’utilisation d’un serveur d’accès distant, et la prise en main se fait à partir du serveur HTML déjà bien connu des utilisateurs des codecs AETA, et jusqu’ici accessible sur réseau local (LAN). Où que vous soyez, où que se trouve votre codec, vous gardez le contrôle de l’appareil et pouvez réagir à un imprévu ou à un souci de configuration. AETA Remote Access est disponible dès à présent sur toute la gamme actuelle de codecs AETA Audio Systems fonctionnant en IP (Scoop5-S / Scoop5S-IP / µScoop / Scoopy+S / ScoopFone 4G / ScoopFone IP / Scoopy+S / ScoopTeam). Pour en bénéficier, il est nécessaire d’installer la toute dernière mise à jour logicielle et de souscrire à l’option «Remote Access». Informations : www.aeta-audio.com
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June 2018
◗NEWSWATCH CALREC SELECTS GSL AS MIDDLE EAST DISTRIBUTOR Calrec has teamed up with Dubai-based GSL Professional to expand its reach in the Middle East. As per the accord, GSL, which is representing Calrec across the company’s entire product range, including its recently released Type R console, will provide distribution across United Arab Emirates, Qatar, Oman, Jordan, Kuwait, Bahrain and Saudi Arabia. “One of our missions here at GSL is to continually expand the breadth and depth of our offerings.
Working with Calrec is a perfect example of that, especially with the company’s dynamic new Type R radio system and its compact, yet-powerful, Brio console, which is gaining real traction within the industry,” said Adrian Curtis, managing director at GSL Professional. GSL specializes in the distribution of audio, video and control and lighting solutions as well as providing technical, marketing, service and sales support. The company recently opened a new service center in Dubai where customers can get a hands-on experience with the products as well as a high-level and professional sales experience.
The Heartbeat of High Power
Pictured from left to right are Adrian Curtis, GSL managing director, Dave Letson, Calrec V.P. of sales, Oumar Ndiongue, GSL technical sales manager, and Anthony Harrison, Calrec international sales manager.
ITALY’S RAI STEPS UP DIGITAL RADIO INVESTMENTS Italian public broadcast Rai announced that it intends to accelerate its investments in digital radio broadcasting at a recent DAB conference entitled “La radio digitale, finalmente” (“Digital Radio, Finally”) held at the broadcaster’s headquarters in Rome on April 13.
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“In terms of technology and production, we are now totally digital, and in terms of coverage, we have allocated significant investment that will allow us to cover the so-called ‘Motorway T’ ahead of schedule, by the end of 2018,” said Roberto Sergio, director, Radio Rai. “In the following two years we will continue to invest in making digital coverage ever wider and we are already broadcasting digital content on five new channels, designed and built vertically to compete in the field of digital entertainment. Additional new channels will be added very soon,” he said. As of June 1, 2019, wholesalers and retailers are required to sell receivers with at least one digital interface to receive digital broadcasts. This measure will also be applied to consumers from January 2020.
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BUYER’S GUIDE
Visual Radio
Q Radio Embraces the Bionic Studio Broadcast Bionics software works with Axia hardware and Livewire network for visual radio studio
◗SPECIALREPORT BY KIRSTEN SMITH
Business Development Manager Broadcast Bionics BELFAST, Northern Ireland — In today’s content-
hungry world, modern radio needs to provide more than just great content to engage, maintain and grow audiences. Radio in Northern Ireland, particularly Belfast, is already highly competitive. So when independent broadcaster Q Radio was moving its Belfast Studios, it presented the ideal opportunity for them to start fresh and bring their unique brand to the forefront of Northern Irish Radio. Q Radio seized the opportunity to get ahead by enhancing live content through well-produced video and live streaming —making this engaging content instantly available and shareable on social channels, like Facebook, Twitter, YouTube and Facebook Live.
MULTIPLATFORM
While many large corporate radio bands do multiplatform very well with generous budgets, radio generally demands more for less. That’s why technology was key for Q Radio to meet its goals within an affordable budget. This is where sophisticated software coupled with the right hardware makes all the difference. Richard Lawley of Radio Studio Services was enlisted to help solve problems, execute design and deliver Q Radio’s dream. Q Radio chose Axia consoles: Fusions for their main on-air studios, and iQs for production and news booths. “The Axia AoIP audio platform enables us to provide
powerful, flexible control of client stations’ audio in a far more economic format than ever could be achieved with traditional analog equipment, and the user interfaces are all attractive and ergonomically pleasing, enabling us to design studios that enhance the creative process for presenters and production staff,” said Lawley. With the AoIP Audio network in place, integration between console and Broadcast Bionics’ PhoneBOX, Oasis, Virtual Director, and playout system is seamless. Broadcast Bionics PhoneBOX talkshow software is a real game-changer, a multitool for the studio that incorporates a feature-rich phone in system, multifaceted Social Media System, and Virtual Director visualization system. All on one screen, this was a simple choice for Q’s state-of-the-art studios, he said. “We knew Virtual Director was the perfect solution for us as soon as we saw it. It’s unobtrusive yet powerful. It allows us to quickly produce quality video clips
RADIOWORLD
June 2018
to share on social media, increasing our presence and strengthening our brand with minimal effort. The system also livestreams so our online listeners can also be viewers of ‘QTV,’ giving them a live view of the presenters at work in the studio, with nice switching and branded graphics detailing now- and next-playing tracks. We’re the only station in Northern Ireland to do radio like this, and it’s paying off. Our listeners and advertisers love it,” says Jonathan Gold, program manager, Q Network. Indeed, Facebook share figures quickly soared, hitting 7.3K for an entertaining drive-time link about Siri. There is no doubt that Q Radio studios were designed to be seen. The branding is clear, thought has been given to camera positions, the lighting is right, and the ambience inspires the best in the presenters. It’s the epitome of the modern studio. The Bionic Studio enables not just new listener experiences, but provides actionable data and creation/reuse of content to effectively monetize these new platforms. Using the power of Livewire’s IP infrastructure, Axia and Broadcast Bionics have reinvented radio again, making possible the real-time nonlinear content of the future to create more dynamic, responsive, intuitive, and engaging programming. For information, contact Duncan Smith at Broadcast Bionics in England at +44-1444-473999 or visit www.phonebox.com, or Cam Eicher at the Telos Alliance in the United States at +1-216-241-7225 or visit www.telosalliance.com.
◗TECHUPDATE WINMEDIA VISUAL RADIO SIMPLIFIES MEDIA CONVERGENCE LA SEYNE SUR MER, France — The WinMedia Visual Radio solution is based around a complete radio and TV playout system. This, the company says, unifies the content chain by managing assets and covering every aspect of the production and delivery chain, including scheduling and advertising. WinMedia Visual Radio incorporates the StudioCast engine to provide an end-to-end solution that can be tailored to requirements. Providing users with a combination of automated camera switching, radio playlists with graphic overlays in real time, WinMedia declares that the system “pushes the limits of media convergence by enabling RJs to directly control video playlists by using WinMedia intuitive on-air interface.” During live-assist or 24/7 automation, the StudioCast system automatically captures images without human intervention required. WinMedia controls Studiocast through a set of commands that are based on predefined scenarios. For information, contact WinMedia in France at +33-494-102-101 or visit www.winmedia.org.
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BUYER’S GUIDE Visual Radio
June 2018
YES Approves of Comrex LiveShot Video codec makes possible reliable simulcasts for sports network
◗USERREPORT BY JACK KESTENBAUM
Director of Technical Operations YES Network NEW YORK — The YES Network is
a regional sports network owned by 21st Century Fox and the New York Yankees. We cover New York Yankees baseball, Brooklyn Nets basketball and Major League Soccer’s New York City FC, along with other programming. I’ve served as director of technical operations for the YES Network since it was founded in 2002. For a number of years, I’ve been coordinating remote broadcasts for “The Michael Kay Show.” Michael Kay is the play-by-play announcer for our Yankee baseball coverage and the headliner for the show, which is heard Monday through Friday from 3 to 7 p.m. on WEPN/ESPN Radio in New York. YES produces and
airs a live video simulcast of that show with a simple one-camera setup. Before adopting the Comrex LiveShot IP video codecs, our simulcast programming would go out via satellite at 9 MHz. I pay close attention to new developments and technology, and when I saw LiveShot and its competitors appearing on the market, I was intrigued. I’d been familiar with Comrex for a long time. “The Michael Kay Show” is transmitted on ESPN Radio with Comrex’s Access box, so we were already using Comrex equipment regularly. In my experiences, the products I’ve used have been, in most cases, bulletproof; and the customer service is beyond reproach. So I was moved to learn more about LiveShot. Initially, we used LiveShot and satellite simultaneously, but as we’ve gained confidence, we’ve switched fully to LiveShot. For “The Michael Kay Show,” we’re using LiveShot exclusively. The technology has been proven to work con-
◗TECHUPDATES ENCO VISUAL RADIO LEVERAGES DAD AUTOMATION SOUTHFIELD, Michigan — ENCO says that its Visual Radio offering uses the capabilities of its DAD radio automation and management interface to deliver a multimedia experience to web and mobile audiences. Interoperability with various production systems means radio broadcasters can support a range of functions from content acquisition through scheduling and delivery from a unified platform, including targeted advertising support to help monetize online programming. It said Visual Radio’s operational flexibility is particularly important for radio broadcasters familiarizing themselves with video production workflows. It delivers music videos, program audio and interstitials (targeted ads, promos). ENCO said the management interface eliminates the need to learn new software and manage multiple content libraries; customers benefit from an intuitive live-assist application to suit the operator’s preferred balance of manual and automated control. ENCO says the solution offers intelligence that eliminates some of the more complex tasks associated with high-end, studio-based video production. For example, a voice-controlled camera application will switch between hosts and guests during live radio programming, triggered though recognition of “hot” microphones. Operators can create custom rules to display all camera feeds at once and assign dedicated graphical overlays to frame each shot. Tighter integration with graphics software simplifies the user experience, including management and integration of live social media feeds, visual effects and transitions. For information, contact ENCO in the United States at +1-248-827-4440 or visit www.enco.com.
sistently, and we’ve gotten more comfortable trusting it with our broadcasts. Recently, we’ve begun using LiveShot’s SD return video feed, and Michael Kay loves it. We place a monitor where he can see it clearly, and he can easily see when he’s in a two-box or when we’re in commercial. Return video has been an incredibly useful feature for us. I’ve tried other bonded cellular products, and one of the reasons I ultimately chose Comrex is the history behind the company. Comrex has been in broadcasting for more than 50 years, and as noted, the customer service has been excellent.
So far, any questions that we’ve had are answered instantly. We’re very satisfied. The form-factor of LiveShot Portable is unique — it’s very portable and lightweight, which distinguishes it from other bonded cellular products. And LiveShot also contains some unique features, like two-way video and IFB capability. These features, combined with reliable customer service and bulletproof connections, made LiveShot the choice for us.
For information, contact Chris Crump at Comrex in the United States at +1-978784-1776 or visit www.comrex.com.
MULTICAM SYSTEMS ADDS INTERACTIVITY TO VISUAL RADIO PLATFORM MONTREUIL, France — MultiCam Systems has added two-way interactivity to its automated MultiCam Radio Visual Radio system to enhance online audience participation. Using the ARES Interactive Media platform, broadcasters can receive online comments from viewers in real time. These viewers also can pose questions to the host and participate in online contests and polls during streaming events. When integrated within MultiCam Radio, the ARES Interactive Media platform allows show producers to contact viewers during live video streams, and put them on the air using the viewers’ own webcams. The platform can support an online video window of the host plus windows of the viewers being interviewed. The company says the ARES Interactive Media platform further immerses viewers by allowing webcasters to utilize them as production resources. For example, the platform is suitable for on-air hosts who want to poll audiences on their views during live broadcasts, compile those results automatically and deliver the results in moments. Similarly, according to MultiCam, hosts can deliver a breaking news story in the community by using the links supported by ARES Interactive Media to reach people in the affected area. Interactivity with studio guests is heightened, as the platform simplifies how viewers can pose their own questions to musical guests and other personalities. For information, contact MultiCam in France at +33-9-72-58-67-28 or visit www.multicam-systems.com.
June 2018
◗TECHUPDATES STUDIOCAST VIDEO SOLUTION ENRICHES RADIO ROISSY EN BRIE, France — StudioCast says its automated visual radio system is intended to provide streamlined video coverage for radio broadcasters. Its HD8 auto IP video switcher features functions like graphic insertion, titling and logos, graphic composition and display of messages coming from social feeds. It can record the signal in high definition and stream to several sources simultaneously and supports the main camera PTZ control protocols available on the market.
In addition, the firm says, StudioCast’s automatic algorithm manages action shots, as well as analyzing microphone audio levels and duration. StudioCast automatically selects the most suitable camera angle and manages tight or wide-angle shots. In order to avoid untimely switching when several speakers talk simultaneously, the system alternates wide shots or “picture-in-picture” type compositions where several cameras appear at the same time. The company says it developed this algorithm to resemble human operation as closely as possible to guarantee accurate video coverage of each speaker. Manual switching, panning and zooming, adding graphics or playing clips from hard disk is possible with a tablet interface. Users can manage StudioCast via an automation system and can also play artists’ video clips along with a playlist. There are dedicated cameras available, but each SDI PTZ camera can be used with a Sony, Panasonic or Pelco D control protocol. Other sources include IP cameras or PC screen capture. StudioCast can be interfaced through IP with the AEQ, Axia, DHD and Wheatstone mixers or via its optional audio bridge to connect to any other analog console. For information, contact StudioCast in France at +33-1-60-64-21-21 or visit www.studiocast.fr.
BUYER’S GUIDE Visual Radio
radioworld.com | RADIOWORLD
AXEL TECHNOLOGY INTEGRATES RADIO, TV ANZOLA DELL’EMILIA, Italy — Axel Technology says its visual radio solution VJ Pro is the result of a combination of broadcast tools: the radio automation system DJ Pro, the TV playout Youplay and the logo and graphic generator DLG Plus. Interaction is managed by the DJ Pro console, which the company says allows for the easy control of audio and video events. Axel says the solution permits the visual feed to adapt to radio broadcasters’ needs; it allows users to include live, automatic scheduling and audio/video synchronization and requires no change in the radio workflow or in the scheduling style of the shows. VJ Pro provides resolution in SD/HD/4K and integrates into most new and legacy products on the market. Customization is available to match user requirements. For information, contact Axel Technology in Italy at +39-051-736-555 or visit www.axeltechnology.com.
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◗TECHUPDATE
June 2018
◗MARKETPLACE
3N1 ADDED TO RUSHWORKS VDESK RADIO/TV PRODUCTION SYSTEM FLOWER MOUND, Texas — The VDesk Radio/TV production system integrates Rushworks’ 3n1 multifunction PTZ camera with its Talk-Take automated video switching based on voice-activation. The company says that combination provides excellent coverage for the host and the guests with “hands off” switching, thus no additional workload on the producer. The lower cost provides good return on investment, it added. The 3n1 includes a 20x optical zoom lens and a wide-angle fixed lens, with each of the internal cameras having independent HD-SDI outputs. When the 3n1 is placed on the guest desk, the PTZ camera covers each participant with a medium close-up preset. When TalkTake is active, VDesk switches between presets and the wide shot automatically, using the wide shot as a cover shot. When the preset is reached, the system then “takes” the shot. Using this capability, there is no need for a camera operator. Presets can include the host; or a second small camera can be dedicated to the air personality. VDESK Radio/TV can stream its output directly to an ISP by connecting it to a network. For information, contact Rushworks in the United States at 1-469225-5655 or visit www.rushworks.tv.
Mozart Next: DB Elettronica has introduced Mozart Next, a new line of FM transmitters. According to the Italian company, the new range features high modulation, low maintenance and an efficiency of up to 75 percent. In addition, the company says the Mozart Next line offers easy maintenance, allowing users to safely remove individual modules from the front during operation; Automatic Current Sharing; and maximum redundancy. The system can be used with an app available for Apple or Android. Info: www.dbbroadcast.com Airence-USB Adds VoIP: With D&R’s latest upgrade to its Airence-USB on-air mixer, users can now order the unit with standard telco modules or with 2x VoIP modules at no additional price. D&R says Airence-USB’s new VoIP modules allow operators to get a clean-feed output for an external digital hybrid, as well as a remote socket on the back that can control signaling. The Airence-USB is a split-version radio on-air production mixer, featuring an integrated USB-based control section. The company says the console especially suitable for the self-op production DJ. Info: www.d-r.nl
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RADIOWORLD
ADVERTISER INDEX
June 2018
This listing is provided for the convenience of our readers. Radio World assumes no liability for inaccuracy.
page
advertiser 8 AETA Audio Systems 12 Aldena (Telecomunicazioni) SRL 16 Ampegon 1 Broadcast Bionics 4 DB Elettronica Telecom. 5 Digigram, S.A. 23 Inovonics Broadcast 24 Lawo AG 9 Nautel 14 NeoGroupe 17 Omnia - The Telos Alliance 1, 15 RFE Broadcast 19 Technisat 7 Tieline Technology 2, 11, 13 Wheatstone 21 Winmedia
website/url www.aeta-audio.com www.aldena.it www.ampegon.com www.bionics.co.uk www.dbbroadcast.com www.digigram.com www.inovonicsbroadcast.com www.lawo.com www.nautel.com www.neogroupe.com www.telosalliance.com/omnia www.rfebroadcast.com www.technisat.com www.tieline.com www.wheatstone.com www.winmedia.org
ADVERTISING CONTACTS EUROPE, MIDDLE EAST & AFRICA:
NORTH AMERICA:
RAFFAELLA CALABRESE +39-320-891-1938 Fax: +39-02-700-436-999 rcalabrese@nbmedia.com
JOHN CASEY 212-378-0400 x512 Fax: 330-247-1288 jcasey@nbmedia.com
PETE SEMBLER 212-378-0400 x324 Fax: 650-238-0263 psembler@nbmedia.com
MICHELE INDERRIEDEN 212-378-0400 x523 Fax: 301-234-6303 minderrieden@nbmedia.com
VYTAS URBONAS 212-378-0400 x533 Fax: 630-786-3385 vytas@nbmedia.com
Welcome to
Broadcast 3.0 ruby – Radio never looked so good.
DOWNLOAD ruby BROCHURE bit.ly/2kT8Obi
Feast your eyes on the new ruby mixing console. Intuitive. Uncluttered. Powerful, yet so refined. Streamlined from every angle. Optimized controls: everything you need, nothing you don’t. Only 5 cm (2”) tall, from the bottom of its exquisitely cast side frames to the tops of its carefully chosen rotary selectors. But great design goes beyond mere good looks. Which is why ruby is expertly crafted for both speed and accuracy — controls perfectly placed to fall naturally to hand. Premium-grade displays, faders and switches. Standardsbased AES67 networking. Powerful features like AutoMix smart mixing and instant one-button switching between live and production modes. Up to 96 channels of DSP and 1,920 routing crosspoints*. The cherry on top? A customizable, context-sensitive touchscreen GUI that puts virtual control of
Welcome to your command cockpit. Graphical, intuitive, customizable: ruby’s onscreen interface, powered by our VisTool GUI builder, is so much more than just meters and a clock. Multi-touch controls instantly give what’s needed to control studio devices, tweak dynamics, adjust virtual faders, meter true loudness — even design your own custom screens. The possibilities are virtually limitless.
mixer functions, playout software, studio devices, even Web feeds, social media and video, right at your operator’s fingertips. No other console is this smart. Slim, trim, and sharp as the cutting edge. Engineered and built without compromise by German craftsmen. Sprechen Sie deutsch?
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Who says small can’t be mighty? ruby’s mixing engine, Power Core, is equipped with redundant IP networking, dual-redundant power capability, and tons of built-in I/O – 384 stereo channels, standard – with room to add even more. There are dozens of DSP channels, and a built-in routing switcher, too. It’s like 12 rack units of power, packed into only 1RU.