Radio World ebook 0037 -Jan 2022 - Building Spectacular Radio Studios

W A NE IO R A D LD WOR K

EBOO

Spectacular Radio Studios Sponsored by

AEQ • Comrex • Lawo • NBT Tour • SCMS Studio Technology • Telos Alliance • Tieline • Wheatstone

JANUARY 2022

January 2022 eBook www.radioworld.com FOLLOW US www.twitter.com/radioworld_news www.facebook.com/RadioWorldMagazine CONTENT Managing Director, Content & Editor in Chief Paul J. McLane, paul.mclane@futurenet.com, 845-414-6105 Technical Advisors Thomas R. McGinley, Doug Irwin Technical Editor, RW Engineering Extra W.C. “Cris” Alexander Contributors: Susan Ashworth, John Bisset, James Careless, Ken Deutsch, Mark Durenberger, Charles Fitch, Donna Halper, Craig Johnston, Alan Jurison, Paul Kaminski, John Kean, Peter King, Larry Langford, Mark Lapidus, Michael LeClair, Jim Peck, Mark Persons, Stephen M. Poole, James O’Neal, Rich Rarey, John Schneider, Dan Slentz, Randy Stine, Tom Vernon, Jennifer Waits, Steve Walker, Chris Wygal Production Manager Nicole Schilling Managing Design Director Nicole Cobban Art Editor Rob Crossland ADVERTISING SALES Senior Business Director & Publisher, Radio World John Casey, john.casey@futurenet.com, 845-678-3839 Publisher, Radio World International Raffaella Calabrese, raffaella.calabrese@futurenet.com, +39-320-891-1938 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.radioworld.com and click on Subscribe, email futureplc@computerfulfillment.com, call 888-266-5828, or write P.O. Box 1051, Lowell, MA 01853.

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Spectacular radio studios A sampling of who has been building what, and where

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n this ebook we present examples of outstanding recent studio projects.

Engineers and managers love getting a peek at studio buildouts (and editors love it too), especially if they can learn Paul something from them.

McLane They love seeing how their peers Editor in Chief choose new equipment, design an aesthetic and lay out workflows. In many cases, these projects started, or at least continued, despite the pandemic.

We asked the users to show us inside and to tell us about their goals, key components and the technical challenges they had to overcome.

This was fun, and we’re already starting to collect ideas for our next studio feature. Tell me about yours. Email to radioworld@futurenet.com, which comes right to me.

And don’t forget that you can find all recent editions of our ebooks at radioworld.com/ebooks.

You are advised to contact manufacturers and retailers directly with regard to the price of products/

The Bronc busts out in a new home AoIP goes to work at Sherbrooke station

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CBC/ RadioCanada has a new broadcasting center

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Urban One invests in studio space

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Slammed by storms, a Cumulus cluster rebuilds

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IB3 upgrades its radio production centers

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Go Big Red: A new radio network for the Huskers

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EMF studios in Tennessee are quick-change artists

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going to press. Future cannot accept any responsibility for errors or inaccuracies in such information.

WNXP opens a Sonic Cathedral

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17 studios in the “Heart of America”

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THIS ISSUE

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A bright new airy home for Hubbard Cincinnati

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The Station of the Cross goes digital in Buffalo

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In South Bend, new studios for Midwest Family

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Spectacular Radio Studios

77 WABC: Pretty as pie in the Big (Red) Apple

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Sponsored by

AEQ • Comrex • Lawo • NBT Tour • SCMS Studio Technology • Telos Alliance • Tieline • Wheatstone

JANUARY 2022

On the Cover: WUBE, Hubbard Cincinnati (see page 36)

Audacy builds a showcase in Miami

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Spectacular Radio Studios

17 studios in the “Heart of America” Cumulus Kansas City has settled into its fine new home

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Below The on-air studio of KCFX, “101 The Fox.”

ts old lease was set to expire at the end of March 2020, so Cumulus Media’s Kansas City cluster designed and built out a stunning new facility with 17 studios at a new location in the Corporate Woods office park in Overland Park, Kan. Signals served by the facility include FM stations KCFX, KCMO, KCHZ, KMJK and KCJK; AM station KCMO; KCFX HD2 with translator K279BI; and KCMO HD2 with translator K273BZ. Construction began in October 2019 and the installation team was given access to the space in January 2020. The migration began in early March, just as the pandemic was ramping up in the United States.

“We moved from a hybrid facility that was 20-plus years old and was a mixture of analog, digital and AoIP

technology to a facility that is 100% AoIP,” said Market Engineering Manager Dennis Eversoll. “This included not only the studio audio but also STL paths that were converted to AoIP.” Cumulus Vice President of Engineering Michael Gay handled the extensive planning, and VP of Technical Operations Yancy McNair was the lead for the physical portions of the installation. Eversoll and his team provided support and muscle as needed while also handling the ongoing engineering needs of the cluster.

The main planning contractor was SHP Architects, which has done several other projects for Cumulus including a similar one in Chicago. The facility buildout was by local contractor Baron Construction, which also handled the IT infrastructure based on design instructions from Cumulus.

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radioworld.com | January 2022

Spectacular Radio Studios Left A view of the technical operations center.

Telos Alliance provided the AoIP backbone and 17 Axia control surfaces, including 12 Fusion and five iQ models.

A new BSI OpX audio delivery system was installed using Axia drivers.

The studios have 66 Shure KSM44A large-diaphragm, side-address condensers interfaced with Wheatstone M-2 two-channel digital mic processors. Omnirax furniture was custom ordered.

Audio processors feed Gates Air IP Link 200 audio codecs that are linked to the transmitter sites via an MPLS circuit.

For redundancy these units allow an automatic failover to a secondary IP source such as standard internet available at each site.

The studios are equipped with ESE clocks as well as a Paravel Systems WallTime system that provides time synchronization.

Color coding of the studios is based on colors in the Cumulus logo, primarily blue. Window and door surfaces throughout feature a material that emulates etched glass; that work was done by a local design contractor, Digital Lagoon.

The 21 racks in the TOC are equipped with Tripp Lite surge suppressors. Power for the studio area passes through an Eaton 40 KVA UPS, with a 250 KW Cummins Onan generator system as a backup power source.

“Given the exclusivity of the office park, the generator was equipped with a sound-baffled enclosure that renders it virtually ‘sound invisible’ while operating,” Eversoll said.

“The unit was sized to run the entire floor — all systems including the HVAC.” He is enthusiastic about the results.

“In all my 50-plus years as a broadcast engineer, I had always handled a studio move within the local staff so the ‘team approach’ was new to me,” said Eversoll.

“The project went incredibly well and turned out to be an amazing feat of engineering, kudos to Michael Gay and Yancy McNair and the upwards of 30 Cumulus engineers who helped out during the project’s 12 weeks of the wiring and setup phase. The facility turned out to be a real showplace.”

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The engineering team was able to get into the space in January 2020, with a hard deadline because the old lease expired at the end of March.

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WNXP opens a Sonic Cathedral This new multimedia performance space serves Nashville Public Radio Above The band Middle Kids performs at the Sonic Cathedral.

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he stations: WNXP(FM) and WPLN(FM), Nashville Public Radio.

The mission: Create a state-of-the-art video and audio recording studio for the purpose of producing live music videos as part of NPR Music.

“As radio broadcast engineers, we know how to build facilities and studios for broadcasting audio on the air,” said Jeff Schroeder of Schroeder Services, the primary installation engineer.

“This studio was audio, video and lighting. Venturing into video switching, DMX lighting, and Dante audio routing and switching is a different world. Different, yet the same,” he said.

“A couple of us have dabbled with ‘live sound’ on a small, analog scale. This is different — in audio, for the sheer number of potential sources. We use a minimum seven mics just for the drums. Doing all of the Allen & Heath SLink protocol and Dante routing alone was a learning

experience. Then doing the lighting.”

The staff drew on friends in the business to help them get up to speed on working with lights and video. “We’re blessed to be in Nashville,” he said.

“But we had a ton of delays due to the pandemic. And we actually changed some of the equipment orders because we simply couldn’t get what we initially wanted.”

One of the changes was going with a Blizzard Lighting console and lights. “This was a blessing in disguise, as their support — while I was learning DMX — was crucial. They are a U.S.-based company and actually answer their phone when you call with a question.”

The Sonic Cathedral occupies what had been Studio C, which served WFCL’s classical music format. When the station flipped to indie rock as WNXP (for “Nashville’s Music Experience”) in late 2020, Nashville Public Radio decided to convert the space to accommodate performances of bands and local artists in that genre. The space seats around 30 audience members.

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Above The control room in a fisheye view.

The stage audio is fed via two Allen & Heath DX168 stageboxes to a front-of-house A&H SQ-7 digital mixer via SLink protocol, then distributed to the control room’s SQ-5 digital mixer, recording computer and personal monitor system with Dante.

There are six A&H 16-channel personal mixers on stage for individual mixes. Powered EAW main and sub speakers are complemented by a half-dozen EAW stage monitors. In the room’s microphone cabinet are Sennheiser e945 vocal dynamic mics and e906 instrument mics, Shure SM57s and 58s, Lewitt drum mics and several other types.

Also on stage: Mapex drums and Hercules mic and guitar

stands, both provided through sponsorships.

A Global Truss system supports the lights, speakers and cameras. At the core of the lighting system is the Blizzard Enigma M4 two-universe lighting controller, managing more than 30 Blizzard and Chauvet stage lights, including pars, bar lights, pin spots and wash lights.

“We have four fixed-position, IP-controlled 1080p StreamEye 10 cameras on the truss for recording on the Atomos Sumo 19 four-channel video recorder. We also feed all cameras into the Roland V-60HD Video Switcher for ‘live mix’ recording and planned future live streaming of performances or events on the websites of either

radioworld.com | January 2022

Spectacular Radio Studios

WNXP or WPLN.” Key components in the control room, apart from the A&H mixer and Roland video switcher, include Quested VS2108 studio monitors and OREI 8x8 HDMI video matrix switcher and video extenders.

For audio recording, Adobe Audition with a Dante driver is used for direct recording or mix-down recording from the SQ-5.

The Sonic Cathedral is equipped with a total of 10 LG HDTVs. Two 42-inch TVs on the stage are fed by the matrix for logos, sponsors or any other creative content. A 75-inch TV is used the same way and can also be used for meetings,

conferences or watching football games.

“There are five 42-inch TVs at the entrance door that typically will be logo’d but are also being fed by the matrix, so we can put anything on them we want,” Schroeder said.

“Most of the TVs are being fed via the OREI HDMI video extenders direct from the matrix — it’s a very cool system.”

Fourteen pieces of art line the ceiling, all by local artists; the canvas frames are backed with sound absorption material to help with acoustics.

Planning and preparation of this project was a team effort led by Nashville Public Radio Chief Engineer Cameron Adkins and VP of Finance and Technology Carl Pedersen.

The architectural concepts and design were provided

by V Three Studios; equipment was through SCMS and SoleSource AV. Jeff Schroeder headed the installation and configuration.

Construction began in February 2021, and the space opened in September with a performance by Nashvillebased artist girlhouse, a solo project of Lauren Luiz.

“Our goal was to create a memorable space to showcase our new music discovery station,” said Nashville Public Radio President/CEO Steve Swenson.

“The Sonic Cathedral has greatly impressed musical performers, labels, management companies but, mostly, audiences. The space far exceeds my expectations not only in aesthetics but also in technical capabilities. We have quickly risen in national recognition for our audio/video performances on NPR Music’s Live Sessions digital portal and locally here in Nashville.”

Mission accomplished.

radioworld.com | January 2022

Above Another view of the Sonic Cathedral space with the FOH position in the foreground.

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Spectacular Radio Studios

The Bronc busts out in a new home

Rider University’s WRRC is a 21st century learning space

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tudents at Rider University who want to learn about the operation of a modern radio or online station now have the opportunity to work on some of the latest broadcast technology.

107.7 The Bronc WRRC(FM) is licensed to the university in Lawrenceville, N.J., part of the Trenton market.

General Manager John Mozes said WRRC was part of a scheduled move of 18 departments. The station itself was moving from the student center to the fine arts building a half-mile away.

Rather than try to continue to use equipment that was as much as 20 years old, WRRC secured backing from the university for a new buildout (assisted, no doubt, by the fact that the station was a 2019 nominee for an NAB Marconi Award as College Radio Station of the Year, an honor it would achieve again in 2021).

“It would be more cost-effective to purchase allnew studio equipment,” Mozes said, “to develop, design and construct a broadcast learning space that would complement the station’s regional and national prominence and present our students with a state-ofthe-art broadcast facility that would make WRRC more competitive when recruiting students.

“Creating a second-to-none learning environment would also help engage and retain students; and more importantly, it would provide them a true competitive edge when entering the job market, post-Rider.”

State of the art WRRC worked closely with Spiezle Architectural Group to create a visually inviting space where current and prospective students and their families, as well as Rider alumni and donors, can see students broadcasting live

Now our students have the same access to the station to voice track, edit and produce at home, as they do at Rider.

on-air, producing a variety of audio projects and perfecting their craft.

Each of the three broadcast/production studios is designed with floor-to-ceiling, soundproof glass walls to not only showcase students at work, but to highlight the state-of-the-art industry equipment they are working with and learning on — an important facet of the project.

One goal was to create three multi-functional studios that could be used for both broadcast and production, to maximize space and efficiency for this busy working and learning environment.

Also, “Since 107.7 The Bronc is a student organization and our student volunteers come to the station from a wide array of majors and minors as well as very different technical backgrounds, we wanted to ensure the new studios were easy to use.”

Thus the studios are built with only minor differences. The FM on-air studio is a stand-up design and features six RE320 microphones, while Production 1 and Production 2/WRRC2 are sit-down studios and have only four mics. Otherwise the studios are indistinguishable.

“One of the other goals of this project was to provide the students with even more learning opportunities,” Mozes said. “We made the most of the new studio space — and the addition of WideOrbit Automation for Radio and our new MusicMaster music scheduling software — to add a second, internet-only radio station, 107.7 The Bronc Retro/WRRC2, which the students have programmed to play ‘The Classic Hits of the 50s, 60s, 70s, 80s and 90s’ to complement the ‘Biggest Hits and Best Variety’ of WRRC(FM).”

The stations can also be heard via Apple, Google Play and Amazon Alexa.

WRRC’s WideOrbit Automation for Radio system is integrated with and works in conjunction with Google Drive, which means both 107.7 The Bronc and 107.7 The Bronc Retro’s entire song library and complete collection of underwriting announcements, PSAs and station imaging are routed to and from Google Drive. “We use absolutely no hard drive space to store and play back any elements on the radio station.”

Because IT departments are understandably protective of their internal and external network systems and wary

radioworld.com | January 2022

Spectacular Radio Studios

Left 107.7 The Bronc’s on-air studio.

Below Station members are seen at work in the 107.7 The Bronc studios, as viewed from the reception area, which picks up on design elements of the studios including their cabinetry color and surface.

13 about who can access them, the station’s student engineer, Anthony Collesano, facilitated a system where all three of the studios, as well as all 15 computers that operate the radio station 24/7, are able to be accessed through AnyDesk, a free remote desktop application.

“Now our students have the same access to the station to voice track, edit and produce at home, as they do at Rider.”

“Cool visual flow” Assembling of the studio space began with cabinetry from Studio Technology, including custom-built red cabinets with Corian counters.

“Vince Fiola and his team designed, constructed and installed all of the studio cabinets, including incorporating and integrating the reception desk into the overall design, so it perfectly matched the consoles in each of the three broadcast/production studios for a cool visual flow.”

Key components of this beautiful new facility include Wheatstone L-12 and L-8 consoles, supported by 14 talent stations, mic processing Blades and AirAura X1 audio processor; WideOrbit Automation for Radio; MusicMaster; EV RE320 microphones with Yellowtec mic arms; Genelec 8020DPM and KRK RP5G4-NA speakers; Telos VS Prime and VoIP Talkshow system; and Denon Pro DN-500CB CD/ media Bluetooth players. Two Comrex Access rackmount receivers came over from the old facilities; everything

else is new.

The air chain also includes a GatesAir IX-IPL200-DPKG codec package as STL, a BW Broadcast TX50 V3 transmitter and a Comrex BRIC-Link II IP audio codec.

Dealer SCMS was the source of much of the equipment.

Mozes and consulting firm Public Media Engineering, led

by Peter Femal, were the technical leads for the build.

The design was produced by a collaboration of WRRC, Rider’s facilities department and the architects at Spiezle.

Schiller and Hersh Associates handled mechanical and electrical engineering, while construction was done by V.J. Scozzari & Sons Inc. The project was completed in the summer of 2020.

radioworld.com | January 2022

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AoIP goes to work at Sherbrooke station

University station CFAK(FM) wanted quality on a budget Above The air studio.

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ollege station CFAK(FM) on the campus of the University of Sherbrooke in Quebec, Canada, recently moved into two new studios equipped with a self-contained AoIP network, a good example of putting AoIP to work in a smaller context in the post-COVID world.

“Following a move to new premises, we had to review the technical architecture,” said Special Projects Manager Jesse Fafard Théorêt. “So we had to prepare a broadcasting studio as well as a production studio.”

Technical services were provided by Jean-Philippe Vallée of Marketing Marc Vallée, and Jocelyn Blanchette and

Nicolas O’Malley of Audiobec Sound & Video.

Branding work was done by Director of Marketing Marie-Hélène Ste-Croix in collaboration with Bryan O’Malley of communication agency Bravad and Steve Labbé of Productions Underground, who worked on the station’s sound imagery.

The studios are built around Wheatstone Audioarts DMX-16 and DMX-8 console surfaces with mix engine, equipped with IP audio I/O and self-contained with no external Ethernet switch needed. The station uses Jazler SOHO automation and ElectroVoice RE20 and RØDE Procaster microphones.

radioworld.com | January 2022

Spectacular Radio Studios Other notable components include JBL 308P MkII powered studio monitors, O.C. White ProBoom Ultima Gen2 and Podcast Pro mic booms, and Dell touchscreen PC monitors. Acoustics were designed by architects of the University of Sherbrooke. Custom cabinetry was sourced locally.

A student fee helped pay for the job. General Manager Éric Laverdure was quoted by Wheatstone saying, “The money for this project was provided by the students. They believe in the station so we wanted to create one that was on par with any you’d find in Montreal.”

The project certainly was an upgrade for CFAK, which had been working out of one studio in a dorm that lacked air conditioning.

“For radios with a small budget, there is a false belief that the professional equipment offered by the big suppliers in North America is inaccessible or too expensive,” said Fafard Théorêt.

“With a limited budget and good organization, we have come to the conclusion that suppliers such as Wheatstone have affordable and quality product lines that are very accessible to us. Students and volunteers are highly motivated to work in the new facilities.”

Right A view of production from a WhisperRoom voice booth.

Below Another view of the production room.

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radioworld.com | January 2022

Spectacular Radio Studios

CBC/Radio-Canada has a new broadcasting center

For radio alone, 13 new studios, 15 audio booths and a new master control

Below An audio technician at the desk of Studio 1, the facility’s biggest radio studio.

The IDS display system is to the technician’s left and, above the window, the Lawo Ruby Surface, VisTool displays and Dalet playout.

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he new Maison de Radio-Canada in Montréal is the headquarters for the French-language network of Canada’s national public broadcaster, CBC/Radio-Canada.

It houses production facilities for the public broadcaster’s television, radio and digital content. CBC/Radio-Canada offers diverse content in English, French and eight Indigenous languages; it also delivers content in Spanish, Arabic, Chinese, Punjabi and Tagalog through Radio Canada International (RCI).

“CBC/Radio-Canada’s previous building, built in the 1970s, no longer met our needs as a 21st-century public broadcaster,” said Supervising Audio Engineer François Goupil.

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Photos courtesy CBC/Radio-Canada

“Neither the workspaces nor the production infrastructure fit for our current workflow. Moving to a brand-new facility right across the street, the new Maison de Radio-Canada, gave us the chance to fully embrace the AoIP world. We had the chance to start from a clean slate.”

Building construction began in 2017 and the first radio studios were delivered in August 2020. The radio studios are now fully operational. Colleagues on the TV side are currently moving production from the old building to the new one, starting with CBC/Radio-Canada’s Frenchlanguage all-news network, ICI RDI. For radio alone, the facility has 13 new radio studios, 15 audio booths, a new master control and all of the supporting facilities, using SMPTE 2110-30 audio networking.

“CBC/Radio-Canada is one of the first broadcasters in the world to rely on IP technology end to end — i.e. from production to distribution, across all of its platforms,” Goupil said. “This technology is allowing us to reduce our environmental footprint, since the equipment takes up less space and uses less energy.

“Apart mostly from the microphones and loudspeakers, at completion, all audio signals will be carried using the 2110-30 standard, from our studios up to our satellite uplink.”

He said integration of AoIP devices from multiple vendors has been a challenge, since they have slightly different implementations of the standard.

“We sometimes had to discuss with their development teams in order to improve their device’s compliance.

However, this is a win-win situation, since this collaboration enabled us to better integrate their devices on our network and they gained a better compatibility towards the 2110 and NMOS (for control) standards. This project is a big push towards standards that will allow AoIP equipment from different manufacturers to better integrate together,” Goupil said.

“AES-67 is a lowest common denominator that allows signal interchange but it is not complete enough for full integration. Preexisting formats such as Dante and Livewire work great in a pro audio environment that doesn’t require automated control, but they are closed standards that don’t allow us to talk directly to the equipment. Thus our choice of SMPTE 2110 for audio and NMOS for control,” he continued.

“Broadcast equipment now offers good compatibility

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Spectacular Radio Studios

CBC/Radio-Canada is one of the first broadcasters in the world to rely on IP technology end to end — i.e. from production to distribution, across all of its platforms. but there is still work to be done with AoIP professional equipment — wireless microphones for example — that are challenging to integrate in a broadcast environment where we need full control and open standards.”

This project was led by François Legrand, CBC/RadioCanada’s senior director for capital projects. A team consisting of Jocelyn Jobin, Dai Dam and Nicolas Ouellet from engineering, Michael Néron from production, François Goupil as audio engineer and David-Alexandre ProulxLeboeuf from maintenance took care of the radio studios.

Goupil’s role was to create a link between the studio users and engineering so that the facilities would meet or exceed users’ needs. “I was therefore in charge of building the Lawo Power Core configurations, creating the VisTool GUI, consulting with users about the studio layouts and making sure that all the peripherals integrated well with the new equipment.

“Being a large-scale project, there were a lot of other people involved, since the whole facility was built from scratch.”

The firm of Broccolini was in charge of construction. The building was designed by Béïque Legault Thuot Architectes (BLTA) and Quadrangle Architects, with Dupras Ledoux responsible for electrical and mechanical engineering.

“In terms of studio integration, all the work was done in-house, with the exception of wiring, which was handled by external contractors — L. Cadecom, Telecon and many others,” Goupil said.

The radio studios were designed around Lawo’s Ruby audio console, running on the Power Core platform. The studios all have physical controllers with 16 to 24 faders, while smaller booths have touch monitors running Lawo’s VisTool, presenting the user with virtual faders.

“The new consoles being much smaller than the ones we previously had, we were able to mount all of the critical systems under the operator’s table and all of the other devices, such as Telos VX Enterprise phone servers and Comrex codecs, in a server room away from the studios.”

Microphones are mainly Neumann BCM 705 while speakers are from Genelec. The playout system is Dalet, and studio information displays are from IDS Digital. The cabinetry in control rooms is by Sustema Consoles, while local shops provided custom furniture for the studios. The Media IP network is built around Arista switches.

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Above Studio 49, used for ICI Musique, CBC/Radio-Canada’s French-language music service.

This studio has a smaller Ruby surface, with both the operator and host in the same room.

Below Another view of Studio 1, with the custom table designed for hosts and guests. “After many years in windowless studios, it is really nice for our teams to be able to see outside,” said Goupil. There is a grand piano at the back for live musical performances.

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Urban One invests in studio space New Atlanta room will support Rickey Smiley, Willie Moore Jr. and other shows

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new studio is nearing completion at Urban One’s office Atlanta.

The company’s Radio One and Reach Media arms have operations there, and this studio will be used by Atlanta-based members of “The Rickey Smiley Morning Show,” which has its main studio in Dallas. The room will also serve as the main origination studio for “The Willie Moore Jr. Show” and “The Nightly Spirit.”

The job was nearing completion in mid-January.

“This was a single-studio buildout, but not a small project,” said Radio One Atlanta’s Chief Engineer Vic Jester, who was network lead on the project. Physical construction and design were done by Warren-Hanks Construction and McAfee3 Architects. Integration was principally by Bohn Broadcast Services, which sent Paul Burt and Micah Dempsey as on-site engineers for the job.

“We utilized space that had been a temporary production studio and adjacent show prep area. We completely removed all existing partition walls, floor and ceilings,” Jester said.

“We then constructed new double-stud interior walls with double drywall layers on both sides, a new outer sound isolation wall inside the existing building’s exterior wall, and a new hard ceiling, spring-suspended from the overhead, for isolation from the floor above.”

The team then installed sound absorption insulation fabric to the interior wall surfaces to match Urban One’s existing suite of studios. “We’re on the 12th floor of a downtown high-rise building, so excellent sound isolation is required from street noise and adjacent tenants.”

One transition in evidence here is the move to audio over IP. “Our facilities were constructed when AoIP was on

the horizon but not yet a viable option. Our core router and studio worksurfaces are all TDM-based. We are in the processing of transitioning to WheatNet IP-based audio routing but are not quite at the point where we can completely move to that.”

So they chose to repurpose a Wheatstone G-4 digital work surface and satellite frame inherited from the purchase of a

We’re on the 12th floor of a downtown high-rise building, so excellent sound isolation is required from street noise and adjacent tenants. radioworld.com | January 2022

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station and integrated it into the existing router system.

“It’s a testament to Wheatstone that they are still able and willing to support 16-year-old infrastructure in this respect. The new studio isn’t completely TDM-based, as we do have WheatNet IP-based Blades in the studio for microphone processing and control functions.”

Key elements also included WideOrbit Automation for Radio, and VoxPro and Adobe Audition for audio editing.

The team repurposed its EV RE30 microphones, Stanton dual CD deck and Mackie HR824mk2 powered monitor speakers. They purchased new Yellowtec monitor and mic arms as well as a new Wheatnet M4 Mic processor.

Custom cabinetry was by Studio Technologies, whose owner Vince Fiola drove to Atlanta from Philadelphia to deliver.

“We plan on installation of studio lighting and cameras to provide video for our web division. My former Assistant

CE Jason Staten, who now works as an independent movie lighting technician, has been the lead designer of that component.”

Jester noted that many radio broadcasters are in a time of transition in how they manage such projects.

“Some companies are considering how to scale back on office space. Some are in the process of downsizing every part of their operations. In this case Urban One is investing in studio space and creating an environment to allow network operations to expand. It provides a space where air talent and producers can collaborate in person, thus offering a better product to affiliates.

“Reach Media Radio Division CEO David Kantor, Atlanta VP/ GM Tim Davies and VP of Engineering John Soller were willing to invest in the infrastructure here, particularly when many other companies are reducing or eliminating their ability to produce content.”

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Spectacular Radio Studios

Slammed by storms, a Cumulus cluster rebuilds

Studios for six stations in Lake Charles, La., spring up after hurricanes

I Below Stefanie Adams at work in KKGB’s control room.

n 2020, less than two months apart, Hurricane Laura and Hurricane Delta hit the studios of Cumulus Media in Lake Charles, La. Its building was left unusable.

“After the structural issues were addressed, including replacing the roof and repairing every wall, floor and ceiling, we completely rewired the entire building, and rebuilt studios for each station,” said Greg Davis, chief engineer for Cumulus in Lake Charles and in Beaumont, Texas, an hour to the west.

The Lake Charles stations include KYKZ 96.1, KKGB(FM) Rock 101, KBIU(FM) Hot 103.3, KQLK(FM) Nash Icon 97.9, KAOK(AM) SuperTalk 1400 and KXZZ(AM) Sports

Radio 1580.

“The combination of a city in disaster recovery, coupled with a global pandemic, created issues that were unforeseeable,” Davis said.

“First, finding a construction crew was difficult, as everyone in town was looking for one, and the large majority of people had left town because their homes were destroyed. Then the crews would get sick, which would cause delays. And finally, supply chain issues caused additional delays waiting on materials and supplies.”

The project included seven studios and two production rooms.

“Since water penetrated all exterior walls, we also had

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Spectacular Radio Studios to completely replace the TOC,” Davis said. “This included BSI’s OpX automaton, network equipment, streaming, satellite and station monitoring equipment. We installed a Comrex Access system for remotes. And we rebuilt all sales, business and office staff’s offices.”

The project leader was corporate Director of Engineering Robert Combs, with studio design and organization by VP of Engineering Michael Gay. The studio construction crew was headed by VP of Technical Operations Yancy McNair and included Justin Tucker, Bryan Waters, Sam Michaels, Bobby Dotson and Josh Hartin, most of whom came in from other markets to help.

Greg Davis coordinated the local contractors, monitored their progress and advised them on the special needs of a broadcast facility, while assembling and wiring studios along with the visiting engineers.

Key components include Axia iQx consoles, Telos VX Broadcast VoIP phone system, Omnirax furniture, EV RE20 mics, Wheatstone mic processors, Yellowtec mic arms, Cisco switches, Gatesair IPLinks and Middle Atlantic racks.

“While the studios were unusable, we brought our BSI OpX automation system to our neighboring market in

The combination of a city in disaster recovery, coupled with a global pandemic, created issues that were unforeseeable.

”

Beaumont, Texas,” he said.

“We used GatesAir IPLink200 units to transport audio over the internet. Though internet was difficult to come by immediately after, we later installed ViaSat satellite internet. While this was not ideal, it worked well to provide quality audio to the site when there were no local internet providers available.”

Most of the new equipment was purchased through Broadcasters General Store. “They worked very hard to make sure we receive everything we needed, even in a time when some things were hard to come by.”

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Below The Technical Operations Center also had to be rebuilt.

Spectacular Radio Studios

IB3 upgrades its radio production centers Balearic radio station puts AoIP to work

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Below Pedro Sureda Morro is technical director of IB3 Radio.

B3 Radio is the radio station of the Public Entity of Radio and Television of the Balearic Islands, owned by the Balearic regional government in Spain.

The station took an important step towards digitalization in 2021 with a project involving four production centers, each on a different island.

According to IB3 Radio Technical Director Pedro Sureda Morro, the work involved installing new AoIP mixing consoles with Dante connectivity and ancillary equipment, as well as acoustical conditioning of production studios and recording cabins at Network Headquarters on Mallorca and at local facilities at Menorca, Ibiza and Formentera.

Sureda led the project in coordination with Bernardo Saiz, sales manager of AEQ, who has a long relationship with IB3. AEQ was awarded the contract to supply and install the AoIP infrastructure, including Atrium and Forum IP Split consoles. Its work also included the systems engineering, installation and studio cabinetry.

There are a total of five Atrium and five Forum IP Split consoles among the locations at Palma de Mallorca, Menorca, Ibiza and Formentera islands.

New Systel IP 16 talk-show systems handle broadcast communications at the Menorca and Ibiza studios.

“AEQ also provided the bespoke technical furniture for the new mixing consoles, including a very aesthetically pleasing and functional studio desk for the main studio in Palma de Mallorca,” said Sureda. “This has been designed and prepared to encompass visual radio broadcasts.”

The infrastructure provides networked audio connectivity

over IP, with analog/digital backup in all of the production centers, for which some additional components were added. These include managed network switches to run local audio and control networks in the studios; a Dante IP audio connection card to connect 64 audio channels to the consoles in Palma de Mallorca from an existing AEQ BC 2000D matrix switcher; monitor speakers; amplifiers and headphone distribution; audio line, microphone and headphone connector panels; and patch panels for backup audio connecting the matrix to the consoles in parallel with the IP audio.

He highlighted the AEQ Atrium consoles for providing flexibility that will encourage dynamic and interactive radio.

“In our case, the Atrium Mixing Console at the Main Studios in Palma have been rendered a customized functional adaptation that allows two operators to operate in parallel: a second Control and Monitoring Module,” he said.

“This second control and monitoring module has been programmed to be used by the producer to support the console technician for certain programs where the technician is required to fully focus on the audio mixing and cleanfeeds. The producer is actively supporting the technician by preparing content by contributions, organizing telephone calls, coordinating the mobile units and other resources, such as intervening on-air in sports programmes, providing information and data on the events taking place in real time.”

He described this as task sharing where the control technician can handle the inputs and outputs of the console, the studio and its guests, while the producer is in control of all the communications including talkback and intercommunications for control and studio and the other network locations, remote/OB units and remote communications.

Some support gear was carried over from its earlier facilities including Genelec 8050A monitors, Sennheiser MD 441 mics and AKG K141 headphones.

Macustica won the public tender to provide acoustical conditioning. Technical Architect Antonio Martinez designed and coordinated the acoustic conditioning.

“An absorbent coating for walls was chosen, formed by the combination of different grooved wooden panels from IdeaTec with high acoustic absorption, Eurocoustic Tongar A22 ceiling tiles and Gerflor vinyl flooring with high level damping of impact noise,” said Sureda.

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Spectacular Radio Studios

Above A studio at Network Headquarters in Mallorca sits ready for guests.

Left The AEQ Atrium and RTC Control software are shown in the Main Studios in Mallorca.

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Spectacular Radio Studios

Go Big Red: A new radio network for the Huskers University of Nebraska brings multimedia in-house

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Above At work in the Huskers Radio Network Broadcast Center

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he Athletic Department at the University of Nebraska became the first major U.S. college athletic department to bring its multimedia operation fully in house, starting with the 2021–22 sports season. Part of the challenge was to bring up a statewide radio network on a very short timeline.

Director of Broadcast Operations Mike Elliott said the new facilities serve the Huskers Radio Network, with its 50+ radio stations across the Midwest, plus internet audio broadcasts across the world on Huskers.com and the official Husker App. “This was not your typical radio station operation with ‘studios,’” Elliott said.

“The Huskers Radio Network had to be built to support up to four simultaneous live Husker sporting event broadcasts to terrestrial radio affiliates, with up to eight live simultaneous internet radio streams of live Husker sporting events and programming.”

The network has the capability to send a live video stream of the network’s “Sports Nightly” talk show, heard on more than two dozen terrestrial radio affiliates, plus internet radio streams and free live video streams on YouTube, Huskers.com and the app. The show produces audio and video two hours a day, five nights a week, 52 weeks a year.

The Broadcast Operations Center has five live event production pods. Video can be ingested from any Husker

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“” model.

Spectacular Radio Studios

Instead of sending producers and engineers to remote sites, we designed a radio version of the TV REMI

Athletics venue, and audio from anywhere across the globe.

“Private video capability with ultra low latency — under half a second — is part of the Broadcast Center to accommodate non-traveling, COVID-safe broadcasting of any home or road game, with talent in isolated studios and/or offsite locations around the country,” Elliott said.

“All audio connectivity to remote sites was using Tieline technology and products.”

Bilingual broadcasts of all Husker Football games was a requirement of the facility, utilizing announcers at remote sites, often different remote sites for every game.

Elliott designed and built the Broadcast Operations Center and all REMI systems, with support from various Husker Athletics departments.

“When Nebraska Athletics made the decision to bring their radio operation in house, they asked me to join the Athletic Department as Director of Broadcast Operations,” he said. “Initially that was system design, RFPs, buildout, testing, and training of all staff to operate and produce Husker broadcasts.”

Elliott said the department took an unusual approach to producing road game radio broadcasts.

“Instead of sending producers and engineers to remote sites, we designed a radio version of the TV remote integration, or REMI, model. We send on-air talent to road games but do not send production or engineering staff.

Using Tieline Gateway and Via codecs and their Cloud Codec Controller technology, a simple road kit travels. Each and every road game announcer microphone is individually returned to our Broadcast Operations Center. Each and every road talent has their own individual IFB mix to the broadcast operations center production team.

“Every remote game-site talent — play by play, color, stats, even the sideline reporter — appear on individual ‘pots’ on the Husker Broadcast Center pod assigned to that game,” he continued.

“With Wheatstone LXE and AoIP technology, we can easily generate custom mixes, and adjust any needed audio processing for each and every road game microphone while mixing at the Huskers Broadcast Center.”

For example, if the color announcer wanted to hear more nat sound, that’s handled at the broadcast center. Included in the return feeds are various nat sound feeds from the remote venue.

“Furthermore, all of these feeds are also available to mix into the Spanish broadcast, with the Spanish broadcasters at another remote site.”

They use MaxxKonnect Wireless for automatic failover connectivity to the REMI road kit, with stadium Ethernet as the primary.

“Using the Tieline CCC we had full monitoring and control of the Tieline equipment at the game site, no matter what IP patch the signals were taking.”

Below Tieline and WheatNet equipment is visible in the rack area.

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Spectacular Radio Studios Right A producer position to monitor and operate the HDVMixer video production system.

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Setup at the remote site, he said, is simple. “Plug in Ethernet from the venue. Plug in headsets. Mount the antennas for the sideline reporter wireless. Power the kit up and the Huskers Broadcast Center takes over from there via Tieline CCC and VPN connectivity to the REMI kit.”

Given changes coming to satellite distribution, Elliott continued, the school decided not to set up a satellite uplink to distribute the network, as had been done in the past.

“We elected to not invest in a satellite system, instead to design and implement an independent redundant IP-based radio network audio and control distribution system. I designed a system using Barix hardware with full dualprovider redundancy, which has proven to be an excellent distribution system to all terrestrial network affiliates.”

The timeline to complete this project was remarkable, especially given current supply chain challenges.

“The decision to bring the radio network operation in house at Husker Athletics was finalized in the early second quarter of 2021,” Elliott said.

“System design had to occur in record time, with RFPs in place for all interested bidders through the University of

Nebraska public bidding process. RFPs were posted, bids accepted and reviewed, and bids awarded in the second quarter of 2021.”

Key technology components include the Tieline Gateway, Via, Cloud Codec Controller and ReportIT systems; Wheatstone WheatNet, LXE surfaces and StreamBlades; HDVMixer video technology; Telos VX Prime VoIP phone system; Barix codecs; and RCS Zetta automation. Dealer Broadcast Supply Worldwide provided much of the equipment.

Most of the products arrived at the stadium loading dock on May 27, which Elliott called “a herculean effort” by the suppliers.

“Our first live radio network broadcast from the new Huskers Broadcast Center was June 28, 2021 — that’s from a completely open space on May 27, to a complete live radio and video production/live studio facility, including IP radio network distribution to 50+ sites, live video and audio streaming, full automation signaling to affiliates and training production staff.

“Then over the next month we built and prepared for all live game-site production with our new radio REMI model of no traveling producers or engineers.”

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Spectacular Radio Studios

EMF studios in Tennessee are quick-change artists Four-room buildout in Franklin, Tenn., supports multiple networks

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n 2021 Educational Media Foundation, parent of the K-Love and Air1Radio networks, completed a four-studio buildout at its facility in Franklin, Tenn., to support expansion of broadcast content into Nashville, which is the market where most contemporary Christian music originates.

A clever twist is that the branding visualizations in each studio can be changed with the push of a button, bringing up a unique “look” for K-Love, Air1Radio, WTA and AccessMore, as well as a few other settings.

This is accomplished with custom scripts that alter the lighting colors, wall displays and digital displays. The same command brings up the DJ’s personalized settings.

Principal Studio Engineer Bill Jackson led the design and installation effort, and members of the organization’s Studio Technology, Engineering and IT Teams provided expertise and assistance.

These studios are part of EMF’s nationwide AoIP network.

Key components include Axia AoIP infrastructure; RCS software including Zetta automation; and several products from Angry Audio.

“Our content creation and delivery systems are designed with talent workflows in mind, not just engineers,” said a member of the EMF team. “This allows for creators to adapt to new environments quickly and be successful in their efforts.”

“

Above This series of photos shows how the studio branding can be changed.

Our content creation and delivery systems are designed with talent workflows in mind, not just engineers. radioworld.com | January 2022

Spectacular Radio Studios

A bright new airy home for Hubbard Cincinnati Music-heavy FM cluster gets a new AoIP-based facility Clockwise from top left The WUBE air studio.

Another air studio view.

A large and welcoming lobby.

Station branding is carried through on the doors of this hallway.

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nother showstopper can be found at the new studios of Hubbard Radio Cincinnati, which as of August 2021 is home to FM music stations WUBE, WKRQ, WREW and WYGY as well as marketing firm 2060 Digital.

Thomas Getter, who joined the cluster as director of engineering toward the end of the project, said the work involved moving from four floors in an aging, shared facility to two floors of a brand-new, dedicated building with 12 studios, four tracking rooms and a lobby with sufficient space for a small live performance.

Former Director of Engineering Brett Patram was the lead on this project, working alongside Hubbard Corporate Vice President of Engineering Dave Garner and Corporate Director of Facilities & Security Thomas Rehkamp, while Kevin Surgeon provided contract engineering services.

RadioDNA was the integrator. The project developer was Cushman & Wakefield, with architecture by Phoenix Architecture and general contracting by DB Solutions.

Perfection Group handled HVAC. The STL and RF coordination were by Waterford Consultants. Protocol Communications provided wiring and low-voltage work.

Major technology choices include Telos Axia Element and Fusion consoles and AoIP infrastructure; custom cabinetry by Studio Technology; RCS Zetta automation, supported by Dell EMC physical hardware; and EV RE20Black mics at every position, mounted on Yellowtec M!ka arms.

The physical layout of the rooms and cabinetry was important, given that each air studio has 10 24-inch display monitors, six microphones, three Wheatstone VoxPro machines, four Telos VX handsets, and full mic on/off control at each guest position.

Among the many cool things about this facility, according to RadioDNA owner Rob Goldberg, is that the programming staff is making heavy use of its new MultiCam Systems video equipment. The PTZ cameras are networked, with three control points, so they can be brought up in any studio; and the team has programmed the system with scenes, sequences and logos. The video also is integrated with the AoIP network, so its audio comes up as sources there.

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Spectacular Radio Studios

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The Station of the Cross goes digital in Buffalo

Holy Family Communications upgrades its network operations center Above Studio A

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oly Family Communications Inc., a 501 (c) (3) non-profit organization, is the umbrella company for The Station of the Cross Catholic Media Network, headquartered in Buffalo, N.Y. and comprising 16 terrestrial stations (both FM and AM) and the iCatholicRadio app, which has a strong worldwide presence and continues to grow rapidly. Its programs can also be heard at thestationofthecross.com.

Founders Jim and Joanne Wright and the board of directors approved a new initiative to revamp and migrate a 100% analog infrastructure to a completely digital AoIP network operations center.

The transformation came to fruition under the leadership of Bill Havas and Michael Buttino, who oversee the technical operations and engineering departments, and through the guidance of Rob Goldberg, founder and CEO of RadioDNA, which provided onsite services, installations and

training. RadioDNA continues to provide critical ongoing remote support.

“This project involved upgrading two live production studios and facilities in our computer rack room,” said Jim Wright.

“Previously, these studios had analog consoles with thousands of feet of shielded analog cable.

After considering many vendors, we determined that Wheatstone and the WheatNet platform best suited our needs. The upgrade included a migration to the WideOrbit Automation for Radio platform.”

Phase 1 included the installation of the WheatNet Blade infrastructure to replace analog routed devices. At that time a Glass LXE virtual studio was installed for remote operation of live radio shows from the state of Maine.

Phase 2 involved the decommissioning of eight older automation servers servicing the network and replacing them with two commercial-grade WideOrbit

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Spectacular Radio Studios servers, running four instances each with two redundant failover servers.

“This WideOrbit setup uses a leader-follower configuration. The system has complete remote access capabilities via our virtual private network. Show hosts and guests connect from all over the world via the internet with Comrex codecs. During this phase, the server for our iCatholicMusic internet music station that features all Catholic artists was also upgraded to WideOrbit.”

Phase 3 was completed with the purchase of Wheatstone all-digital mixing consoles for two local studios with remote board-op access from Florida. This allows The Station of the Cross to fundraise with fully remote on-air hosts and crew.

Most shows are produced remotely and are streaming live audio and video to Facebook, thestationofthecross.com, and the iCatholic Radio mobile app. Additionally, the phone system was upgraded to the Telos VX Prime+ VoIP system, with remote call screening for live call-in shows.

The main studios use EV RE20 mics, routed to a WheatNet M4 Blade for audio processing. “Having the processor in the audio chain has made a significant improvement in the voices of our talent,” Wright said.

“Whether live or recorded, this was one more addition to our digital AoIP network that was worth every penny.”

Technical Operations Manager Bill Havas said he and Wright are fans of Wheatstone’s IP Meters software.

“There is a 42-inch flatscreen monitor across from the studios. We have every audio source and destination on meters for the production department, engineering, remote broadcasts and network feeds, on a 16-by-16 grid, with room to spare. At a glance we can determine if we have lost a feed or confidence monitor. The meter changes color upon an audio loss,” he said.

“We have a bank of 36 alarms that email on-call staff members if something goes down. We also have the capability to use up to 16 POTS dial-out numbers to place alarm calls when problems occurs. The goal is to be notified

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Previously, these studios had analog consoles with thousands of feet of shielded analog cable.

Above Bill Havas at work in the rack room, which includes hardware for the WheatNet and WideOrbit systems.

Below Studio B

when something crashes.”

The operation includes the aforementioned “virtual studio,” using a Wheatstone Glass LXE user interface. A producer, who works remotely, dials into and runs the show; his hosts are also remote, connected by codec to the site in Buffalo, so the entire production is done remotely.

“We also just installed another Wheatstone virtual Glass program that allows us to remotely control our Studio B console from other locations. We have three off-site studio board operators who can utilize both of our Wheatstone Glass virtual consoles, which adds versatility to our network,” Havas said.

Behind the scenes is a technical room with 12 racks, home to WideOrbit servers, WheatNet hardware and 18 Comrex BRIC-Link II IP codecs for remote audio and to transport audio to the transmitter sites.

“We also utilize seven Barix Instreamers to route audio to our iCatholic Radio application. We have several markets in which we provide local content to via our web streams.”

The Station of the Cross receives program content from several other Catholic radio outlets, via six Barix Exstreamers, and has a C band satellite feed from EWTN. “This two-year migration to a fully digital platform has propelled The Station of the Cross to current digital industry standards and sets it apart as a pioneer in Catholic media programming,” Wright said.

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Spectacular Radio Studios

In South Bend, new studios for Midwest Family

“It’s a good lesson on how far one can go to provide quality programming while keeping your staff safe”

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Below WSBT(AM)’s studio.

n May of 2021, Midwest Family in South Bend, Ind., moved six stations — WSBT(AM), WNSN(FM), WZOC(FM), WQLQ(FM) and two analog translators carrying WQLQ’s HD Radio multicast channels — from their home of 13 years to another building.

“In total this was a buildout of offices, 10 studios and a 37-rack tech center, backed up by generator — all during a pandemic,” said Chief Engineer Bob Henning. “​This involved not only moving stations, but also an upgrade of WideOrbit automation; a change in how the

signal got to the transmitters; the implementation of automated voicetracking from out of market; and the introduction and implementation of Axia technology into our plant, including running of closures over the Axia network — all while the stations were being operated from another location,” Henning said.

“It also included some rewiring at the transmitter sites, along with a complete redo of all the IP networks at the transmitter sites for security, and the creation of internal networks at the studio. It’s a good lesson on how far one

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Spectacular Radio Studios can go to provide quality programming while keeping your staff safe, a real test of imagination of how to make things work successfully.”

Henning led the project with help from veteran Engineer Mike Sienicki and IT Specialist Jack Edgarton from IP Solutions. Building and HVAC plans were by Josh Johnson, senior architect at Architectural Design Consultants.

“No station was off at all during this process. I regard this as a team effort by too many to mention here. Like many people starting their day, I walked in with five things to do, and on most days I never got to any of them. At one point the entire project was shut down because everyone in the building had COVID, even though appropriate protocols were observed.”

The stations use WideOrbit version 4.0 and the Telos Axia infrastructure. “All the production and control rooms use the WideOrbit Axia driver instead of on-board sound cards.” There are three types of Axia surfaces in the plant, with the main control rooms outfitted with Axia Fusions.

Custom cabinetry is from Omnirax. Electro-Voice RE20 mics were brought over from the old location, supported

by Yellowtec M!ka arms. “Everyone likes the arms that light up.”

Additional components include a Telos phone system; Comrex BRIC-Link II, Access and NX codecs; and a Moseley STL for two stations.

“We put the Paravel Systems WallTime in, too. We have it with the audio meters on the wall of each control room. Of all the neat things in the studio, those items hanging on the walls get the most attention.”

Also installed and waiting for in-person work to resume are two creative studios and a podcast talk studio.

Additional key services and products were provided by Second Opinion Communications and Broadcasters General Store.

With so many people still working at home, Henning said the cluster is making maximum use of technology for remote access.

“There are more than 300 Axia inputs here, and we are still building options and inputs in for these radio stations, which include the six separate signals in the market mentioned. This project could be best described as a moving target; it is really ongoing. I never have learned so much about elevators, by the way.”

Asked about other lessons learned, Henning said, “This was not my first project of this nature, but if I had

Above The air studio for WQLQ, “Live 99.9.”

a do-over, it would be to use an integrator. Some details and the input that an integrator can provide based on his experience are worth the money. There are many pitfalls that you may avoid, especially if you haven’t done a project of this size.

“Also, use the Axia worksheet to figure out everything you want for nodes and inputs; it’s an invaluable method of doing things. Make sure your phone needs are planned out, and that the furniture person knows exactly what you need. I had a good partner with Omnirax, whom I’ve used before; they pointed out options like an outlet/USB connector in the furniture that I know will be of great use.”

Henning expressed gratitude to the employee stockholders of Midwest Family.

“They trusted me to build studios that will grow as technology moves on here in a small market. A goal from the engineering standpoint was to run the entire place from a laptop in order to make adjustments in an emergency. I am happy to say we have accomplished that, and may not have to go the station on Christmas Eve.”

A goal from the engineering standpoint was to run the entire place from a laptop in order to make adjustments in an emergency. radioworld.com | January 2022

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77 WABC: Pretty as pie in the Big (Red) Apple It’s the first broadcast facility built by business mogul John Catsimatidis Above What started as the WABC primary local control point is now also the Red Apple Audio Networks primary control point.

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ere’s a look inside the new studio facility in the Midtown East part of Manhattan was built by Red Apple Media to serve iconic AM station 77 WABC, wabcradio.TV, 107.1 WLIR Riverhead and Red Apple Audio Networks.

“This studio build is a result of John Catsimatidis purchasing 77 WABC from Cumulus Media in 2019,” said Dan Hirschl, vice president of engineering for Red Apple Media.

“The build included three news desks, two talk studios with associated control rooms, two production rooms,

video control room and a TV studio/live performance area.

WABC needed to move from our legacy studios at 2 Penn Plaza not only because of the sale, but because of buildingwide renovations and lease complications.”

The Red Apple Media build of 77 WABC is the first broadcast facility built by Catsimatidis, the noted New York City businessman.

Hirschl was assigned to lead the studio relocation project and make the key infrastructure choices, supported by the regular involvement of Chad Lopez, the president of Red Apple Media, and other senior managers.

DNAV, Data Wave Inc. and Meridian Design were all involved in the planning and integration.

“Red Apple group, having long ties to the city and construction in general, was able to leverage its own relationships to fill out the roster of subs needed to complete the project,” Hirschl said.

“Empowered by Chad Lopez to ‘get what we need,’ we decided on SAS as our audio routing and console system, RCS Zetta for automation and Studio Technologies for our furniture. This is primarily a Dante facility, backed by AES and analog SAS Core 64 infrastructure. There is a six-rack TOC on-site built from racks that housed the air chains of our former sister stations,” he said.

“The facility was built during the height of the COVID-19

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Spectacular Radio Studios Left This is the employee lounge and Studio 77 gathering area.

“Management understands the rigors of a 24/7 news/talk station and provides various foods and snacks at all hours of the day,” Hirschl said.

pandemic, which added complications to the construction process. It’s important to realize that building trust with a new owner/operator is probably the most important and difficult part of this process.

“Demolition of the space started in April of 2020 and we were on the air by July 25, which was extraordinarily quick.”

Other notable choices include EV RE20s, JBL 3 Series Mk II speakers, Comrex Access MultiRack IP audio codecs, Comrex Opal and an Intraplex IP Link.

“Of note is the growing host of NDI video components,” he added. “With three TriCasters and a station-owned LiveU video system, WABC is growing its roster of capabilities at an extraordinary rate.”

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Red Apple group, having long ties to the city and construction in general, was able to leverage its own relationships to fill out the roster of subs needed to complete the project.

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Above The lobby. “The goal was to capture WABC through the years through traditional printed signage and video presentation,” said Dan Hirschl. “Visitors to our floor need to know where they are from the moment they step off the elevator.”

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Above The WLYF studio.

Every studio has four walls of windows that look into adjoining studios, a hallway that runs along all the studios, and exterior views to the east.

Opposite page Views of the lobby and locker area.

Visitors and staff can see into the dramatic TOC, with its 32 racks.

Audacy builds a showcase in Miami

Fourteen studios and a stunning performance space

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udacy’s Miami facility is approximately 30,000 square feet and houses 14 state-ofthe-art studios as well as a 12,000-squarefoot live performance venue.

“The project’s origin was to build a new facility to replace an outdated and outgrown facility that the Miami team called home for more than 20 years,” said Audacy Miami’s Director of Technical Operations Edward Huerta.

“Then CBS and Entercom merged, and the project’s new goal was to get everyone under one roof — take Entercom’s three stations and combine them with CBS Radio’s four. But besides the obvious need for the facility, I believe that the Audacy team wanted to create a

masterpiece, a facility that sets the bar.”

The new merged facility is in The Citadel, a multipurpose building in the Little River part of Miami that has a food hall, retail space, classic arcade, art galleries and rooftop bar.

“The building was built in 1951 as First Federal Savings & Loan Association of Miami,” Huerta said. “The Audacy Miami performance venue is actually what was then the lobby, cash vault and safety deposit vault. Both vault doors are still in place. We even converted the cash vault into an on-air/production studio!”

The FM stations based here are “Power96” WPOW at 96.5 MHz, which also carries simulcasts of 560 Sports and ChannelQ on its HD subchannels; “Kiss Country 99.9”

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Spectacular Radio Studios

WKIS, with 560 Sports on HD2; “101.5 Lite FM” WLYF, with Today’s Life on HD2; “102.7 The Beach” WMXJ; and “104.3 The Shark” WSFS, with 790 The Ticket on its HD2.

AM stations are “560 Sports WQAM” and “The Ticket” WAXY at 790 kHz. This project, completed in 2019, was led by Audacy Senior VP of Technical Operations John Kennedy, Regional Director of Engineering Rick Rapalee and VP of Facilities Management Nancy Muir-Gaire. In addition to Huerta, the local technical team included Gary Blau, James Crawford, Stephan Delabastide, Laz De La Vega and Rubin Garcia.

“This project was a massive undertaking that encompassed hundreds of talented individuals who put in thousands of hours — too many to name them all,” Huerta said. “A special consideration goes out to the entire Audacy Miami team as they took on so many changes at such a fast pace. The learning curve was steep and everyone here did an amazing job.”

Huerta said the facility is well equipped to support live broadcast, podcast recording, live streaming and live performances, outfitted with the future in mind and deploying IP technology for audio, video, control, security and other purposes.

“I think everyone’s favorite space would have to be our Performance Venue. Everyone that sees it is left speechless,” Huerta said.

“But my favorite is our Technical Operations Center — 32 10-foot racks with floor-to-ceiling windows that showcase our core to every visitor who walks in the lobby.”

Public Media Engineering was the studio integrator, with Cameron Boswell managing the project. Live sound and A/V was provided by Pro Sound & Video and The Sextant Group. Turner Construction was the builder.

Key Hardware choices include Telos Axia Powerstations and xNodes, Studio Technology cabinetry, Adder KVM-IP and Crestron A/V Control.

Entercom and CBS had been running two different automation systems in Miami. Audacy chose to migrate the market to a third, WideOrbit, prior to the move to help adjust the staff in steps. “Coming from older consoles, we didn’t want to overload them with having to learn new studio equipment and a new automation system.”

Studios are equipped with Electro-Voice RE20

radioworld.com | January 2022

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9000

Spectacular Radio Studios

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microphones, mounted with YellowTec M!ka arms, and Yamaha ceiling flush-mount speakers. Each mic position has an Axia Talent Pod that allows the user to control on/ off, individual talkback and cough, and adjust source and volume for their headphones.

“Every studio was built out with SDI and fiber infrastructure to support the future install of PTZ cameras. Currently our sports talk studio has four NewTek 4K PTZ cameras, controlled from our video production room.”

The latter is equipped with a Ross Graphite production rig, which allows the video team to control/produce and stream live from the sports talk studio and performance venue.

“We even built a dedicated green room,” Huerta said He added that the radio studios were designed to be interchangeable.

“With every source and destination being on the LiveWire network, we have the unique ability to take any source in the building and send it to any destination

Above Audacy Miami’s live performance space.

or even multiple destinations. WideOrbit V5 and Telos Pathfinder give us the ability to create ‘hot keys’ on our user panels that allow talent to select the station they’re doing a show for, or put the board in voicetrack/ production mode.

“This allows any of our studios to be used for any purpose, without having to worry about taking a station off the air by an accidental button press.”

Another interesting aspect is that, as part of Audacy's 1Thing initiative, this facility was outfitted with technologies to help reduce its carbon footprint.

“Every light fixture is LED, controlled by a motion/ occupancy sensor. So the picture here of our TOC from the lobby could be dark depending on if there are techs working in the area or not,” Huerta said.

“Our HVAC system is a collection of 10 units and 18 variable air volume controllers that work together using data collected by a Siemens Automation panel. Data from 18 thermostats and two pressure sensors allow for zone comfort control.”

radioworld.com | January 2022