The Modern Radio Studio (Radio World International ebook) - Oct 2017 by publications

INTERNATIONAL EDITION

The Modern Radio Studio

Sponsored by

November 2017 From the Publishers of Radio World

Top Technologists Discuss Studio Design

13, 24, 31 Newswatch

Audio Gives Way to User-Oriented Apps

BRUZZ Inaugurates New On-Air Studio

AoIP Codec Requirements for SSL Applications

What does it take in the 21st century to design and build an efficient, cost-effective, forward-looking radio studio? Whether refitting an entire network or building a large or small single radio station, broadcasters need to consider the steps required for their new facility to accomplish their business objectives. There is no single way to plan a studio project, so we talked to experts for their ideas, to give the reader a basis to work from. This latest Radio World International eBook takes a Marguerite look at examples of successful studio builds, from the Clark simple one-man broadcaster to large, national networks. Editor in Chief We ask broadcast technical executives to provide insight into how they plan or modernize their facilities and integrate the latest technology; how they are selecting the best equipment for their specific needs, and more. Hear how leading radio technologists answer these questions: What should the modern studio have? How should it be designed? What are your “go-to” choices for equipment? Where do you start — at the console and work from there? How do you handle room and acoustics design? Who manages the installation? Do you invest in staff training? How has IP technology affected the radio studio? How is visual radio changing the way you design your studio? Radio World has published 38 eBooks exploring the many facets of radio station and network operations including mobile reporting, studio/transmitter links, visual radio, studio apps, social media, consoles, digital radio developments and more. Find them at www.radioworld.com/ebooks. Let us know how we can make these handy reference guides more useful to you. — Marguerite Clark

Wheatstone Brings Nordjyske Medier Together

Grupo Renascença Transitions to AoIP

the modern radio studio Radio World International Edition | November 2017

Top Technologists Discuss Studio Design Technical executives offer advice on how to best modernize one’s radio studio By Marguerite Clark Radio World spoke to leading technologists from private and public broadcasters regarding what it takes to design and build an efficient, cost-effective radio studio. Those who replied to the questions below include Mirosław Ostrowski, technical director, Radio Wrocław in Poland; Gerry Pyne, general manager, Queensland Remote Aboriginal Media (QRAM), Australia; Gary Kline, owner and CEO, Kline Consulting Group, United States; Frédéric Bourgeais, technical director of Alouette, France; and Eugenio La Teana, head of Research & Development at RTL 102.5, Italy.

stream audio/video signals; should the intercom system to be in touch with the central control room and other studios; is signaling (red, green, yellow, blue lamps) required; where will the PCs be located? And of course, what’s the budget for the project? Gerry Pyne: A modern studio should have a workspace designed to meet the workflow needs of the organization for which it serves. This will vary according to the type of use the studio will get, and in today’s industry there tends to be more production and voice tracking style activities and less live on-air work done in studios. Good lighting and acoustics are key. Of equal importance is the overall experience the studio provides for staff and guests. General layout needs to take into account good ergonomics, and increasingly we need to consider visual attributes such as sight lines between the operator and people sitting as various positions around the studio. Video/web cameras continue to play an increasing role in the modern radio / production studio. The equipment no longer needs to be a dominant feature of the console desk furniture, and this leaves more scope for imaginative design and room to layout documents and other things during studio sessions.

Radio World: What should the modern studio have? Mirosław Ostrowski: There are many important questions to consider before building a studio. For example, what is the main purpose of the studio; will the studio be connected or separated from control room; how many audio sources are necessary; will listeners be broadcast live; how many mics do you need in the studio/control room; how many mix-minus feeds will you need to manage telephone hybrid/hybrids, OB vans, outside transmission links, inter-studio connections; do you plan to

Mirosław Ostrowski is technical director of Radio Wrocław in Poland.

Gary Kline: It should have unparalleled capability to send and receive every form of modern media known today as well as be ready for the future. Skype, FB live, streaming, terrestrial, YouTube, Twitter, POTS, SIP, mobile device APP, iTunes, etc. The modern studio should be ready to accommodate written (i.e.; text, WhatsApp) or any audio/video method of communication that today’s audience uses often to interact. For sure, the modern studio should have cameras and easy-to-use integration the modern radio studio Radio World International Edition | November 2017

to operate them. If it takes more than a few seconds to get a Skype guest on the air, then that is too long. There should also be an excellent social media aggregation tool in the studio with direct tie-in to, again, Skype, FB, Twitter, POTS, etc. One main command center to monitor and control all forms of communication. You should have many mix-minus busses and they should be automatic so every one local or remote and hear and speak to one another flawlessly.

Gary Kline is owner and CEO of U.S.-based Kline Consulting Group.

Frédéric Bourgeais: For Alouette it is about the perfect mix between the two worlds: analog and digital. Analog because it gives us a clear, warm sound. Digital because music is all digitized today. Eugenio La Teana: We believe multiplatform and cross media distribution are a distinctive part of our station identity. Therefore the studio has to be designed and equipped in order to properly allow and ease our multifaceted distribution strategy. RTL 102.5 pioneered the visual radio experience many years ago in Europe, and we are continuously developing our visual concept, so the studio has to be flexible, in order to suit our evolving needs. The essence of the radio is being “live,” so the studio must be capable of instantaneously adapting to anything that happens: our studio is a large room, with cinema-grade video projectors picturing each studio wall with images capable to enrich the message we deliver. In the case of breaking news, we can immediately have graphics, archive material and any live video feed from the internet available for projection to the studio walls, surrounding the news presenters and giving the audience the capabil-

ity to both understand how the situation is evolving, as well as to point out specific details on the “screens.” Radio World: How should it be designed? Ostrowski: Technical directors should listen carefully to the future users of the equipment and follow up with them during the design process. Ergonomics is very important. Everything should be within reach. Sound is the most important thing in the studio and in radio. It is therefore imperative that there are no “noisy” devices like computers or fans nearby. They should be installed behind the studio walls but as close as possible to shorten cable connections. For the connection of PC keyboards, screens and mouse devices, use KVM extenders to send all the signals via one Ethernet cable or fiber. To save space, it’s useful to use a keyboard switch for the control of four or more PCs. Tablets can also serve as a small mixing console, and the clock, loudness meter or intercom are just one click away. We use the DHD touchscreen module. In addition, studio furniture should combine aesthetics and functionality, cables should be easily accessible and special attention should be paid to the glass window separating the studio and control room. It shouldn’t be mounted vertically for acoustical reasons and it’s better to tilt the glass so dust doesn’t accumulate, while considering the reflection of light, which could impede visual communication between the studio talent and the sound engineer. Pyne: The studio should be designed with a primary focus on the user experience rather than past practice of featuring a large and complex looking console at the center of the room. Technology advancements have opened up new frontiers previously not possible in studio design and today’s studio can be a far more inviting environment for workers and guests. Flexibility in design

Gerry Pyne, general manager, Queensland Remote Aboriginal Media (QRAM), Australia.

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teners about facts in the very moment things are happening, but it is also “alive,” with people at the core of it. Therefore our studio is a large open space: the main desk for the presenters stays in the center of the studio. At the back, we have the desk for the news presenters and the technical room is inside the studio, with nothing in the middle: We believe the visual and, in general, any non-verbal interaction between the on air talents and news reporters, as well as between the presenters and studio engineers, can enrich the overall message our station delivers to our listeners. We chose to remove all the chairs: Presenters stand in front of the mics, they are free to move and walk across the studio. Our voice reflects the movements of our body, so this way our presenters, being free to move and “gesticulate” as if they were talking to their friends (Italians love to gesticulate, you know), can deliver a richer message through their voice. In addition, through our visual feed, their movements and their look, enrich the listening experience.

Eugenio La Teana is head of Research & Development at RTL 102.5 in Italy.

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is also increased through the flexibility that new technology brings to the industry. Studios no longer need to consider space for a range of traditional items from the past such as CD players, reel to reels, cart machines, turntables, etc. This can all vanish into the digital realm in a modern studio design.

Radio World: What are your “go-to” choices for equipment? Ostrowski: There are many great, cost-effective products out there. It’s important to test certain products in the context of one’s studio because it needs to fit into the feel and tradition of that particular station and also be accepted by station staff. Sometimes you have to make compromises because a product may fill most but not all requirements. Most stations are on a tight budget but you should be prepared to pay the necessary amount for essential gear, such as a console, which you’ll be using for many years. As a public radio station, we are obligated to follow regulations when purchasing gear. It’s not always easy to provide a detailed description of our requirements to our superiors without stating the brand names, etc.

Kline: It should be designed with the highest standards in quality and engineering practice. This should include acoustics inside the room, acoustics between rooms, lighting (especially for visual radio), ergonomics including low-profile mics and low-profile computer monitors, and well-planned layout with plenty of room for talent and guests. Don’t forget about clocks, monitors and other interior design choices. In fact, hire an interior designer if your budget permits. You can build a studio that looks so much different and cooler than the old standard four walls with sound panels and a few track lights overhead — today’s modern studio should incorporate much more. Look at ESPN or the BBC or TV5. When you show your studio on TV (or someone’s computer or phone screen) it should look really cool and well integrated into the frame. Stand out from the rest. There are some amazing radio studios doing this today. Capital Radio in London and Nash Radio in Nashville are a couple of examples.

Pyne: Our policy is to transition to an all IP digital network, so any time we upgrade a studio or build a new

Bourgeais: Our station is situated near the Atlantic coast so we designed our studios like a beautiful, wooden ship, with some nice curves and maple and cherry wood. This provides quite the atmosphere and generally very good acoustics, which is very important. Our goal is to provide a warm welcome to our guests and that they feel comfortable when broadcasting live from our studios and working with our team.

facility we only look at IP solutions. In the Black Star Network we have made the choice of basing systems on the Wheatstone/Wheatnet platform. This extends to accessories and other equipment and where possible we will use Wheatnet-compatible equipment as a first choice and fall back to AES67-compliant equipment. Having a network where every piece of equipment can be configured to communicate over the wire to every other item is very desirable and allows for a highly flexible and resilient

La Teana: Radio is basically “live,” and can tell the lis-

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a “new device” which was not previously available. One thing is certain however, we always opt for professionalgrade equipment.

Frédéric Bourgeais is technical director of Alouette in France.

Radio World: Where do you start? At the console and work from there? Ostrowski: We first define our requirements. In a digital world, there are various philosophies about how to construct and manage audio consoles. If you already have one and can configure it, then it won’t be easy to change it for something new. For us, we prefer to let our talented engineers manage the digital consoles we already have. We are sticking to our DHD boards. We broadcast three 24/7 channels and need to reconfigure the mixing consoles quite often following the changes and requirements in the program itself and sometimes in the way our talents or DJs run their shows. Before making a decision about the console you have to know how it should cooperate with the rest — playout systems, signaling, intercoms, other studios, OB vans, telephone hybrids, mics, PCs, headphones and video systems. Today’s consoles are flexible and configurable, but they sometimes use different technologies (AoIP, Dante, AES/EBU, MADI, etc.). Protocols such as Ember+ facilitate communication between different devices and it’s important to be sure that the console can interoperate easily with your other studio gear.

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system. In our case it is also important to use equipment that can be remotely monitored via SNMP and web GUI. Our network playout system is based on RCS Zetta, GSelector and Aquira, and these products all integrate well with each other and with the Wheatnet platform. Kline: That depends on the purpose for the studio (onair, production, video, voiceover booth, newsroom, etc.). Generally, though, I always go for an AoIP console with a fully IP-based workflow and infrastructure. No punch blocks, very few XLRs, and loads of redundancy and backups. For phones today, always SIP/VOIP with excellent call screening software and — as stated above — tie in to a central social media platform for total control. I always work with trusted vendors and manufacturers who have taken care of me in the past and who I know will be there if there are problems, questions or very tight deadlines.

Pyne: We always start by looking at the required workflows for the studio. From there we work and design the hardware to match rather than allow the technology to determine the overall design and workflow. Kline: Typically, yes. But it really depends on the size of the facility that’s being built and what the purpose is. I think it might be more accurate to say I always start with a customer needs analysis and then work from there. I know that I am going to use an AoIP console so it’s more a matter of what size and model will go in each room. How many inputs/outputs are needed overall in the plant and what special needs are required. For example, will the facility be running a sports network with many feeds or will it be internationally focused with different music beds fed to different locations? And if so, are there copyright issues and do I need to plan for that. Or perhaps, there will be live broadcast video and radio coming from the same room — so that may require some thought before you get to console selection. No matter what though, it’s going to be IP, and everything I purchase will support that somehow.

Bourgeais: We look for quality and reliability when purchasing gear. We are not here to reinvent the job, but to find the right products for our station. La Teana: We don’t have a “must.” First we develop our vision for a specific improvement or completely new design. Then we look for equipment capable of turning our vision into reality. Sometimes, we are unable to find the right product to fit our needs from manufacturers of radio broadcast gear, so we also search for products outside the radio realm, for example by looking toward the cinema industry. What really matters though is our ability to successfully implement our vision. The equipment follows the concept, so we don’t have “mandatory” or “forbidden” choices. We have to turn ideas and projects into reality, so nobody cares if we need to design and create

Bourgeais: It depends on one’s budget. But for us the mixing desk is fundamental. Therefore, we start from there and build the infrastructure around that. Generally,

the modern radio studio Radio World International Edition | November 2017

and equipment noise within the studio.

we have the same mixing desk in every studio, each with different options.

Kline: It’s a multi-person and multi-stage process. For starters, I work with the client to determine required STC/ noise ratings and evaluate cost versus benefit. In a perfect world, we would build to Abbey Road standards, but how many stations need that, or can afford it? Some can. Many can’t. So, everything starts with a spec on acoustic requirements. Then, I work with an architect to design those acoustics into the room(s). Over the years I have developed construction standards, which are my baseline for any studio build. I usually then hire an acoustical engineer (I have a few go to professionals I have worked with before) and then review the drawings for any tweaks. I’ve even been known to hire an acoustician to bring in test equipment to measure vibrations and natural resonance frequencies in base building construction before finalizing the design. We also choose (together) things like studio doors with specific sound ratings, ceiling material, floor construction (floating in certain cases), sound panels, etc. In this process we also review the chosen elements for look and feel so that the studio colors, fabrics and other elements remain congruent. The GC or construction supervisor is also part of the process so no one is left out. This is especially true as you evaluate costs versus benefits (as mentioned before).

La Teana: Unlike TV, radio can’t rely on a different studio for each show. Typically, in radio a single studio has to fit all the possible genres and kinds of programs being produced. So we start from the center of the studio. Radio has to be at the heart of everything, so the desk for the on-air talents stays in the middle of the studio. The rest, including technical equipment, stays around the core of radio, so along the walls of the studio. Radio World: How do you handle room and acoustics design? Ostrowski: The goal is to get the best sound possible for a radio program so good acoustics are necessary. I suggest employing an experienced company to handle your studio acoustics. It’s more expensive but your listeners and your staff will appreciate a good audio atmosphere. If you have a very limited budget then there may be no question of acoustics. What I would suggest in a case like that is to use low-sensitivity, but still good, dynamic

A modern studio should have unparalleled capability to send and receive every form of modern media known today as well as be ready for the future.

Bourgeais: We use ABSO, a specialized acoustic company based in Paris.

— Gary Kline

La Teana: Room design must provide the highest flexibility. We decided to go minimal as regards furniture and chose to not install “fixed” furniture but to get the maximum in terms of visual impact using video projectors to give the walls a different look, depending on programs being broadcast. This lets us immediately change the shape and the look of the studio, or even of a single part of it. We outsource acoustic design, and we supervise their activities.

mics, such as the Shure SM7, and speak into them from a close range. That solution is not ideal however, particularly with guests or when you have a few people in the studio. If at all possible, consider acoustics in the design. Also, don’t forget about acoustical isolation and check for holes in your studio walls. And remember, noise can be transferred by floors and sneak through windows. You could “wall up” the window, but the best, albeit expensive solution is to build the studio as a box in the box. Some larger broadcasters do this for their most important studios. This type of setup is particularly useful for control rooms and studios, which are being used for sound recording purposes.

Radio World: Who handles the installation? Ostrowski: In general, for the installation of equipment in the studio and the back room, we carry out most of the installations ourselves. This allows us to know the configuration in its deepest details. We also know the habits of our station staff and the expectations of our editorial staff. Fortunately, we have some really good engineers in house who are curious, capable and willing to implement the newest technologies for us. When it comes to complicated installations such as that of virtual disk arrays, virtual platforms for servers or data back-up systems or multi-modular production and playout systems, we use outside resources with highly specialized

Pyne: This will depend on the location and design of the environment the studio is being built. Main considerations come down to the protection of the studio from outside noise intrusion and mechanical noise through building structure, flooring, ceilings etc. and then the internal treatment that ensures the right “vocal sound” is achieved. Other considerations include air conditioning

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the modern radio studio Radio World International Edition | November 2017

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

AUTOMATION, CODECS AND OTHER FRIENDS

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

VIRTUAL INSIDE AND OUT

WheatNet-IP audio networking has been doing virtual long before virtual was cool, and not just on the surface…but inside the network itself. In addition to our Glass E virtual mixer for the laptop and tablet app for the LXE console, every I/O BLADE that makes up the WheatNet-IP audio network includes two stereo 8x2 utility mixers. Having these virtual mixers at every I/O point on the network makes it practical to do online mixing of sounds, segue remotely between feeds, virtually overdub and pan, you name it.

Your Forever Console

UPTIME ALL THE TIME

There used to be a perception that IP wasn’t reliable. In the early years that may have been the case, but not so today. Unique to the WheatNet-IP audio network is its distributed architecture, so if one part of the network fails for any reason, the rest will keep on functioning. Each IP connection point – or BLADE – stores the entire configuration of the network onboard, which means failover is immediate.

Fact: One I/O BLADE in particular that’s been operating at a station for years now has logged more than 1,053 days of continuous uptime – not including the 1,400-plus days already elapsed before the BLADE was rebooted for a UPS battery change. All total this BLADE, which happens to be serial number 001 running at Cox Media Group in Tampa, Florida, has logged 2,453 days of continuous uptime with the exception of one re-boot due to routine maintenance. t

Ten in One

Who says you need 10 studios with 10 consoles and 10 automation workstations for 10 radio stations? One workstation with RCS Zetta and WheatNet-IP with an IP-16 control surface does it all. Shown is an entire 10-station operation on the bench at RCS’ lab in Frankfurt, just before it was shipped to its new home at Sok FM in Greece. Sok FM is believed to be one of the first all-IP station operations in Greece. t

Say goodbye to fixed hardware. Instead of mapping switches, buttons and knobs to a particular function on a console that can never be changed, any button anywhere on our new LXE IP networked console can be programmed at any time for, say, talkback, cue, start/ stop, processing, etc. or for toggling between functions which can also be tied to different elements on the network. The LXE is Linux based with a touchscreen interface, so you can “pinch” just the right amount of EQ and boost or cut frequencies using touch.

We network everything – even the IP console itself! Our new LXE console can be split up into separate fader banks and connected together through Ethernet, offering a more dynamic splitconsole configuration for sharing mutes, tallies, speakers and other resources. With multiple consoles accessing a common I/O point, talent can share sources and feeds in real-time, plus open and close mics, apply signal processing, handle IFB backlinks and essentially work closely together from separate LXE fader banks located anywhere inside, or outside, the studio. They can even co-produce from an auxiliary LXE Windows or Apple tablet in real-time while another board op is actively producing on the main LXE surface! t

BROADCAST AUDIO PERFECTIONISTS®

Designed and built in the USA Phone +1-252-638-7000 wheatstone.com | sales@wheatstone.com

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manufacturers’ premises to learn more about their products and participate in training courses. This is especially necessary for the more complex equipment like mixing consoles, which need the user to configure everything. For less complicated gear, we depend on user manuals for the most part, or contact the manufacturer in the case of a specific issue. Our station also provides Englishlanguage courses for our employees. This helps them to understand documentation, which is usually in English, and also makes people, especially the older and more experienced ones, more open to contacts with the outside world.

engineers. This is also a way for our engineers to accumulate more knowledge so they can manage the systems after the installation is complete. Often times, training courses are needed to run the ICT infrastructure, which evolve incredibly quickly. We are on air 24/7 so there is no room for issues. I would say, that it is imperative to have experienced engineering staff under a radio broadcaster’s roof if possible. Pyne: In our network this is generally handled internally. Kline: Installation of equipment is usually a mix of the local engineer, local contract engineers/integrators and possibly engineers from within the same company but from another market. I only work with people I trust and usually bring in subject matter experts for various aspects of the installation. For example, I may bring in IT gurus to help with router and firewall programming, broadcast IT gurus for AoIP setup and design, video

Pyne: Staff training is very important to us and we do invest in external training provision for new systems and equipment wherever possible. Kline: Some. It depends on the skill level of the staff, in addition to other factors. If a new automation system is part of the install, which nobody has seen before, then definitely, yes. If visual radio (video) is a new addition to the studio then the answer is yes. New phone system with lots of new buttons? Yes. In some cases, I have built a single temporary studio with all the new gear at the old facility so staff can train and work out any possible issues before the move to the new facility or studio.

IP technology has touched virtually every part of our studio design criteria. — Gerry Pyne

Bourgeais: Not very much. But that’s just because our staff is always so busy. We do however take the time to attend major exhibitions in the United States and Europe to be sure we keep up with the latest trends and technologies.

experts for visual radio, etc. I can’t stress enough how important it is to have excellent IT staff working on the project, before, during, and after. Bad IT design will lead to problems — sometimes in the future at the worst time and can be confusing to solve. Most everything in a modern studio is IP based so it must be done well and done efficiently. Different IT experts have different opinions sometimes about how something should be handled (VLANs, PORT assignments, etc.). There may not be one single way to do something but there are bad designs and implementation — avoid it. We’ve all been there — walked into a plant where we started shaking our heads.

La Teana: Yes, but not in the conventional sense. RTL 102.5 loves to explore new territories, trying technologies and pioneering new ways of making radio. So our people are asked everyday to find the best way to find a solution to a new, unconventional requirement. Many times they can’t immediately find inspiration from within our industry, so they are obligated to start designing and sourcing from scratch. This commonly indicates a trial-and-error approach. We invest in this particular form of training on the job. Basically, our people don’t have an “everyday task.” We ask them to dig further into something they (and essentially nobody) is familiar with, and to look for the best possible resolution, also from a budget-wise point of view.

Bourgeais: Our in-house technicians manage this for our station. La Teana: We design the overall installation plan, then we often work with third-party professionals to get the job done.

Radio World: How is IP technology affecting the radio studio? Ostrowski: IP technology is becoming more central to radio broadcasters. I have however seen some reluctance

Radio World: Do you invest in staff training? Ostrowski: Yes. When possible, our engineers visit

the modern radio studio Radio World International Edition | November 2017

in implementing the technology because two various worlds are trying to connect into one — IT and radio. The two different teams of specialists need closer cooperation between them. IT specialists need to move closer to the audio world and understand an essence of sound, while audio professionals should get closer to IT issues. IP brings many advantages, such as easy audio access, ubiquity and flexibility.

in a hurry. It can also make it a little more confusing to troubleshoot a problem or trace out a workflow — no more analog wires to troubleshoot with a simple tester. You’ll need some IT knowledge and a good computer skillset (and a laptop!). But I think most engineers in radio today have all that — it’s been over a decade since things started moving to IP in radio. Hard to believe, I know. IP is not in its infancy anymore.

Pyne: IP technology has touched virtually every part of our studio design criteria. It introduces flexibility and workflow that have not been possible in previous generations of technology and it also introduces a new scale of reduced cost to the design. Studio builds are now simpler and take less time to complete and when studios are redeployed to different uses they can be reconfigured within the digital domain simply and quickly — often at the simple push of a button. IP technology has had a profound effect on all areas of the broadcasting industry.

Bourgeais: IP technology has facilitated our lives. Five years ago we virtualized our entire premises. The technology allows us to exchange, control or remote-control gear, share songs and files. It’s very reliable for our needs. La Teana: We’ve been implementing IP now for a decade. We started our visual experience within the analog domain, but a couple years ago, we transitioned everything to IP, including our video feeds. Radio World: How is visual radio changing the way you design your studio? Ostrowski: We now have two studios that feature visual radio. Each studio is equipped with an automated sys-

Kline: IP has made it easier and more efficient to multitask and create a much more exciting product on-air. The technology has also made it much simpler (and cheaper) to install gear, configure everything, and modify things

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Newswatch

Orban Offers New Optimod

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

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instead of multiple cameras can help with this.

tem with four PTZ cameras. The software controlling the camera movement and changing scenes is very nice with some artificial intelligence elements. But when it came to designing the studio, we had to predict where the cameras would be installed. It was difficult to find a compromise between the best camera positions and ensuring they didn’t interfere with the studio’s daily normal operation. After defining the best camera positions we had to plan the routes for all cables (video, power supply, control and spare). All the cables end in a separate small equipment room where the computers are located. The room also houses the machine for video streaming, converting and recording. Now we use live video streaming to the internet and we can record any part of the program, especially when we have some famous guest or very interesting discussions or debates. Then we use the

Kline: It means we pay attention to the design of the room, the layout, for example. You’ll want to have great camera angles — none of this wide-shot stuff with mics in front of people’s faces. That’s a pet peeve of mine — mics covering a major portion of the frame. You want wide shots when appropriate but also intimate close-up angles. You need excellent lighting — I usually hire a lighting designer and install TV studio lighting — not too much but enough to light up the room for HDTV. You should also think about where the video switcher will go and who will operate it. Much like you place your call screener in the room. Have plenty of flat screens for promoting that special guest’s new album or book, or to pull up a listener calling in on Skype. Make sure you have enough internet bandwidth in the facility to handle uploads or live HD streaming. Choose a great visual radio system — there are a few good ones out there. Make sure you have graphics and logos well thought out. Your system should easily incorporate those into the shot as well as Twitter and Facebook feeds and advertising. Don’t forget about monetizing the product! One more time: lighting — don’t cheap out on the lighting! If you can’t afford a designer, find someone from the local TV station or production studio and buy them lunch for some insight and advice. I pre-wire every studio I design now for camera positions, even if they aren’t a part of the initial budget.

For visual radio, we use good video cameras, but without the proper lights the video wouldn’t be acceptable. —Mirosław Ostrowski

material as on-demand content on our website. Lighting is important. We use good video cameras, but without the proper lights the video wouldn’t be acceptable. We consulted on the subject of lightning with a TV and film specialist and he advised us to use LED panels. One pair for one person in the studio — the first panel illuminates the person from the front, the second from the back. It makes the picture more natural and spatial. There is also a LCD screen to show what the streamed video looks like and it’s possible to carry out corrections. When streaming video from the radio studio you also have to consider the scenography. It’s not enough to tidy up the studio and turn the lights on. We use scenography lighting made of colorful LED tapes. It allows us to quickly change the colors and overall look of the studio.

Bourgeais: Today, we use live video mainly for coverage of our one-off live events. We like the mystery radio offers so for now there are no cameras in our studios. Audience ratings show us this method is working. La Teana: Our studio was designed to be a visual radio studio. Everything, including lighting, walls, furniture, the fact the presenters don’t stay seated but stand in front of the mic, was designed to ensure the best possible radio listening experience and a great visual experience. Visual is a key part of our message. Today listeners can find so much attractive content to listen and watch, including on the internet. So we have to stay competitive. It’s not just a matter of offering fantastic “radio,” it is a matter of appeal. Radio has to be designed and produced in order to be successful nowadays. Various web services, including YouTube, offer audio and music content. We have to convince listeners to stay within our channels, notwithstanding the platform they choose. That’s why even a video we post on Youtube, or anywhere else, can’t only be just great “radio” — it has to be engaging in a wider sense.

Pyne: To cater for the increasing demand on visual features within the radio studio we need to consider a range of visual aspects within the overall design. Camera angles need to have clear sight lines to talent and this needs to mess together well with the placement of screens, mics and mic stands, seating arrangements and this all has the potential to affect the room acoustics. These things need to be well planned from the beginning. Cameras need to be positioned in a way that does not cause talent to “play to the audience” and things such as multi-angle cameras

Davide Moro contributed to this article. n

the modern radio studio Radio World International Edition | November 2017

Q Radio Set the Scene for Radio When independent broadcaster, Q Radio needed to move their Belfast Studios, it represented an ideal opportunity for them to start afresh and bring their unique brand to the forefront of Northern Irish Radio. In today’s instant and content hungry world, modern radio needs to provide more than ever to engage, maintain and grow audience, however this needs to be in addition to, not at the expense of making great radio. Radio in Northern Ireland, particularly Belfast, is highly competitive. Q Radio seized the opportunity to get ahead by enhancing live content through well produced video; live streaming, and making this engaging content instantly available and shareable on social channels — Facebook, Twitter, YouTube, Facebook Live. However, Q Radio realised that their choice of technology was key in helping them meet their brief of within an affordable budget. There’s no doubt that many large corporate radio bands do multiplatform very well, with generous budgets akin to grand-scale TV production, but we all know that radio generally demands more for less! This is where sophisticated software coupled with the right hardware makes all the difference. With years of expertise and experience in providing turn-key projects, Q Radio selected Richard Lawley of Radio Studio Services to help them solve problems, design and deliver their dream. Q Radio chose Axia consoles, Fusions for their main on-air studios, and IQs for production and news booths. Richard Lawley enthused…”The Axia IP 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 analogue equipment, and the user interfaces are all attractive and ergonomically pleasing, enabling us to design studios which enhance the creative process for presenters and production staff”. With the IP Audio network in place, integration between console, PhoneBOX, OASIS, Virtual Director and playout system is seamless. Broadcast Bionics talkshow software “PhoneBOX” is a real game changer. It’s a multitool for the studio, incorporating a

feature rich phone in system, multi-faceted Social Media System, and Virtual Director visualisation system. All on one screen, this was a simple choice for Q’s state-of-theart studios. “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 to share on social media, increasing our presence, and strengthening our brand with minimal effort. The system also live streams 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, Programme 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.

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

Guestcommentary

textual and synthetic user-oriented apps. The various audio routing and processing control panels give way on the main operator screen to these apps, which often rely on virtualized automated solutions and virtualized equipment that facilitates common tasks. These can range from voice tracks to complete live talk shows, and all other content creation that helps the broadcaster promote its repertory and increase listener engagement. Broadcast equipment and tools for the studio will continue to include hardware, particularly when a large number of channels are being routed in real time, but many of the functions once performed by silos of separate gear will instead be carried out by smart distributed AoIP endpoints driven by software algorithms running on servers. Virtualization is taking hold, with cloud or on-premise solutions becoming increasingly popular thanks to their ability to enable economical pay-as-you-go models or to facilitate private hosting with maximum control over workflow productivity and content. Broadcasters can obtain the power of hardware-based gear in various software-based solutions that are easy to install, use and maintain and often comes with 24/7 support. To implement this new generation of broadcast tools, the radio studio must establish an infrastructure capable of supporting open, interoperable components and a variety of real time audio formats, with associated control and metadata. AoIP is a must and AES67 networking audio has become the “de facto” standard. With proper infrastructure design, the studio — at least small and medium studios — can efficiently mix general purpose IP and AoIP on the network without compromising overall performance and reliability. With these vast capabilities, radio broadcasters gain the productivity and agility they need to stay ahead of the competition. n

By Pascal Malgouyard The author is head of marketing at Digigram. As we move forward, a main challenge for broadcasters increasingly will be to generate and disseminate the same content on different platforms, such as on air broadcasts, podcasts and web radios. To successfully achieve this task, one must prioritize simplicity and flexibility. The radio studio of the 21st century is being built largely on software-based solutions, blurring the limits inside and outside the studio. The industry is making a distinct move away from assembling specialized component technology, associated to technical deployments and lengthy training.

The modern studio needs to include contextual and synthetic user-oriented apps. In addition to being economical, this new technology lets studio staff focus more of their time and energy on the content that distinguishes a station from its competition. Audio quality also remains a must, since a distinctive sound it is the radio trademark! SOFTWARE-BASED

Rather than integrating an array of technical hardware components, facility designers are progressively employing radio production solutions that simplify routine tasks and allow broadcasters to concentrate less on the technical aspects and more on the content creation side of things. To this end, the modern studio needs to include con-

the modern radio studio Radio World International Edition | November 2017

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BRUZZ Inaugurates New On-Air Studio In September, Brussels-based BRUZZ opened its new studios, which feature visual radio and more By Marc Maes BRUSSELS — BRUZZ was launched in April last year, as a joint brand name for FM Brussel, TVBrussel and print magazine Brussel Deze Week (This Week in Brussels). FM Brussel’s first broadcasts began in 2000 as a college radio station, it then became a professional radio broadcaster, catering for the Brussels area. “In 2004, we relocated our studios and offices to the former VRT building,” said Karel Feys, one of the station’s founders. “The former ‘studio Flagey’ has great iconic and symbolic value and is the perfect home for a station, where we broadcast from the 4th floor.” According to Feys, the location is ideal for an urban station and, in addition, BRUZZ has access to the national broadcaster’s former Studio 6, which it uses for its TV broadcasts and for occasionally recording “unplugged” sessions. NEW BRAND

After joining forces with TV Brussel and Brussel Deze Week under the umbrella “Vlaams-Brusselse Media,” the group then created the BRUZZ brand. BRUZZ is subsidized by the Flemish Community, and the Brussels Flemish Community commission. Earlier this year, BRUZZ began building new on-air studios in VRT’s former cafeteria. “We wanted to move the studio closer to BRUZZ’s news and editorial office and make optimal use of the synergy of radio, TV, print and online media,” he said. The BRUZZ radio landscape was built by Videohouse after winning a public tender. As the main contractor, Videohouse The fourth-floor entrance hall offers a view of the new on-air studio. appointed radio infrastructure the modern radio studio Radio World International Edition | November 2017

©MMpres

specialists TVV Sound for the implementation of the audio segment. The new studios were decorated in BRUZZ’s brand imaging colors. The construction of the new broadcast studios kicked off in May with the transformation of the cafeteria. “To protect the historical value of the building, we had to be careful building the studio. We replaced the existing doors with acoustic doors but, for instance, we kept the old outside windows. This is not the ideal solution in terms of thermal or acoustic insulation but the windows, as protected heritage of the building, give the room extra charm,” said Feys. “The fact that sometimes one hears the siren of a police car or fire truck could seem disturbing but the city in itself produces quite a bit of noise, such as the Djembé drums on the square at night in front of the building — that’s the sound of Brussels entering the dry acoustics of our on-air studio.” They also integrated the main former double entrance door into the new studio, explained Feys. “It’s an eyecatcher, offering visitors a great view from the 4th floor’s main hall.”

Photos: ©MMpres

BRUZZ Technical Radio Coordinator Lore Devos, left, station founder Karel Feys and DJ Loïc Thaler in the new studio.

Presenter Loïc Thaler takes the helm.

A voice-over booth is situated next to the editorial office.

Karel Feys tests the visual radio display for the station’s Sept. 4 studio launch.

THE CORE

The broadcaster equipped its on-air studio with a new Axia Fusion modular console and PowerStation controller in combination with a Zenon Media playout system. “The new studio marks the switch to Axia,” said Feys. “This has to do with the great flexibility offered by the Livewire audio network. Livewire has many advantages compared to Dante — they have established a protocol of their own, also with virtual GPO.” An important feature in the new studio is the implementation of visual radio. Four automated voice-activated Panasonic AW-UE70 cameras, controlled by a Broadcast Pix Mica integrated production switcher and Vox voice-automated control with monitoring in the central control room, have been providing live images with the BRUZZ signal since Sept. 4.

“Without compromising the working environment of our presenters we have been able to introduce visual radio — correct lighting, mic arm stands and displays mounted from below the DJ’s position, bearing in mind the functionalities a self-op studio requires,” said Feys. “BRUZZ adopted the MusicMaster music scheduling software. Our music programmers still have quite some impact on the music selection: BRUZZ has a typical ‘urban pop sound’ format targeting the dynamic population of the Belgian capital.” CONTENT SHARING

The BRUZZ on-air configuration is completed with FAR Audio monitor speakers, and a Telos VX Prime AoIP Continued on page 20 ❱

the modern radio studio Radio World International Edition | November 2017

©MMpres

BRUZZ has a large editorial space that serves radio, TV, print and online media.

❱ Continued from page 19

mitter in Laken, covering the greater Brussels urban area on 98.8 FM,” he said. The construction of the new studios started on June 1 with the old on-air studio remaining operational. Feys was particularly happy working with Videohouse and TVV Sound in terms of technical support and consultancy.

©TVV

telephone hybrid and talk show system. “We use the VX Prime in combination with Skype TX for radio from Broadcast Bionics. This setup offers maximal flexibility both in talking to our listeners as well as with our reporters,” underlined Feys. “Today, we’re also experimenting with WhatsApp, offering close to telephone quality, but we prefer not to take risks and are using Skype TX. Another plus is that we SYNERGY can use the Skype content for TV or online distribution — “We also received a lot of input from Telos and Zenon what you hear is what you see.” Media on the implementation of their products. BRUZZ uses Axia Pathfinder control software to create Technical radio coordinator Lore Devos took on the custom panels for studio switching and other monitoradministration and training of BRUZZ’s extensive broading or routing services. This can cast team, which comprises be done on a tablet, smartphone six full-time staff and plenty of or any other device. The station’s volunteers. on-air landscape further consists “These volunteers repreof two Zenon Media displays, two sent the city’s subculture, we Axia displays and a large screen dishave our finger on the city’s play for visual radio and Skype TX pulse. The most popular parconversation items. Zenon Media’s ties that take place in Brussels Cartwall software display is used have their own radio show on to insert quotes and interviews in BRUZZ, and on Sundays, we news items. have “The Bulletin,” a radio The radio signal is channeled via show eyeing expats in the Axia Fusion’s onboard DSP to an Brussels area,” said Devos. Omnia.11 audio processor in the “A mobile DJ-booth in both so-called crow’s nest tower of the the on-air or production stuformer VRT building. dio that is fully compatible “From there on, we use a microand equipped with a Zenon The Axia Pathfinder display is used for monitoring and wave link to our Neetra DATX trans- routing control. Continued on page 22 ❱ the modern radio studio Radio World International Edition | November 2017

IQOYA

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❱ Continued from page 20

“Just meters away from BRUZZ’s radio studios is BRUZZ’s spacious editorial room. It houses up to 60 journalists and staffers that cater to the various media we offer. A specific ‘radio island’ is located close to the onair studio and Koen Van Dijck, our station manager and producer, has a seat at the central editorial desk, together with his print, TV and online media colleagues, where all of BRUZZ’s content is scheduled and planned.” Next to the main editorial space is a pre-production station serving both radio, TV and online. “We use the booth for separate presentations, voice tracking via the Zenon playout system or telephone interviews,” continued Devos. “Livewire connects this separate booth with our on-air studio.” On Sept. 4, BRUZZ inaugurated its new radio studios and launched visual radio, with live broadcasts on TV during the 7 to 10 a.m. morning drive and the 4 to 6 p.m. evening bracket. “Today, radio also offers a challenge in the visual field,” concluded Van Dijck. “This new radio studio brings BRUZZ a big leap forward putting our station literally in the picture. The interaction between radio and TV will become more intense, a real challenge to the whole local media scene. BRUZZ is definitely on the right track.” Marc Maes reports on the industry for Radio World from Antwerp, Belgium. n

playout system caters for the different musical styles. We leave DJs the option to use vinyl, CDs or USB content.” New radio staffers are trained in BRUZZ’s production studio, equipped with an Axia iQ 8-fader main frame plus an Axia QOR.32 integrated console engine, offering identical functions and features of the on-air studio. “In an ideal world, all presenters would use the same configuration and user settings for the consoles. Today, we have specific settings for the station’s morning drive show and for the programs between 7 p.m. and midnight,” explained Devos. “These settings are loaded into the console bearing the adage that we want to take the purely technical aspect away from the DJ in favor his or her intuitive and creative presentation.” One of BRUZZ’s key strengths lies in content interchangeability: radio interviews can be used for TV and online media, while the TV channel’s audio signal is fit for radio. CITY VIBE

©BRUZZ

“Our mission is to highlight Brussels and its diverse cultures. We want to play a role in the city’s social life, both by focusing on events in existing venues like AB or Bozart, as well as smaller social projects. The cross-media synergy we have is a key instrument,” said Devos.

Presenter Bram Van de Velde was the first to host his morning show “Uptown” in the new on-air studio.

the modern radio studio Radio World International Edition | November 2017

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uces listening ssed music back to life, red pre om r-c pe hy s ng bri ™ s. It’s like Xponential Loudness ing adaptive psychoacoustic piring us ng ari he ’ ers en list s ve rifying audio and ins fatigue and actually impro brings out hidden detail, cla t tha ss gla ing ify gn ma an audio audiences to listen longer. undant support provides a dual-red 7 S6 AE th wi P r-I ve -O dio Dante dual-redundant Au reo audio inputs and two stereo outputs ste Ethernet connection for two dicated provides a full 5-band FM de lay de s 5m t ou ab th wi ut tp r sound.” Low-Delay DJ Monitor Ou ferred amount of “FM clippe pre ur yo in l dia u yo s let t processor tha audio 8700i-processed FM and HD the or nit mo to u yo s ow all d MP3 codecs. Built-in streaming server nnection using free OPUS an co et ern Int or N LA a is re wherever the s while ss punch to older recording ba g din un so rnde mo ds ad Subharmonic synthesizer retaining musicality. n with relays ensure 24/7 operatio ss pa by y fet sa d an s lie pp Dual redundant power su no dead-air. ning Road ban Labs, Inc. / 7209 Brow les@orban.com Or / ers art qu ad He N BA OR / sa A / [p] +1 856.719.9900 Pennsauken, NJ 08109, US burg DE sstr. 55 / 71634 Ludwigs po nre Mo / bH Gm e rop ORBAN Eu +49 7141 22 66 7 [p] +49 7141 22 66 0 / [f]

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

WorldCast Manager Manages the Studio Connects and communicates with all SNMP-enabled consoles, mixers, codecs and other gear WorldCast Manager is a unified NMS software solution designed for the broadcast, satellite and telco industries. It provides a centralized web interface (accessible from desktop and mobile devices) enabling the monitoring and management of broadcast networks of all sizes. When deployed in a studio, the WorldCast Manager will connect and communicate with SNMP-enabled consoles, mixers, codecs and other hardware equipment as well as with software-based platforms (e.g. automation, newsroom system, music rotation, etc.) regardless of their manufacturer, as long as they support the SNMP protocol. For maximum efficiency, you can incorporate many ancillary devices from the general IT infrastructure as well as facility security and maintenance. For ease of configuration, the WorldCast Manager provides an automated network discovery and autoconfiguration engine. Alarms are set based on the equipment MIB files and can be customized to notify the appropriate users via email, SMS, voice call or in-application alerts. The Dashboard view of the WorldCast Manager displays the location of all equipment throughout the studio on a floorplan or flow chart to enable easy interpretation, provide high-level information and access to the equipment tree. For those managing multiple studios or sites, a map-based display is available and provides another layer of monitoring (the big picture view). In addition to real-time performance metrics, the WorldCast Manager captures and stores readings and events to provide the user with detailed historical data and data-mining capabilities. Interactive data visualization features can be tailored to provide insights on events and facilitate operational support and decisionmaking at all levels of the organization. the modern radio studio Radio World International Edition | November 2017

AoIP Codec Requirements for SSL Applications Considerations in the decision-making process should be used. To accomplish this, all imperceptible frequency ranges need to be eliminated from the audio signal. The Enhanced apt-X codec standard represents an attractive compromise between economy and pure sound. Due to its increased resolution, it is suitable for radio broadcasting. Compressed in accordance to the requirements of the wireless transmission, the audio has hardly any loss as compared to the original track after decompression. This means it is possible to avoid the emergence of cascading effects due to multiple transmissions. The use of significantly larger bandwidths allows operators to transfer transparent audio bit by bit without any compression by deactivating sound processing. A loss-free transmission of the audio signal is possible over PCM with a very high sample rate (latency below 1 ms). This complies with the requirements of demanding live applications. With the AES3 format, it is also possible to implement an absolute bit-transparent transmission of AES/EBU signals in studio environments. For this, AoIP codecs should provide IP-based audio network technologies for realtime streaming like Livewire and Dante (proprietary solutions) or Ravenna (license-free solution).

Guestcommentary By Anke Schneider The author is sales and marketing manager at 2wcom. An AoIP codec for studio-to-studio link applications must be compatible with all common algorithms, such as MPEG 1/2 Layer 2/3, AAC LC, HEAACv1&v2, AAC-LD, G.711, G.722, E-aptX and PCM. It should also include a wide range of important features, such as Session Announcement Protocol (SAP) as well as Real-time Transfer Protocol (RTP/RTCP). Particularly, Session Initiation Protocol (SIP) ensures interoperability between AoIP codecs placed at different studio sites by establishing the connection and negotiating the algorithm. REQUIREMENTS

In addition, latency control is extremely important for handling sophisticated broadcast environments, such as live broadcasts, audio description or in-ear monitoring. This allows synchronization up to a microsecond. If equipped with GPS or PTP, a sample accurate synchronization is also possible. To ensure best possible transmission quality, the device should provide functions for perfect redundancy management like dual streaming (IP packet-based redundancy) or exact audio sample synchronization of backup streams on different compression levels. Pro MPEG FEC is a feature for error correction by restoring of lost IP packets. Due to the different compression levels, it is not possible to achieve the best possible sound with every audio algorithm but it is feasible to find an acceptable quality/ cost ratio, depending on the general conditions. Another important consideration is the type of environment in which one is working. For example, is it a small network, a large broadcaster with subnets and routers, or a complex live application? If the most economical transfer is necessary, then a codec such as AAC with a high degree of compression

THE FUTURE

Mobile applications in connection with AoIP are becoming increasingly important and are enabling all kind of users to transmit content from almost any environment to the broadcasting studio and sound studio. In this context, it is important to mention the OPUS codec and x-AAC standards, which are becoming more widespread. The basis for transmissions of this type is an AoIP capable device or server in the broadcasting studio and sound studio. To meet the upcoming additional requirements, companies should participate actively in development and integration of specifications such as Tech3326 and Audio Contribution Over IP. The purpose of these specifications is to achieve device-compatibility among different manufacturers. n

the modern radio studio Radio World International Edition | November 2017

Wheatstone Brings Nordjyske Medier Together WheatNet-IP audio networking connects media house’s day-to-day newspaper and radio operations

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

By Dee McVicker

Below: A networked Wheatstone E-6 Series split console running the mid-morning segment at Radio Nordjyske.

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

Radio World International Edition | November 2017

one Blade and one Ethernet cable we are up and running before you can get heat on the soldering iron.” Nordjyske Medier’s two radio formats (the predominant AC format Radio Nordjyske and CHR station, ANR) feed 37 transmitter sites covering the area of Nordjyske. WheatNet-IP Blade I/O units distributed throughout the facility make up the WheatNet-IP audio network that allows quick studio changes twice a day with up to eight commercial splits each time, all managed using the utility mixers built into the units. Each I/O Blade in the network comes standard with two stereo 8x2 utility mixers that are used for splitting and summing the right commercial feeds to the right destinations in the 37-site network. Each Blade is also able to auto-detect silence, and can be programmed for automatic switchover to a live source when that happens. In order to keep 37 transmitters and two radio formats going, the group looked for “distributed networking with solid failover,” according to Poulsen. More recently, Poulsen added what he calls “a studio in a box” to handle live remote shows for Nordjyske Medier’s dual stations. This is made up of a small control surface for mixing, an I/O Blade for routing sources and submixing, and a Tieline Merlin codec (with built-in WheatNet-IP audio networking) for signal transport to the studio. Everything runs seamlessly on IP; no soundcards required. Poulsen occasionally joins in on a Wheatstone Glass E virtual mixer app from his home computer to remotely manage any issues that crop up.

A Nordjyske Medier custom ScreenBuilder touchscreen. It allows its three studios, A, B and Voice-Tracking, to be configured on-thefly for either of their station’s twin formats.

At the studios, Poulsen also custom designed a touchscreen interface using Wheatstone’s ScreenBuilder app, for easily switching between the ANR studios and the Radio Nordjyske studios. The app allows end users to place faders, meters, labels, buttons, clocks, timers and other widgets on a PC screen, then define and link their function to elements in the audio network. Visual monitoring of all the audio sources running from the studios to the 37 transmitters is done using WheatNet-IP Meter Software, which captures and shows both peak and average levels for all signals simultaneously on one large monitor screen. n

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

the modern radio studio Radio World International Edition | November 2017

Grupo Renascença Transitions to AoIP Portuguese broadcaster moves on-air and production services to an IP contribution and distribution platform By James Careless LISBON, Portugal — Grupo Renascença Multimedia (Grupo Renascença), which covers Portugal with four FM radio services, recently wrapped a facility-wide upgrade in Lisbon that transitioned its on-air and production services to an IP contribution and distribution platform. The project, at press time, represents what is believed to be the largest Dante-based AoIP distribution system in radio, according to AEQ Director of Sales for Special Markets Peter Howarth.

RFM, SIM and Mega Hits. Using Dante’s uncompressed, multichannel digital media networking technology, Grupo Renascença’s AoIP infrastructure has increased the capacity and flexibility of this broadcaster’s internal signal management system. “In our new infrastructure, any studio can be easily used by any of the four services, which significantly expands their management effectiveness,” said João Pereira, Grupo Renascença’s director of Technologies and Innovation. “If required, any of the broadcasting signals can be redirected between studios, with no impact on the broadcast itself.” Grupo Renascença’s move to AoIP signal distribution specifically, and to a new facility in general, marks the company’s move into 21st century broadcasting. “The constant structural changes that we had to make over time, which were essential to adapting to new demands, proved to be incompatible with remaining in our 18th century heritage building in downtown Lisbon,” said Pereira. “Although we had some digital mixers and a small switching matrix, all distribution was analog, with its inherent limitations. Our studios’ layout, spread across three floors, hampered our ability to manage the different broadcasting signals, as well as complicated user management.”

FOUR NETWORKS

Comprising four AoIP networks, the facility’s modernized production and broadcast architecture in addition features all-digital audio mixing consoles made by AEQ, which also served as the project’s design and systems integrator. This architecture significantly increased signal capacity — to the tune of four-and-a-half times the previous ceiling — and enhances redundancy, with two of the AoIP networks carrying the same complete mix of the facility’s broadcast services. The decision to use AoIP networking simplifies the allocation of Grupo Renascença’s 15 broadcast studios among the company’s four broadcast services — Radio Renascença,

MODERN FACILITIES

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

An AEQ Arena console in the Radio Renascença studio.

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the modern radio studio Radio World International Edition | November 2017

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❱ Continued from page 28

consoles be digital; that all signals generated or ending in the studios be transported between the studios and the Technical Control Center over IP; and that all studios had to be interconnected via a centralized infrastructure, to allow the use of any signal from any location. AoIP technology was mandated to avoid the inflexibility associated with using multipair bundles and MADI cables, and to maximize fast, reliable routing between locations with a minimum of operator intervention. Grupo Renascença’s many requirements explain why AEQ opted to use Dante, the AoIP technology developed by Audinate, to distribute the facility’s audio signals. “With Dante, the system is entirely plug-and-play, with an emphasis on easy signal availability,” said Howarth. “If you need a signal, you just subscribe to it and you’ve got it on your console. As soon as you don’t, you just let it go and the previously used channel is now free. It’s very simple to use.” In meeting Grupo Renascença’s facility requirements, AEQ had to be mindful that Portuguese radio broadcast studios typically use two or three audio consoles. The main console operated by the show host, while an auxiliary console used a guest or journalist in another studio.

A third console is installed in the control room. DETAILS

“Besides the new mixers, the Dante audio distribution system and the AEQ switch matrix, we have installed a new Telos System VX Engine hybrid telephone management system; renovated our IT infrastructure based in HP and Aruba technology; and replaced our telephone switchboard with an IP model by Astra/Ericsson,” said Pereira. “We’ve also implemented a new automation system — Zetta from RCS — supported on a single SQL database that contributes to the flexibility of the studios.” All of the signals to and from these studios, and 10 more, are routed through the TCC. Centralizing the production equipment normally found in individual studios has substantially reduced the amount of cabling required for the facility in Oporto, as has using Dante over AoIP rather than sending analog signals over dedicated wires. AEQ also installed a TDM router within the TCC; specifically, the AEQ BC2000D modular digital audio matrix. Offering up to 5000 x 5000 audio data channels, the BC2000D provides the interconnection/routing hub for

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

the modern radio studio Radio World International Edition | November 2017

Newswatch

the four AoIP networks. By choosing AEQ’s AoIP over Dante approach, Grupo Renascença was able to get its new Oporto facility on air relatively quickly, requiring less cabling and less labor to achieve this goal than would have been the case with other broadcast architectures. “We’re talking tens, if not hundreds of thousands of yards in audio cable that we no longer have to use,” said Howarth. “We’d have been AEQ routers and Netbox-32 interfaces stuck making point-toinstalled at Radio Renascença. point connections for close to 3,000 channels in a TDM system, which would have added several weeks of integration work. Add Dante’s low latency and great audio quality, and one can see why the client was satisfied.” “With this setup, we can easily integrate new sound sources in our infrastructure,” said Pereira. “Meanwhile, because our system of four AoIP networks includes a Dante primary network and a secondary network carrying the same programming, this provides us with true redundancy.” Howarth believes that choosing digital production and Dante AoIP has proven to be a real problem-solver for Grupo Renascença. “The company’s engineers no longer have to work around the limitations of an aging analog infrastructure, and focus on the business of making great radio for all of Portugal.” n

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the modern radio studio Radio World International Edition | November 2017