Broadcast Radio will add Split Voice Tracking in the latest version of its Myriad Playout & Automation system
It will enable stations using split transmissions to record separate voice tracks for individual regions or platforms.
“The new capability allows presenters to create unique voice links for each split, or selectively share voice tracks across multiple splits, giving stations greater flexibility when producing localized content,” it said.
Split Voice Tracking introduces several tools.
Split VT Placeholders within the Log can contain notes or instructions for presenters, along with navigation tools that allow presenters to jump between Split Voice Track points in the Log.
The company said Split Voice Tracking also assists with maintaining consistent VT lengths between splits, helping ensure that region-specific voice tracks remain within similar durations so that split transmission paths remain synchronized.
“The feature works both in the studio using Myriad Playout and remotely via Myriad Anywhere, allowing presenters to produce split-specific links regardless of location.”
Split Voice Tracking enables stations to take advantage of split transmissions by adding more localized content, while keeping production efficient and cost- effective for live and automated shows. (See a short demo video.)
The company will highlight the feature at the NAB Show in booth C2230.
Dry chemical agent extinguishers form a crust to remove oxygen and keep it from spreading.
Water types absorb the heat, cool the burning material and remove oxygen.
Wet chemical types seal the fuel to prevent vapors from igniting and cool the fire.
Carbon dioxide types remove the oxygen and replace it with pressurized CO2 gas.
Halotron is a clean agent fire extinguisher that discharges a non-conductive rapidly evaporating liquid.
And foam types smother the fire by creating a barrier or film of foam.
According to the National Fire Protection Association, extinguishers carry a letter rating that corresponds to the type of fire a device can put out:
Class A are fires in ordinary combustible materials, such as wood, cloth, paper, rubber, and many plastics.
Class B are fires in flammable liquids, combustible liquids, petroleum greases, tars, oils, oil-based paints, solvents, lacquers, alcohols and flammable gases.
Class C fires involve energized electrical equipment.
Class Dare fires in combustible metals such as magnesium, titanium, zirconium, sodium, lithium and potassium.
And Class K are fires in cooking appliances that involve combustible cooking media like vegetable or animal oils and fats.
With all the equipment at a transmitter site, you certainly don’t want to use an extinguisher that will leave a residue that can ruin the electronics. To avoid damage, steer clear of Class A and B dry chemical extinguishers.
Engineer Blaine Wilson writes that Halotron, made by American Pacific, is a brand of “eco-friendly” halocarbon fire extinguishers that are non-conductive and leave no residue, suitable for Class A, B and C fires.
You should also consider an extinguisher’s rating and weight. The sites mentioned above have information to guide you.
What’s your experience? And have you ever had to use an extinguisher at your site? Email me.
Engineer Steve Michaels suggests you take this question to your local fire department.
This seems a good idea on several fronts. First, you will get the latest information. Second, many departments will offer a free fire inspection of the transmitter site. Third, it’s a nice excuse to build a relationship with your local emergency responders.
Tube rebuilding
With Microwave Power Products closing the former Econco facility, engineers will be looking for an alternative source for tube rebuilding.
Steve Tuzeneu writes that Massachusetts-based Kennetron rebuilds vacuum tubes, oscillator tubes, power grid tubes and electron valves used in broadcast and industrial applications. Do you have experience with the company to share?
Frank fixes a leak
Consultants Frank and Dave Hertel share a simple fix to a problem that you might encounter. It’s an emergency end cap for a 1-5/8-inch transmission line.
Perhaps you are on a job and the station’s “staff IT engineer” has an old transmission line adapter on a line that is leaking air excessively. His nitrogen tank is going “empty” once a day.
The flange adapter disassembled.
The nitrogen tankfeed for the 1-5/8-inch line unfortunately is in parallel with a 3-1/8-inch line. The leak occurred when the engineer removed the 1 kW FM transmitter in order to send it to the factory for repair.
Since he didn’t have a spare transmitter, he and management understood they would be off the air for some time. Fortunately, they also realized that their high-power transmitter should be protected by having nitrogen on its 3-1/8 line. The nitrogen feed is simultaneously on both the 3-1/8 and the 1-5/8 line so it would not take on any moisture.
Assembling the plug.
Lady Luck must have been with them because aprevious RF engineer had left a stockpile of parts and pieces. They found an old cut-off EIA 1-5/8 flange and converted it into an end cap. The flange caps the bottom run of the EIA flanged 1-5/8 coax while keeping pressure on both coax lines.
The finished adapter.
The photos show you how to correct the station’s linepressure requirement while awaiting a new, non-leaking adapter/connector for the 1-5/8-inch line and the return of the transmitter.
This can be used outside, if need be. It will withstand winter and summer conditions. The plug for the coax end is a 1-1/2-inch expandable freeze plug, also known as a welch plug, available from Amazon or an auto parts store.
Workbench submissions are encouraged and qualify for SBE re certification credit. Email johnpbisset@gmail.com.
Broadcast Supply Worldwide has announced the retirement of John Lynch, its director of business development, concluding a career that spanned more than five decades in broadcasting, 33 years of which were with BSW.
Lynch’s last day with BSW is April 30.
He joined the supplier in October 1992, according to a release, after two decades of radio and TV experience at nine stations. He became an integral part of the organization, known not only for his deep radio voice but for his connection to broadcasters across the country.
He was not formally trained as an engineer, but Lynch earned a reputation as a trusted advisor to both the technically minded and sportscasters alike. It earned him the affectionate title “The Sportscaster at BSW,” and later, as time is wont to do, it was amended to the “The Old Sportscaster.”
Supported by BSW to continue his broadcast endeavors, Lynch served as the voice of the Seattle Sea Dogs of the Continental Indoor Soccer League from 1995–1997, and later as the voice of the Unlimited Light Hydroplane Racing Association from 2001–2011.
BSW said that one of Lynch’s most notable contributions came in 1994, when he provided feedback to a visiting rep from Beyerdynamic. His suggestion — to offer broadcast headsets with factory-installed XLR and ¼” connectors — was adopted and led to a significant increase in product adoption across the industry.
John Lynch, in bobblehead form.
“John represents the very best of what BSW stands for — experience, a deep understanding of our customers and most of all, relationships,” said Bryan Seeley, president and CEO of BSW, in the release.
An Irish pursuit beckons
Lynch plans to spend more time traveling with his wife, visiting friends across the country and exploring a few states still left on his list — with hopes of someday visiting Galway, Ireland, where his family traces its roots.
He also plans to stay connected to broadcasting.
Before joining BSW, Lynch worked in sports broadcasting and served as a play-by-play announcer for football and basketball at Pacific Lutheran University near Tacoma, Wash. In retirement, he looks forward to the possibility of returning to the booth for select sports broadcasts should the opportunity arise.
Lynch will also be attending the NAB Show, where he looks forward to reconnecting with industry colleagues and customers. Attendees can find him with the BSW team at Booth C1459.
At the NAB Show, Tieline will introduce the Gateway Nexus.
The company describes it as a 32-channel, high-density AoIP codec that provides “deterministic, low-latency multichannel audio transport using dedicated and reliable hardware.”
The Gateway Nexus can be deployed in hosted and data center environments. It provides native support of AES67, ST2110-30, ST2022-7, Ravenna, Livewire, NMOS and Ember+ with optional Dante.
“It stands out as a powerful and cost-effective alternative to virtualized codec and server-based systems, providing seamless integration into IP-based audio networks,” the manufacturer states.
Remote control is provided using the Toolbox Web-GUI embedded in each unit, or the optional Cloud Codec.
Charlie Gawley, VP Sales APAC & EMEA, said the codec works in hosted environments to provide an opportunity to centralize infrastructure “without sacrificing performance or control, and delivering the confidence to transition to modern AoIP workflows.”
As broadcasting shifts towards centralized and remote production models for live applications, Tieline says, the codec’s DSP-based platform allows users to upscale infrastructure efficiently.
Screens are “everywhere” inside cars now — not just in the center stack of the dash, but directly in front of the driver, in front of the front-seat passenger and in front of folks in the back.
And this trend matters for radio.
That’s one finding from the latest In-Vehicle Visuals Report published by Quu Inc. It found that 68% of the 100 top new models sold in America now display information on not one but multiple screens.
Quu also found that every one of the top 100 cars still has FM and AM radio, though radio is getting harder to find in today’s multi-menu infotainment systems.
Once again the company sent a researcher to sit in those car models and log a set of parameters about how radio and metadata display. Then broadcast researcher Doug Hyde analyzed the data.
Key findings of the report are summarized in this chart:
CEO Steve Newberry said in the announcement, “In our third year, trendlines are emerging. Screens are everywhere in vehicles. Dashboards are getting smarter and more intuitive to use. Audio is now almost always paired with a visual.”
Newberry said that for radio, “the challenge isn’t availability — it’s discoverability. Ensuring sound is seen isn’t optional. It’s essential.”
The chart at right shows what percentage of the top 100 have certain features.
Click to enlarge
Almost 3/4 now have HD Radio and about 1/4 are equipped with DTS AutoStage. SiriusXM has seen a dip since last year. Android Audo and Apple CarPlay continue to be well supported.
But another notable finding: The number of models with streaming apps built right into the vehicle is now 53%, up from 20% just two years ago.
The data on all these models is available at QuuReport.com. The site provides searchable findings as well as photos of the dashboards.
Quu sells technology that helps radio stations schedule and publish programming and sales messages on screens.
Newberry will discuss the findings in a free webinar this Wednesday, including guests Fred and Paul Jacobs from Jacobs Media, Joe D’Angelo from Xperi and MikeMcVay of McVay Media Consulting.
Justin Sasso speaks at the Colorado Broadcasters Association Awards of Excellence Gala.
The Colorado Broadcasters Association brought together approximately 400 industry professionals this past weekend for its Awards of Excellence Gala.
President and CEO Justin Sasso said the event, held at the Ritz Carlton Denver, highlighted the strongest work in Colorado radio and television.
The 2026 competition set a new high-water mark with 1,013 entries, including 546 from radio.
The program recognized standout performances across the state’s broadcast markets, with “Station of the Year” honors awarded based on cumulative points for first-place awards of excellence and second-place certificates of merit.
For radio, the state’s winners were:
Small Market: KBVC(FM) in Buena Vista
Medium Market: KYSL(FM) in Frisco
Major Market: KKMG(FM) in Colorado Springs
Metro Market: KCFR(FM) in Denver
In his remarks, Sasso said that trust is the industry’s defining asset, while pointing to recent advocacy outcomes, including blocking legislation that would have limited open records access in Colorado and the bipartisan support for the still-pending AM Radio for Every Vehicle Act.
The event also highlighted the next generation of broadcasters, recognizing students from Rampart High School and Colorado State University with future broadcaster awards.
Representatives of the National Association of Broadcasters met with staff members of Commissioner Anna Gomez last week and reiterated their case for why the FCC should eliminate market caps on radio ownership, among other changes.
Gomez, a Democrat, has openly opposed further broadcast consolidation. She has said that when consolidation becomes the default solution, it often accelerates “the very decline it is supposed to address.”
FCC watchers assume that a vote to ease or remove caps would fall along party lines, with the two seated Republicans in favor. But the NAB appears not to have given up hope for a unanimous outcome.
The meeting on April 9 included NAB’s Senior VP and Deputy General Counsel Jerianne Timmerman and Chief Legal Officer Rick Kaplan. They met with Gomez’s Chief of Staff and legal advisor Deena Shetler and Policy Advisor and External Affairs Liaison Harsha Mudaliar.
The NAB representatives said local radio caps have not changed since the era before “satellite radio, streaming music services, podcasts, social media, giant digital advertising platforms, smart devices including phones, speakers and TVs, and automotive phone integration systems.”
They presented fresh data from Edison Research’s Share of Ear report, finding that AM/FM radio’s share of time that consumers spend listening to audio sources has fallen to 32 percent, even when counting the streamed versions of those stations.
“That’s a 40 percent decline from AM/FM’s 53 percent share of time spent listening reported by Edison in its first Share of Ear reports in 2014,” NAB says.
Competition from digital audio sources, they said, continues to erode terrestrial radio’s audience share. And revenue continues to fall for broadcasters, and NAB believes FCC rules are holding them back.
They cited research from Borrell Associates that shows total ad revenues (OTA plus digital) declined over 30 percent, without accounting for inflation, from $17.4 billion in 2007 to $12.17 billion (estimated) in 2025.
They said that according to the Borrell data, “Radio stations in mid-sized and small markets earn mere fractions of the revenues garnered by stations in the top 10 markets, and often struggle to cover their basic fixed operating costs, let alone invest in improved programming, retain talented staff or hire additional staff or update equipment.”
They made the case that increased common ownership will benefit consumers in the long run. Because owners would have incentive to program stations in a market differently rather than replicate formats, “common ownership leads to a greater variety of radio programming available to consumers in local markets.”
This is an argument that critics of media consolidation have ridiculed, saying that corporatization of radio has already led the medium in the opposite direction over the past 30 years.
The FCC’s station counts for AM, FM commercial and noncommercial, FM translators and boosters and LPFMs since 2000. Click to enlarge.
In a time-series plot, let’s take a look at the latest station total report from the FCC, which reflects recent trends: Commercial AM and FM radio facilities are seeing gradual declines, while noncommercial FM totals continue to climb.
NCE FMs continue to set new highs. As of the commission’s March 31 report, there are 4,783 of these stations, which is up 28 stations from December. But as you can see from our 26-year chart, at turn of the century, there were only around 2,000 noncommercial FM stations.
Not all religious stations are noncommercial, of course, but many of them are, and the continued increase in noncom totals also reflects the prominence in the U.S. of such networks.
The NCE FM total once again outpaces the total number of AM stations in the U.S., which dropped by 32 since December to 4,310. That is the lowest the total yet for the senior band in the commission’s dataset, which tracks numbers dating back to September 1990. AM’s decline, as we can see, is gradual, but also continuous, since about 2010.
The drop in the number of AM stations is perhaps more publicized, but the number of commercial band FM stations has been in a decline, too. The total number of such stations fell by 12 from December to 6,574, which is down from an overall peak of 6,772 commercial FM stations reached in December 2019. Still, that’s quite a bit higher than the commercial FM total of 5,892 in 2000.
FM translators and boosters dipped slightly in March, falling from 8,867 to 8,854. These totals peaked at 8,951 in June 2022.
LPFMs, meanwhile, increased by 13 to 2,007. Our chart shows low-power FM totals peaking just before COVID-19 hit.
Broadcast Electronics will demonstrate its latest AudioVault automation user experience enhancement and a software-powered FM transmitter at the NAB Show.
“We are excited to bring new software and hardware products to NAB – our first under new local ownership – that enable stations to cost-effectively deliver content to their listeners,” said Rich Redmond, BE’s president and CEO, in a release.
A new look and feel
AudioVAault AV-xI software
With a redesigned look and feel, AudioVault AV-xI was released last fall and offers a layout framework with scalable docking positions. Users can drag and drop up to 18 AudioVault gadgets on a single screen.
BE said that the layout offers playback engines for streams, HD Radio channels or multiple stations on one workstation. Its built-in browser allows access to features such as news, weather or artist bios.
AV-xI also includes a revamped CloudVault, which supports centralized and distributed content and control, either on-premise or hosted. It provides integration with HLS streaming to a CDN or with an Orban 5950 processor.
CloudVault also includes a file distribution framework that provides real-time synchronization of content, commercials and logs between the cloud and edge playout devices.
BE said that the CloudVault solution is also suitable for disaster recovery, backup and off-premises operations.
AV-xI also features TRE+ integration, matching a station’s visual content with audio across RDS, HD Radio and streaming platforms.
Software-powered transmitter
The BE STX 1k transmitter will be demonstrated at the NAB Show.
The BE STX 1k FM transmitter is a new, 1 kW compact 2RU footprint model that includes LDMOS RF device and switching power supply technology. It uses BE’s TX direct-to-channel digital exciter.
There are optional upgrades available to transmit on digital HD Radio or DRM+ modes.
Control and monitoring can be done through an HTML5 GUI that supports SNMPv3 connectivity.
The STX 1k uses a software-defined processing engine, which integrates with BE tools such as its declipper, delossifier, advanced dynamics and a composite clipper that delivers audio quality and loudness for “even the most demanding markets,” according to BE.
The MicroMPX option allows for STL capability over IP networks, with error correction and transmission over multiple networks. Optional GPS synchronization coupled with single-frequency network software allows for operation in an SFN or on-channel booster.
New from Tascam is the DR-40XP, a four-channel portable handheld recorder that adds USB-C connectivity and 32-bit floating point design to previous DR-40 models.
The company says it is suitable for professional-quality recordings for music, audio-for-video, meetings, dictation and other applications. Retail price is $259.
“The 32-bit float recording mode with up to a 96 kHz sample rate ensures low-noise, distortion-free recordings for a superior sound. With 32-bit float recording, users never have to worry about losing audio takes that were recorded too loudly or quietly.”
Features microSDXC card storage and support for up to 512 GB memory cards.
The unit has two unidirectional stereo condenser mics, adjustable from A/B to X/Y configurations. Two XLR/TRS inputs on the bottom can expand the system to capture four sources simultaneously. An input delay function mitigates phase incoherence between external and internal microphones.
“Combined with its USB-C audio interface, the recorder can function as a two-in/two-out audio interface capable of easily connecting to one’s computer or DAW on both Windows and Mac OS as well as iOS devices,” Tascam said in the announcement.
“Further, the DR-40XP can be connected to the aforementioned devices via USB-C for use as a USB microphone.”
The recorder includes a chromatic tuner for musicians, and an included reverb effect is useful for adding vocal and instrumental resonance.
Three low-cut filter options are available for reducing unwanted noise. For use with video, the DR-40XP has Auto Tone output functionality to make post-production sync a simple task. This recorder also can attach to a tripod mount.
A Sunday morning session in the NAB Show’s Broadcast Engineering & IT Conference will discuss “Successfully Launching Compelling Visual Radio Automation.” It will be by Fritz Golman, director of video systems and automation for RadioDNA.
Radio World: It feels like video has been part of radio operations for a while now. What will you talk about?
Fritz Golman:I’ll be presenting how we’ve successfully implemented a number of visual radio automation platforms. These case studies will highlight two projects of note, Houston Public Media’s KUHF, with two of their live flagship shows “Hello Houston” and “Houston Matters,” as well as Good Karma Brand’s WVMP/ESPN Radio Chicago and their 12-hour live broadcast day programming.
Fritz Golman
In this day of declining traditional listenership, not only alternative channels (EG, streaming) but enhanced presentation methods are needed to maintain and grow audience numbers — and of even more critical importance, especially for public radio, new opportunities for generating revenue.
RW: What would a typical station’s visual radio system consist of in 2026?
Golman: Although there is a temptation to utilize the least expensive components like low-cost webcams, the limitations they impose will be realized as soon as the operators of such systems when they want to “take it up a notch” with more sophisticated presentations.
Thus we only specify IP video systems using NDI and audio over IP, such as WheatNet, LiveWire or Dante. As these run on conventional network wiring, we eliminate the additional complexity of coax-based SDI cameras and dedicated digital video connections like HDMI.
The small additional upfront costs of these platforms yield long-term benefits of flexibility and interoperability. Then we integrate with a typical playout system like WideOrbit, RCS NexGen or RCS Zetta.
RW: Can you give examples of best practices?
Golman: Don’t scrimp on network wiring or backbone. The tiny additional cost of Cat-6 versus Cat-5 wiring can make a huge difference in the near future.
Pull another wire or two more than what is needed at the time, you’ll find that will come into play sooner or later.
Don’t be tempted to use hardware video switchers. They are limited in capability and locked into that configuration permanently.
Be willing to learn about the visual medium and collaborate with others, potentially from disciplines outside of one’s facility, to get the “look” that will attract and keep viewers.
The video network configuration at KUHF. RadioDNA was involved in all aspects of the build-out, not just the video side. The audio/Wheatstone environment is not detailed here.
RW: What else should we know?
Golman: We like to configure our solutions around proven, widely used products. Although there are a number of software packages that can do at least some of what we’re fielding, the operator should consider how many other users there are of that piece of kit.
I like to say that if you can only find one or two video clips showing the system in use or demonstrating features, it is probably not the package that has a lot of depth of support.
On the other hand, stay clear of open-source offerings. Even with the very tempting price (free), you will probably get what you paid for.
Barix will unveil its latest Instreamer and Exstreamer devices for AoIP transport at the upcoming NAB Show.
The manufacturer is highlighting flexible configurations for its MultiCoder M400 and LX400 FLEXA codecs and its Reflector Evo cloud transport platform.
New for the NAB Show, Barix has added SRT and RIST support to the MultiCoder M400. The IP encoder can send audio streams to receive points in four formats, a feature intended for broadcast headends, media production centers and remote service providers.
The update follows the addition of SRT transport to LX400 codecs, which are designed for radio stations. The LX400 can be configured as either an encoder or decoder for use over traditional studio-to-transmitter IP connections, point-to-point SRT paths or multi-point enterprise Reflector Evo cloud networks.
The M400 integrates four internal encoding engines capable of simultaneous operation, each supporting low-latency RTP, BRTP, SRT and RIST protocols, Barix said. The hardware allows users to encode incoming analog audio into OPUS, AAC+, PCM and 320KB mp3. It can send multiple audio streams to receiving devices while maintaining quality on RTP, SRT or RIST.
The M400’s CPU capacity provides a foundation for ongoing customization and new applications, the company said. Like the LX400, it uses a Linux-based platform to provide security features, including HTTPS for device setup.
The LX400 codec includes features native to the Barix product line, including multiple contact closures, relays and a USB port for direct playout. It also offers end-to-end delay control for RTP streaming and stream redundancy modes for uninterrupted broadcasting. The device can be used in a standard STL configuration or within the Reflector EVO service.
The latter, offered through partner StreamGuys, provides full-duplex audio contribution and distribution in the cloud for enterprise broadcast applications.
It's time for The Weekender! This is our departure into the world of hedonism, random topic excursions, whimsy and (hopefully) knowledge. Thanks for listening and, if you happen to get a chance, feel free to call us or e-mail and send us some feedback. Tell us how we're doing. We'd love to hear from you. 73 de The LHS Crew
Ham College episode 138 is now available for download. Technician Exam Questions Part 25 T9A – Antennas: vertical and horizontal polarization, concept of antenna gain, definition and types of beam antennas, antenna loading, common portable and mobile antennas, relationships between resonant length and frequency, and dipole pattern. T9B – Feed lines: types, attenuation vs frequency, … Continue reading Ham College 138
Connexion
