BROADCAST MANAGEMENT...

JULY 1986 $3.00

BROADCAST MANAGEMENT ENGINEERING

Also in this issue: TV Stations Compete in Teleproduction

High -Frequency STLs Rebuilding AM Series Group -Level Equipment Acquisition RTNDA Preview

PR99 MKII THE BALANCED BUDGET ATR

The PR99 MKII is a fully professional, bal-anced in/out ATR that's priced perfectly forbroadcasters on a budget. Although com-pact in size, the PR99 MKII scores big on pro-duction features, audio performance, and longterm reliability.

Help for Deadline Dodgers Whendeadline pressure hits, the PR99 MKIIcomes to your rescue with new mi-croprocessor -controlled cueing andediting features: A highly accuratereal time counter. Zero locate andaddress locate to find your cue andstop right on the money. Plus autorepeat for timing and rehearsing. Theseconds you save will show in yourproduction quality ... and your bloodpressure. Other features include editmode, tape dump, self -sync, inputand output mode switching, inputand output level calibration, andfront -panel vari-speed. Console, re-mote control, and monitor panelavailable as options.

Count on It The Swiss -engineeredPR99 MKII has earned its reputationfor reliability. From the massive die-cast chassis to the servo capstanmotor, every part is milled and drilled

to fit right andstay put. For along time. Modu-lar electronics sim-plify maintenanceand servicing.

Pure PerformancePurity of sound repro-duction has long been ahallmark of Studer Revoxrecorders, and the PR99 MKIIis no exception. Noise, distor-tion, and frequency responsespecs rival those of recorderscosting far more.

All This for Not Much Competi-tively priced, the PR99 MKII carriesthe lowest suggested list price in theunder -$2500 class. For more informa-tion, contact your Revox ProfessionalProducts Dealer. Find out Irbow easily youcan fit the PR99 MKII's balanced perform-ance into your station's budget.

R EVOXStuder Revox America, Inc., 1425 Elm Hill Pike, Nashville, TN 37210 (615) 254-5651

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Fidelipac introduces

6.9% Fixed ratelease purchase program

Finance Dynamax Cartridge Machine equipment below the prime ratewith ownership after a lease of up to five years.

Avoid delay in equipment acquisition Avoid capital budget restrictions Avoid increases in pricing and interest rates Avoid reduction of working capital or bank lines

Save money

The following examples are computed at the 6.9% rate:

CTR10 SERIES PACKAGELIST

PRICE*3 YEAR

TERM5 YEAR

TERM

CTR13 Mono Recorder 2,270

CTR11 Mono Reproducers (3 units) 4,125

ESD10 Eraser/Splice Detector 1,050

Total $ 7,445 $229.54/mo $147.07/mo

CTR30 SERIES PACKAGE

CTR34 3 -Deck Stereo 4,375Recorder/Reproducer (1 unit)

Total $ 4,375 $134.89/mo $ 86.42/mo

CTR100 SERIES PACKAGE

CTR124 Stereo Recorders (2 units) $ 7,620

CTR112 Stereo Reproducers (6 units) 13,590

Total $21,210 $653,93/mo $418.98/mo

Credit approval requires only three days upon receipt of required references. Prepayment is limited to the firstand last months' lease remittance. The user retains all benefits of depreciation and available investment taxcredits, and may purchase the equipment at lease maturity for 10%. $5,000 minimum lease purchase. Fidelipaccartridges and other accessory items may be included in the total package.

CALL 800 -HOT -TAPE TOLL FREEFOR MORE INFORMATION

"Prices shown subject to change without notice.

DYNAMAX ®BROADCAST PRODUCTS BY F1DEUPAC

Fidelipac Corporation 0 P.O. Box 808 0 Moorestown, NJ 08057 0 U.S.A.609-235-3900 0 TELEX: 710-897-0254 Toll Free 800-HOT TAPE


`Hello, Sony?Merry Christmas.We need help:'

(408) 946-9219.This line is always open.It connects you with Sony Broadcast National

Emergency Technical Assistance. A computerized pagingnetwork linked to Sony field engineers across thecontinental U.S..

One call assures that a qualified Sonyengineer will get back to you in minutes.

Not hours, not days.Minutes.It's only one of the extensive technical

support services that come with every SonyBroadcast product. Services that includeregional and dedicated technical assistance lines,24 -hour emergency parts service, and the mostcomplete, centralized parts inventory in the industry-everything from systems modules to the humblestfaceplate screw.

Round-the-clock technical support. One reason whySony Broadcast has such a high percentage of repeatcustomers.

They know that the Sony Standard works.Nights, weekends and holidays, too. s oNy:

Sony Broadcast Products Company, 1600 Queen Anne Rd., Teaneck, New Jersey 07666.© 1986 Sony Corporation of Americo. Sony ,s a registered trademark of Sony Corporation.

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PUBLISHING DIRECTOR

Charles C. Lenz, Jr.EDITOR EMERITUS

James A. Lippke

EDITOR

Tim Wetmore

MANAGING EDITOR

Leslie A. AsiaTELEVISION EDITOR

Eva J. BlinderRADIO'AUOIO EDITOR

Judith CrossTECHNOLOGY/ENGINEERING EDITOR

Hugh Aidersey-WilliamsNEWS EDITOR

Douglas DamothCOPY EDITOR

Michael D. Espindie

E DITORIAL BOARD CHAIRMAN

David Hawthorne

FCC COUNSEL

Bechtel & ColeBROADCAST FINANCIAL CONSULTANT

mark E. Battersby

CREATIVE DIRECTOR

Mark RoganASSOCIATE ART DIRECTOR

Andra DouglasASSOCIATE ART DIRECTOR

Raymond Wong

PUBLISHER

William C. McGarryASSISTANT TO PUBLISHER

Sharon Porges

PRODUCTION DIRECTOR

Nick TartagliaPRODUCTION ASSISTANT

Barbara Mendelsohn

MARKETING SERVICES MANAGER

Arlene M. PetersMARKETING SERVICES ASSISTANT

Sh M. Riley

CONTROLLER

John AlinoviOFFICE MANAGER

Donald Cooke

READER SERVICE

Maria Cipollone

Broadband information Services Inc.295 Madison Ave., New York, N.Y. 10017(212) 685-5320, Telex: 64-4001Also publishers of:BM/E's World Broadcast NewsEITV Educational -Industrial Television

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4 BM/E JULY 1986

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JULY 1986 VOLUME 22 NUMBER 7

Features

CoverDigital audio helps radiowith on -air sound, but isanalog the true foundation oftoday's station? Photographby Bruce Weintraub/Photographic Illustrators.

BMEBROADCAST MANAGEMEN ENGINEERING

63 77 WILLAM STRUBE

23 Audio Engineering & ProductionDigital Audio: Ready for Radio?"Digital" has become the catchword of the decade, with stationsclamoring to play the latest CD releases. But promotional bene-fits aside, are CDs and other digital audio systems ready to gainfull acceptance in radio stations?... by Judith Gross,Radio/Audio Editor

43 RP EngineeringGoing Gigahertz! 43STLs are taking advantage of newly approved high -frequencymicrowave bands as well as making more of established bands...by Hugh Aldersey-Williams, Technology/Engineering EditorBroadbanding Your Own? 55The drive for technical improvement and the promise of stereoAM radio are bringing renewed attention to antennabroadbanding... by Hugh Aldersey-Williams

63 TV Engineering & ProductionEngineering in the Client's InterestFrom local commercials to elaborate productions, TV stationsare making a mark in the competitive teleproduction business...by Eva J. Blinder, Televison Editor

77 Broadcast ManagementEquipment Acquisition at the Group LevelA case study of the planning and management process of a 77large-scale capital investment in equipment... by William StrubeEquipment Is Lead Story at RTNDA Meet 81Satellite newsgathering looks to be a hot topic featured at someof the more than 100 exhibits at this year's RTNDA show.

10 Editorial 88 New Equipment14 Industry News

Big upswing in sat usage

84 FCC Rules &RegulationsOdds & Ends

90 Advertisers Index

BM/E JULY 1986 9

Editorial

"We do know theindustry is currently

being driven bymanufacturers who

are responsive tothe industry's

needs and by anexcited community

of broadcasters."

An IndustryMoves ForwardThe question burns in the minds of broadcasters, and, as always,burns hottest in the months immediatly following the NAB conven-tion. The question is: Where is the industry headed? What is alsoimplied here are other questions: Do we, as members of the indus-try, have control of the direction? Do we have control of the speedand the momentum? And, more immediately, what is in store forthe second half of 1986?

In recent months, we at BM/E have run editorials on standardsand practices; always a matter of concern to a technologically ori-ented business. This is, of course, due to the pressure that standardscommittees exert on both the manufacturer and the user (or at leastthey try to influence these factions) and, secondarily, as a result ofthe type of thinking representive of manufacturers and other organi-zations that participate in such committees.

It is essential that overall industry growth be understood, for weare at a crucial juncture. Broadcasting is now entering a stage ofmaturity. This business, after all, is still a relatively young one.Part of the new maturity is reflected in the positive, upbeat ap-proach of broadcasters, in spite of confusion over standards or diffi-culties with collective or individual companies. Also part of thematuration process is the support by broadcasters of those manufac-turers who are providing useful technology.

Manufacturers themselves are going through changes, experienc-ing a subtle shifting of efforts.The trend toward fewer engineering -

oriented companies and an increase in market -driven companies(with a solid engineering base) is another indicator of our coming ofage. Such "rites of passage" developments were in evidence this yeararound NAB time: NBC's commitment to Panasonic's M -II; joint ef-forts by Sony and Ampex ; Philips and Bosch; Philips andStuder; Dynatech forming an umbrella over Utah Scientific, Color-

graphics, and Quanta. All of these events signify a healthy growthin cooperation among companies trying to satisfy market demandswith services as well as innovations in software and hardware.

Perhaps the answer to the question "Where are we headed?" willnever be answered. We do know the industry is currently beingdriven there by manufacturers who are responsive to the industry'sneeds and by an excited community of broadcasters who wish totake us as far as we can imagine with momentum and control. Inview of this, the second half of 1986 looks very bright, and the roadto the future seems smooth.

I, as the new editor of BM/E, am proud to be a small part of thisexciting industry, and I hope to see you down the road somewhere.Let's have some fun getting there!

Tim WetmoreEditor

10 BM/E JULY 1986

Harry J. PappasPresident

Pappas Telecasting

Comark performance satisfies the mostexacting customers...again and again.

Harry Pappas was so impressed with his firstComark "S' Series 220kW Transmitter,he bought a second.

You don't get to be a leader in the in-dependent television broadcast industry bymaking the wrong decisions about TVtransmitters. When Harry Pappas wasready to build his New Super -power station,WHNS-TV in Asheville, N.C., he chose theComark ' S" Series 220kW Transmitter. InHarry's own words: "The transmitter livedup to the promises made by the Comarkpeople...and then some. In terms of per-formance, specifications and efficiencyratings, I couldn't have asked for more."

Naturally when it came to choosing thetransmitter for his next station in Omaha, Nebraska, therewas only one choice: Comark's "S" Series 240kW rig.

At Comark, we are especially proud to have gained the con-fidence of a knowledgeable industry leader like Mr. Pappas.But building superior transmitters is only a part of our stole.We continue to work even harder at building a superiortransmitter company.

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Panasonic introduces the M-11 format. It's the first metal particle cassette -basedsystem with features that allow single -format broadcasting from field pickup rightthrough editing and on -air broadcast.

One format, one system. single -formatcapabilities eliminate the time, cost andperformance degradaton of format conversion.So the same compact Y2" cassette that's used inthe field can be loaded right into the studiorecorder or cart machine.

Advanced component analog design. Withthe introduction of M-11, the broadcast industryfinally has a component format that will set adesign standard throughout the world.

1" picture quality on 1/2" cassettes. By usingseparate heads, independent recording tracksand metal particle tape. M-II's performancerivals that of the 1" C Format even throughmultiple generations.

Four -channel audio. Delivered with provisionsfor stereo as well as high-fidelity audio.

90 -minute recording and playback. M-IE'scassette provides up to 90 minutes of operation.Compare that to the conventional 20 -minutecassette, and you'll find yourself shooting fourtimes longer before having to stop to reload.And plays back four times longer in theoriginal format.

Full editing capabilities. Whether its videoand audio editing, audio split editing, automaticpre -roll or speed trimming for matched frameedits, M-11 is the one for all.

System interfacing. Standard edit controlinterface and video signal format combine toenable ready connection with virtually allsystems in use today.

Ideal for automation. M -II can be used in cartmachines and program delays for automateddown link recording.

Panasonic reliability. Recognized as a leaderin professional electronics, Panasonicperformance and dependability are at the heartof the M-11 system.

Built-in economy. No expensive formatconversions or extra space required for extraequipment makes M -I1 an investment that willpay for itself.

To discover the 1/2' format that's about toturn all others into recorded history, call1-201-348-7671. Or write: PanasonicBroadcast Systems, One Panasonic Way,Secaucus, NJ 07094.

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Industry NewsMedia Events Go Globalvia SatelliteBroadcasters and corporationsalike are capitalizing on the avail-ability of international satellitefeeds. Two recent occasionsshowed how.

The first event formed part ofthe Coca-Cola centennial cele-bration. On May 8, satellitefeeds handled on Intelsat,Brightstar, and Western Unionsystems were coordinated to al-low choirs in five continents tobe heard together live.

The problem of different "satel-lite bounce times" had to be over-come to achieve synchronizationof the voices in the singers aroundthe world. Tests well before theevent were ruled out because ofpossible routing changes in thesatellite hops.

Instead, engineers sent a beatpattern along five sets of two wiresto the five continents' choir loca-tions immediately beforehand todetermine the length of the delay,which could be up to two seconds.With this information, the choirsstarted at slightly different timesto achieve the desired effect heardin Atlanta.

The second event was the SportAid benefit held on May 25 to raisefunds for African famine relief.In this case, simultaneous livefeeds were handled from 13 sitesaround the world and transmittedas a single telecast shown in 50countries.

Eight video signals were fed toLondon. These pictures were thensent to program directors at NBCin New York using a "quad ma-chine" to allow all eight pictures tobe sent on only two channels.

Three hundred or more live shots will be relayed by Conus Communica-tions to its member stations. They will go through its Ku -band satellitenews master control center in Minneapolis, recently doubled in capacity ata cost of $300,000.

"This aggressive expan-sion allows Conus to offermore communicationspackages simultaneously

and monitor more satellites," says vicepresident and general manager, ChuckDutcher. The expanded center willcoordinate ten half -transponder videoson the SBS-3 and K-2 satellites. Sixstations anywhere in the U.S. will beable to go live or feed tapes at thesame time, claims Conus. Four otherhalf -transponders are for other SNGuses, including partial or completenewscasts.

When the director had selected therequired feed, the channel wouldswitch to carrying that signal

The Sport Aid control room in NewYork, showing feeds from around theworld, including some on split-screen"quad machines."

Call for 1986 Best Station and Facility DesignCompetition NominationsThe Best Station and Facility Design Competition, which appears eachyear in the December issue of BM/E, is the industry showcase for re-cently built or renovated stations and teleproduction facilities. If youwould like to see your station or facility featured in the competition,send the name of the person to whom the application package shouldbe sent, address, and telephone number to BM/E, 295 Madison Ave.,New York, NY 10017, or call (212) 685-5320. Please send requests forapplication packages by the end of August. Winners are decided byreaders' votes and receive awards at a presentation ceremony duringthe NAB convention.

only. According to Brightstar,Sportaid was the first occasionat which this split-screen feedwas used.

At NBC, the eight London feedsjoined eight other feeds fromaround the world. In all, 23transponders on 15 satellites-bothinternational and domestic-wereused over a three-hour timewindow. All but one of the feedswere on C -band.

According to the production or-ganizers, more video signals weresent by satellite at one time forthis one event than ever before.More than one billion televisionsare believed to have receivedSport Aid coverage.

Visnews International coordi-nated the feeds on both occa-sions. Producers for the SportAid broadcast were Global Me-dia, and for the Coca-Cola birth-day party, C. Henning Studios inAtlanta.

Swearing by SatellitesThe satellite and production re-cords set by these events won't lastlong however. On July 3, 20,000new Americans were sworn in live

14 BM/E JULY 1986

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Industry News

via satellite as part of the LibertyWeekend Celebrations in NewYork.

Thanks to the latest satellitetechnology, recent arrivals hadthe chance to experience the feel-ings of past generations of immi-grants as they passed the statueon their way to Ellis Island.

About four hundred new citi-zens were sworn in by SupremeCourt Chief Justice Warren

Burger on Ellis Island itself. Up to40,000 others, in cities around thecountry, took the oath remotely.For those new Americans in fourspecial locations-Los Angeles,St. Louis, Washington, DC, andMiami-the swearing -in ceremo-ny was live by satellite.

ABC, which obtained the net-work exclusive for the event,worked with the Immigration andNaturalization Service and entre-

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preneur David Wolper, of Los An-geles Olympics fame, himself aone-time TV producer, to ensurethe satellite linkup wentsmoothly, allowing the Justice'svoice to be heard by all the par-ticipants and synchronizing thesinging of "God Bless America"following the swearing in.

There were other satellite ser-vices in on the act, as well. Accord-ing to Kelly Shannon at ConusCommunications, 16 of its memberstations were slated to send crewsto the event, four ofthose-WBAL-Baltimore,WCVB-Boston, WCSC-Charles-ton, WTAE-Pittsburgh-withNewstar trucks. The Pittsburghstation and WTVJ from Miami,one of the cities involved in thesatellite ceremony, were to origi-nate their newscasts from NewYork for the entire week. Two ofthe trucks were to be located onGovernor's Island, with one inBattery Park and one on LongIsland linked by Ku -band toManhattan.

In related satellite news, Asso-ciated Press and Conus have an-nounced the formation of a jointventure for a Washington videonews feed service. The service,"TV Direct," will be available toall TV news operations and will beup and running by next month,says AP.

"TV Direct" will comprise liveand taped video news feeds ofWashington events provided byConus's Washington Direct SNGfacility, on -location local storiesreported by AP staffers, andVideographs, AP's video -formatnews photograph service.

Radio '86 Lures EngineersNow that the NAB has taken overthe September Radio Convention,there's been a whole -hearted at-tempt to draw more engineers tothe show, which has traditionallyconcentrated heavily on program-ming and management.

The number of engineeringsessions has been doubled andthey are now being handled bythe NAB's Science and Technolo-gy Office. Topics slated as sub-jects of sessions include "AM

16 BM/E JULY 1986

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Industry News

Improvement," at which time areport on overmodulation andthe NRSC draft voluntary stan-dard for preemphasis are to bepresented, along with a progressreport on controlling electricalinterference.

Other topics for engineers arenew ideas for using AM stereo, FMupgrades and the new FMX system,directional antenna maintenance,grounding tips and techniques,strategies for lightning, FM antennas, studio design, and RF radia-tion regulations. Of special interestshould be a session on new studiotechnology, including such topics asdigital audio, CDs, and digitalediting.

Digital audio, overall, is ex-pected to be an especially hot itemat the show, with the new CD"jukebox" or multiple -disc playerstaking center stage. Musicsyndicators will also no doubthave more offerings on CD.

Besides trying to lure more en-gineers to the show this year, theNAB will be repeating some of lastyear's efforts to get attendees ontothe exhibit floor. Last year's suc-cessful lunch served alongside theexhibit booths will be repeated.

The show will be at the NewOrleans Convention Center fromSeptember 10 to 13.

New AM Band PlansProceedAlthough it will be several yearsbefore the first stations are on theair, countries in this part of theworld are expected to begin clear-ing 100 kHz of the AM spectrum ofnonbroadcast services to makeway for new allotments between1605 and 1705 kHz.

A Western Hemisphere plan-ning conference on the extendedband held this spring generallywent along with U.S. delegationrecommendations. Allotmentswill be based on 1 kW of powerwith a nondirectional antenna onthe border, and on 10 kW with a di-rectional antenna 200 miles ormore from a border. Technicalstandards will be the same asthose now in force for the AM bandin this country.

A second meeting on widening

the spectrum is not scheduled un-til 1988. It is estimated that some500 stations could be added to thespectrum, with the first onessigning on by 1990.

Complex Satellite LinksDeliver GoodwillBefore any of the competition gotunder way at the Goodwill Gamesin Moscow this month, TurnerBroadcasting was setting a record.

As a broadcaster from anIntelsat signatory nation, Turnerwas able to link up to Russia'sIntersputnik Statsionar 4 satellite(a nonsignatory) to transmit thegames from the Soviet Union toAtlanta.

To present 129 hours of televisionto audiences in North and SouthAmerica, including U.S. syndicatedstations and cable systems, Turnerhad to arrange links to several sat-

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Industry News

ellites in both NTSC and PAL.(SECAM signals from cameras inMoscow were converted at theOstankino international broadcastcenter.)

Compounding the complexity ofthe games was additional cover-age of an international basketballtournament taking place at sevenvenues in Spain. In the Soviet Un-ion, 20 venues were in use fromMoscow to the Baltic Sea. Turnerhad mobile vans on -hand for spe-cial interviews to augment the So-viet TV feeds from the arenas.

According to Jim Kitchell ofTurner Broadcasting, to get thewaiver to use Intersputnik re-quired negotiations involving theFCC, U.S. State Department,Comsat, and Intelsat. After exam-ining all the alternatives andrecognizing that Statsionar 4 wasto be a backup link, approval wasgranted for the duration of thegames. "We've cleared a total of 23circuits between the U.S. and the

USSR," a weary Kitchell reports.

GE -RCA Merger ProgressThe FCC has paved the way forcompletion of the $6.46 billion GEtakeover of RCA. The commissionhas authorized transfer of allunits, including NBC, to GE. Thecommission also approved short -form transfer of NBC from RCA toa newly created separate divisionof GE, which had promised to keepthe network operation indepen-dent of the rest of the company.

GE has an 18 -month waiver tocomply with cross ownership rulesand will sell radio stations in NewYork, Chicago, and Washington.There's specualtion that the loss ofthose major markets could promptsale of the entire NBC RadioNetwork.

The FCC acted quickly on theproposed takeover, which was an-nounced last December. GE saidthe purchase deal could be closedas early as this month.

TEAC Chooses DASHIn the relatively quiet war be-tween digital audio recordingstandards, there is one more sup-porter in the DASH format.

Teac has said it will use theDASH format for its digitalmultitrack and two -track mas-tering recorders. The companyplans a DASH digital recorder tobe marketed next spring.

Teac joins Sony, Matsushita,and Willi Studer AG, in suportingthe DASH format.

Mitsubishi, Otari, and AEG havecome out in favor of a competing for-mat, the PD or pro -digital mas-tering format. Mitsubishi and Otariboth have digital recorders in thisformat, with a pro -digital intro-duction by AEG also slated fornext year.

Teac says it selected DASHbecause of customer acceptance,technical standards, and flexibil-ity, and because of its similarityto analog recording.

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Audio Engineering & Production

Ready for

Radio?"Digital" has become the catchword of the decade, with stations clamoring toplay the latest CD releases. But promotional benefits aside, are compact discsand other digital audio systems ready for full acceptance into the radio station?

1t's almost impossible to talkabout state-of-the-art audiowithout using the word "digi

tal" these days. It was only a mat-ter of time before techniques per-fected in the music recordingstudio, along with consumer de-mand for the compact disc, madethe benefits of digital sound some-thing for radio stations to explore.No surprise then, that "digital"was the most bandied -about wordat this year's NAB show. And nosurprise that radio engineers ap-pear ready, and some of them ea-ger, to be wooed into the digitalcamp.

By Judith Gross

But not so fast. While many sta-tions are playing CDs and promot-ing them on -air, and while no lessthan some two -dozen radio equip-ment suppliers were marketingdigital audio products in one formor another at this year's NABshow, some serious concerns aboutthe state of the technology, espe-cially its suitability to the typ-ical radio environment, stillremain.

The search for hardwareThere are still only a few

companies manufacturing playersfor the pro market. This has forced

stations to use consumer models,sometimes with disasterous re-sults. A major market announcerwas recently chagrined when thestation's player malfunctioned inthe middle of a song, and it ap-peared to turn him, at leasttemporarily, against CDs as a reli-able music source.

Two CD player manufacturersare no longer competing with eachother for radio station business. Atthis year's NAB, Studer Revoxand Philips joined forces, decidingthat Studer would market boththe Studer A725 CD player andthe Philips LHH 2000 professional

BM/E JULY 1986 23

Audio Engineering & ProductionDigital Audio

CD player system in the U.S.Dave Bowman, director of pro-

fessional dealer products forStuder, says he sees a transitionamong radio stations away fromthe consumer models they werefirst using and towards acceptanceof professional players. The rea-sons reflect the industry's spe-cialized needs. Cueing is probablythe most important function de-sired by stations. The Philips mod-el uses a "flywheel," a separatepanel with a round disc that cancue a CD cut up to its exact starttime, much as the on -air talentwould cue up a vinyl recording.The Studer player uses a pair offorward and reverse skip buttons,which sample the audio in smallincrements for cueing. The Studerunit is rack -mountable; the Phil-ips, a table -top design

Both the Studer and Philips promodels are considerably more ex-pensive than consumer CD players,with the Studer selling for under$2000 (pricing on the Philipsplayers is not yet available). Butthe units are more durable and reli-able than consumer units, with-standing stations' constant and notalways gentle use.

Sony has also had a CD playerfor the professional market avail-able for some time. MichaelFeniello, marketing and adminis-tration manager for professionalaudio products, says that when thepro player was first introduced, itwas ahead of its time.

"The radio market is stilldetermining its needs in CDplayers," Feniello points out."There will no doubt be refine-ments as the needs become moreclear to the users."

Sony is marketing its CDP-3000player in tandem with its CDS-3000 controller for two players.The player uses searchwheelcueing to find time codes and cancue to start times. Feniello saysboth units are durable and featuresimple controls. The players aremade to be controlled remotelyfrom the controller or a PC, andthe controller can preprogramstart times for cuts to be played.

Sony is satisfied that the prod-ucts meet the current needs of ra-

Plailips LHH 2000 CD players have a con-troller and "flywheel" for cueing;Studer now markets them in the U.S.

dio broadcasters for on -air andproduction enough to allow theiracceptance into stations anxiousto "go digital" quickly. The playercosts $2100, and the controller,$1200.

For automated or semiautom-ated stations, there is a new ap-proach to CD play-the multidiscchanger, or "jukebox," which Sonyand at least one other company aremarketing to stations (see "Bor-rowing from the Jukebox" in thisissue).

In addition to the Philips CD player,Studer continues to market its ownhigh -end A725 player.

One additional hardware offer-ing is a new product from StraightWire Audio, the CDque. It's basi-cally a consumer CD player thathas been specially modified forbroadcast use. However, it offers acompromise in price between theconsumer and pro models.

Bill Sacks, president of StraightWire, says the CDque is the mostpopular product the company hasmade. It offers cueing withinmilliseconds via a rollback to thebeginning of the cut as defined by

Straight Wire Audio's CDque is a spe-cially designed player that offers pre-cise cueing and meets broadcaster'sneeds.

the disc's index codes. A cue but-ton will "walk" through the cut tofind the actual desired start point.

One function that will pleasebroadcasters is the ability to alterthe "speed" of play-either faster,as many "top hits" stations do, ormore slowly, for production applica-tions.

Some stations eager to beginplaying CDs will continue to buythe cheaper consumer players ini-tially, and, even with the additionof an amp needed to boost the gainfor on -air and the subsequent in-crease in S/N ratio, a station canprobably still get a -80 dB S/Nfrom a consumer model and havethe benefits of digital as well.

But companies marketing CDhardware to broadcasters arelooking for increased interest asthe idea of the digital radio stationcatches on. Still to be solved, how-ever, is the problem of getting mu-sic on CD that is tailor-made forradio, and that has become asoftware consideration.

Where are the CDs?The one overwhelming problem

that radio stations currently facewhen they decide to start playingCDs is their scarcity, especially ina form suited to individual musiclibraries. On cart, music can besped up, shortened, and cued to atight start. On records, music isacquired with little or no ex-pense-since record companiesstill promote new releases onvinyl-and cueing records is asimple and time-honored radiotradition. Tape libraries from mu-sic syndicators, meanwhile, solvethe custom needs of the station aswell as adding automation capa-bilities where desired.

The story is different with CDs.There are still only a handful ofpressing plants in operation, andmost music masters must be"prepped" for CD recording. Thenthere is the matter, of cueing.

Different discs have differentaccess times, and different CDplayers operate at slight varia-tions in speed. In addition, findinga specific cut on a disc is often diffi-cult. If a station buys CDs off therecord store shelf, there's no way

24 BM/E JULY 1986

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to customize the music to specificneeds. Then, too, there is somemusic that will probably never ap-pear on CD. And even if CD pro-duction for consumers begins toboom, the radio market is consid-ered too specialized for most press-ing plants, which would ratherconcentrate on the mass market.

But even while CD productioncurrently lags behind schedule,there are signs that the picturewill change drastically over thenext year or two. There are severalCD plants currently under con-struction, with a projected 20plants to be operational in thenear future.

That still leaves the question ofcatering to radio's custom needs,but suppliers eager to fill this spe-cialized market demand are be-ginning to emerge as well.

Kady Morant of Digital Pro-gramming Inc. believes that some15 percent of radio stations areready to embrace CDs today andanother 30 percent, which include

a mixture of both automated andlive stations, will be readyingthemselves for CDs in the nearfuture.

DPI was the first company tocome forth with the idea ofcustomized music libraries on CDthat incorporate automationencoding right onto the disc. Theencoding, which involves a cuetone, allows for automated controlof CD players via large radio auto-mation systems, solves the prob-lem of cueing to different starttimes, and includes a databaseabout the music, as well.

DPI is currently producing itsfirst format, a rock library that ex-tends back into the 1950s, and willtackle a country format next. Af-ter that, Morant says, there will be

some production in other morespecialized formats, as well as cus-tom libraries requested by sta-tions.

"We entered the field early anddeveloped ongoing relationshipswith several plants," notes

Borrowing from the JukeboxAbout two years ago, the Japanese Karaoke box, a CDjukebox, was brought over to see if there was any in-terest in the professional audio market. It wasgreeted with a great big yawn.

But in the last few years, CDs have started to be-come accepted into radio stations, and the idea of amultidisc changer, similar to a jukebox, started toseem like a good idea. It would be especailly suited toautomated stations.

There are two systems being marketed to radio sta-tions: one from Sony that handles 60 discs, and ajoint product by Sono Mag and Allied Broadcast thathandles 100 discs.

The Sony CDK-006 disc changer is designed for ex-ternal microprocessor control via a proprietary Sonyinterface. It houses the 60 CDs in detachable storagetrays, and the maximum change time between discsis 16 seconds. It uses timecodes on the disc to cue tothe "start" as defined by the producer, but softwarecould be written to cue the discs differently. Theywould have to be written for each disc, or cut, how-ever, or have some set prefadeout relating to thetimecodes. The 60 -disc changer has dual phono out-puts and features self -diagnostic capability. It will beavailable in late summer and retail at a price that sta-tions will find attractive in comparison to large cartautomation systems: $3500.

The Auditronics' CD Multi -Play System developed bySono Mag and Allied holds 100 CDs and offers ran-dom access to any CD at any given cut on the disc. Itoperates via a microprocessor -controlled systems.

A key advantage of this 'jukebox" type of player is

Morant. "The plants are being se-lective; they want ongoing rela-tionships and are interested inshort runs." DPI is projecting con-tinued production of its disclibraries, with not more than 2000copies of any one CD. The compa-ny is also interested in workingwith other syndicators who wantto produce libraries on CD.

"We'd be giving syndicators abetter tool, so all of their timedoesn't have to be taken up withtape maintenence and they canconcentrate on what they do best,which is programming." She saysthere has been interest in the com-pany's music libraries from "about1000 stations."

Broadcast Electronics featureda working model of DPI's disc in-corporated into its automationsystem at this year's NAB, where,Morant noted, "CDs were goinggangbusters." She expects thatthe development of multiple -discplayers for the pro market, plusadvances in CD mastering, suchr

that it will cue up to the actual start of the audio.Steve Sampson, executive VP of Sono Mag, says theplayer searches the disc for anything above -60 dBand cues to that point as the start. He reports thatout of several thousands of CD cuts, there has beenonly one case where extraneous noise before the ac-tual start of the music falsely triggered the system.The system has an internal memory into which ninecuts can be preprogrammed. The multiplay systemcan be connected to Sono Mag's Programmer, whichcould accommodate up to four players in full audioor live assist.

There are a few other bells and whistles included inthe Sono Mag/Allied system. It will send back the run-ning time in minutes and seconds of cuts as it playsby reading it off the disc directory and displaying it ona terminal. It can be programmed to switch to thenext selection at a predetermined "time before" theend of the cut, and the companies are looking to-wards incorporating a "faster play" option for stationsthat speed up cuts. The Audiometrics unit sells for$3495, and Sono Mag is offering a special deal on two100 -disc players and its Programmer for $9995. TheProgrammer can handle a total of six CD players, fourof which can be the 100 disc systems.

It's important to note that because of the accesstimes of multiple disc changer/players-16 secondsin the Sony and a worst case of 28 seconds in theAudiometrics-radio stations will most likely need tobuy at least two systems for quick cueing of segues.But even the purchase of two complete systemscosts less than large cart automation systems.

26 BM, E JULY 1986

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as the Philips twin -DASH system,will help CDs gain a permanentfoothold into radio stations.

Another music syndicator readyto offer libraries on CD is Century21, which, along with several oth-er suppliers, offered a CD produc-tion library for radio stations thisspring. Century 21's Dave Scottbelieves that CDs and radio sta-tion automation are a naturalcombination.

Unlike DPI, Century 21 will notuse special encoding for cueingand sequencing but will rely onthe P and Q tones recorded ontothe disks.

"But we will master our CDs insuch a way that they will becustomized for radio play. Cue -to-

the -next will be built-in, and theuser with the inexpensive con-sumer CD player will sound just asgood as the one with the expensivemodel," Scott says.

The P and Q tones Century 21and some players use to cue discssignify the "start" of a cut on thedisc, as defined by the producerwho recorded it. There are slightvariations in how much time thereis between the so-called "start"and the actual first note of thesong. In addition, there are vary-ing start -time lags among the va-riety of consumer CD players.

"The worst machine is still ableto cue up to about five frames (oneframe is 1/30th of a second); muchworse than a cart machine, whichcues to about 1/10 of a second,"notes Scott. He is concerned, how-ever, about the time it currentlytakes to produce CDs.

"If I ask for a three-day turn-around, they (pressing plants) justlaugh at me," Scott notes. "If I'mwilling to contract for largevolume, I might get them in 60days."

Live -assist andautomation

CDs in particular seem to betailor-made to station automationbecause random access is a keyfactor in automated systems. Digi-tal automation eliminates theneed to handle bulk tape sourcesthat are continually replaced dueto wear. In supplying tape to sta-

tions, music syndicators have be-come dubbing services and tapehandlers as much as program-mers. Digital music sources pro-vide an alternative.

Schafer World Communica-tions, Sono Mag. Inc., and Broad-cast Electronics all showeddemonstration systems interfacedto digital audio equipment at theNAB show.

Schafer got into the game early,offering interfaces to CD playerssome three years ago. BothSchafer and BE also included theMicroprobe Electronics Digi-Sound hard disk audio system inthe demo, and both used DPI'sencoded CDs, as well as tradition-al cart machines and tape reels.

President Robert Dix explainsthat Schafer is looking at other

Sony's CDK-006 60 -disc Auto DiscLoader also borrows from the'jukebox" idea to offer multiple CDplay.

digital systems to see if interfacescan be developed. But he acknowl-edges that it may take awhile forbroadcaster acceptance of digitalaudio. Schafer will market sys-tems for stations still using analogtoday, and upgrade as the conver-sion to digital is made.

BE's Dave Evers believes thethrust toward digital automationwill come first from the manufac-turers, with stations continuing toconvert as more equipment be-comes available. But he believesautomation that can interface todigital systems offer stations anopportunity.

"Automation will have an in-stant impact, because mechanicalcart systems in this area have got-ten so expensive, and the mechan-ics are so finicky that a digitalsystem that's even slightly more ex-pensive will offer advantages." Headds, "It's also more practical to re-

place entire trays of carts with digi-tal sources than it would be toreplace a single cart machine."

Both BE and Schafer are look-ing for a gradual phasing in of dig-ital systems over the next fewyears, with "hybrid" automation,featuring digital as well as analogtape sources, all interfaced togeth-er. But both are firmly committedto addressing the needs of broad-casters who go digital. Dix predict-ed that Schafer's most updatedReady Spot system will probably"be the last random access cartunit that needs to be developed."

A major sticking point in CD au-tomation is still cueing capability,however. The lack of a standardfor P and Q codes, or index points,or time codes of CDs, and the vary-ing lag time before the start of ac-tual audio makes it an imprecisetechnique. Automated stationsthat want to use CDs either haveto buy a special library, such asDPI's or Century 21's, or take ad-

in the field: one in hardware, andone in software.

The new hardware are CD"jukeboxes," or multidisc chan-gers, being marketed to the radioindustry. One produced jointly bySono Mag and Allied solves cueingproblems (see "Borrowing fromthe Jukebox" in this issue).

The software development is anew package being offered by RonSchiller Associates to control CDplayers via an IBM PC/XT orcompatible.

The CD Filer system works withStuder, Philips, and Sony CDplayers, and Schiller says he isworking on an interface for thePhilips "flywheel" cuer. Thesoftware allows for cataloging,sorting, and managing of over2000 CDs, and it can operate up to99 players. The user creates adatabase, which allows the ma-chine to select specific cuts on adisc, and information about thecut, including time remainingduring play, is shown on the ter-minal.

Another advantage is thatan entire show can be prepro-grammed in advance, with thediscs inserted closer to air time.

28 BM/E JULY 1986

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The software can detect if thewrong disc is cued to play next.

Digital storage, playbackIf radio stations begin to rely

more heavily on digital musicsources, the next logical demandwill be for digital audio for spots,promos, jingles, IDs, and actu-alities.

Digital audio record/playbacksystems are still faced with thehigh cost of storage. For this rea-son, they are being marketed forshorter events, such as spots, andhave almost completely shunnedmusic libraries.

Compusonics is a company thathas been marketing both a floppydisk -based system to radio sta-tions and a hard disk -based sys-.tem. The DSP-1200 spot playerand DSP-1500 spot recorder, aswell as the DSP-2002 hard diskaudio computer, use the compa-ny's patented CSX encoding algo-rithm, a form of data compression.

The algorithm allows about 6.6megabytes, equaling four minutesof full bandwidth stereo, to be re-corded for playback onto a special-ly formatted, high -density floppydisk. Storage capacity of the harddisk system is 143 megs, whichwill give 56 minutes of full band-width stereo audio .The spot play-er costs $3000, and the spot re -cord/play unit is $3600; the harddisk system costs $47,500.

The spot player does offer thesame advantage of single -playevents in a tangible form that sta-tions have become used to withcarts. But the biggest questionstanding in the way of the floppydisk's acceptance as a radio main-stay is its fragile nature. It's diffi-cult for most radio veterans toimagine on -air talent gently in-serting floppies into disk drives,being careful not to touch theread-write groove, and not sub-jecting them to the same roughtreatment that has kept the ubiq-

uitous plastic cart firmly en-trenched in radio tradition.

Compusonics has only recentlybegun making deliveries to radiostations, and Schwartz says hewill be watching closely to see howstations take to floppies.

"We are trying to determinetheir durability. If they are not atleast as good as or better thancarts, they can't be used. We cer-tainly aren't going to push anunreliable technology on the in-dustry; we understand well theneeds of broadcasters," Schwartzmaintains.

A different approach to digitalaudio storage entirely is takenby Broadcast Electronics withits solid-state RAM chip -basedDigitalk. An updated version, theDV -2, is slated for availability inDecember. It contains 256K RAMchips and uses 80 chips to achievefive and a quarter minutes ofmono, or 96 chips for six minutesof mono audio at 6.5 kHz. BE uses

This new QuantAural "QA -100 AudioProgram Analyzer gives you the advantagein competitive broadcasting

Simply put, the QA -100 quantifies what youhear. Your station sound can now be electronicallymonitored the way you hear it. Exactly. And, youcan monitor the competition tool

Real time analysis of any audio signal. From areceiver, tape recorder, or processing equipment.You see the measurements as you hear the sound.Changes in processing or variations in system per-formance are immediately shown on the QA -100panel meter or bargraph display-using programmaterial as the signal source.

The QA -100 hears like a program director andtalks like an engineer. With it you can monitor max-imum peak level (relative peak modulation), overall

NS TRUMEN TS932 PHILADELPHIA AVE. SILVER SPRING, MD 20910

processing effectiveness (average level), tightness ofsound and processing control (peak density), tonalbalance, consistency and preemphasis (four bandreal time analyzer), stereo image width (L + R toL - R ratio) and "punch" (special "aural intensity"measurement).

Interested? To learn more about how the QA -100will help your station compete, call PotomacInstruments today.

QuantAural is a registered trademark.

-(301)589.2662


Our new lavalier micmakes everyone look good.

Introducing the SM83.People in news broadcasting have been using the samelavalier mic for a long time. But our new Shure SM83is out to change all that. It's just what everyone hasbeen asking for in an omnidirectional condensermicrophone.

On -camera talent like the SM83 because its elec-tronics provide for a dip in the mid -range, giving bothmale and female voices a smoother, more naturalsound. And unlike its Japanese counterpart, the SM83unplugs from the battery pack for easy storage.

Sound engineers appreciate the SM83 because itstailored frequency response requires less equalization.They like its low -frequency rolloff too, which quietson -air rumbling and mechanical and clothing noise.

Set directors are impressed with the SM83 's neatappearance on camera. The cord exitsfrom the side and disappears from view,running down behind a tie, shirt or blouse.

Production assistants enjoy the SM83's mountingversatility. It comes with a single clip that works eithervertically or horizontally, a double clip that holds twomics, and a universal mount that can be sewed, pinnedor taped to clothing.

Repair technicians love the SM83's easy mainte-nance. The cartridge is easily accessible by unscrew-ing the end cap. And cable replacement requiresonly a screwdriver and tweezers; no soldering isnecessary.

Field crews are also big fans of the SM83 becauseits electronic pack is powered by a standard 9 -voltbattery or by a mixer's phantom supply.

For more information on the ShureSM83, the little mic with big advan-

® tages, call or write ShureBrothers Inc., 222 Hartrey Ave.,Evanston, IL 60204. (312) 866-2553.

THE SOUND OF THE PROFESSIONALS®...WORLDWIDECircla 119 on Reader Service Card


a proprietary form of "data com-paction" to achieve its storagetime and is not offering stereo or ahigher bandwidth frequency re-sponse initially.

Geoffrey Mendenhall, VP of en-gineering for the company, feelsthat current hard disk systems aretoo costly and not as reliable as thesolid-state unit. "Digitalk has nomoving parts," he notes, "it won'twear out."

The DV -2 features sequentialaccess to events, and direct accesshas also been added, which makesthe system suitable for stationsusing satellite music formats thatneed to program continuous playof specific cuts.

Mendenhall believes that accep-tance of digital audio storage andretrieval systems is several yearsdown the road, and BE is still look-ing at a possible venture withCompusonics in the area of floppydisks, as well as continuing to ex-plore other digital technologies.

The Sirius 100 Digital Audio MemoryMachine is a new entry in the hard diskaudio storage field from For -A.

Hard disk systems growThere are four hard disk-based

digital audio systems being mar-keted to the radio industry as cartmachine replacements for spotsand promos, and no two take thesame approach.

Key questions about the sys-tems focus on exactly what radiostations will be looking for shouldthey decide to opt for digital audiostorage and how much they will bewilling to shift from tried and truepractices to completely new ways

of doing things. Since the PC hasfound its way into many of radiostations, the fear that radio talentand engineers would be adverse toadapting to a computerized way ofdoing business is no longer valid.

Other key questions are howmuch storage time will stationswant, how user-friendly must theequipment be, and what addition-al functions, besides record andplayback of digital audio, would astation want? The final issue isone of cost: can hard disk systemscompare with the cost of cartmachines?

An interesting new entry intothe disk-based field comes fromFor -A, a company known for itsvideo products.

The Sirius 100 Digital AudioMemory System made its debut atthe NAB. It's a menu -driven,eight -input, eight -output, harddisk system that will be ready as aproduct by the end of this year.With eight disk drives, it's possi-

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'Spot ID number compatible with trafficautomation computers.

SMART & SIMPLEThe DC -80 is so smart it won't let you run thewrong cart! It is simple to program ancoperate . . So simple that non -technicalpersonnel easily understand how it works.Just enter a spot ID number* to program anevent and insert the cart in any transport . .

The DC -80 finds the spot and displays itsname, transport number and length on CRTscreens at the machine and at the remotecontrol position . .. providing positiveverification of the programmed event!

Software control. Q -Mod anti -head clog system.

Automatic cue record. CRT display of events ...

just like your program log.Multi formats ...can be intermixed!Prices start under $100,000.

Up to 24 transports.2 second Pre -roll.

Luminance & chromaprocessing.Stereo audio.

No time code prestripping.Instant recue.

Always standby/ready.

Broadcast Systems, Inc.P.O. Box 15291Austin, TX 78761800/531-5232 800/252-9792 (TX)

32 BM/E JULY 1986 Circle 159 on Reader Service Card

MULTITRACK PRODUCTIONFOR MERE MORTALS

Otari's Mark 111-8 and Mark 111-4 audiomachines are helping today's radio broad-

casters meet the challenge from musicvideo and stereo TV by allowing a

Producer's creativityto soar to new realms.And, they keep costs

down to earth.

- The Mark 111-8 eight chan-nel, and Mark 111-4 fair

channel recorders gveyou exciting and afford-

able aids to creativity thatcan quickly be mastered, even if

you, until now, tolbwed the two -track path. Witheight channels, you can lay down stereo musictracks, cross fate from one stereo program toanother, layer effects, or multiply voice overs-on one tape, on ore machine. Spots are creKedmore efficiently, and are more effective.

So don't wait for d.vine intervention todetermine the fate of radio. Make it happentoday with the sieno production machines, frGmOtari: The Tecknology You Can Trust.

Contact your neamst Otari Dealer for ademonstration, or call Otari Corporation,2 Davis Drive, Be.mont, CA 94002 (415)592-8311 Telex: 9103764890


C Otari 1984

Problem:Find a one -stop source for tape duplicating equip-ment that accomplishes the small ',asks and thebig ones-profitably.

Solution:Telex-unquestionably the company with thewidest, most versatile line of tape duplicatingproducts in the industry.

Telex has a duplicator that fits yourneeds-today, tomorrow and next week.Whether it's a new suit for yourself or electronics for your business,it makes sense to shop where you have the widest selection. And,if your purchase is as crucial to the profit line as a high speed tapeduplicator, you shouldn't settle for a model that almost fits yourneeds.

Telex has models that copy as few as one cassette at a time oras many as twenty-three. Telex models are available in mono orstereo and also offer a wide variety of copying configurations suchas cassette to cassette, reel to cassette, cassette to reel or reel toreel. For small to medium run cassette duplication, choose one ofthe new Telex CD Series, but if you need open reel capability pluslarger cassette production, one of the Model 6120 configurationsis probably best for you. At Telex, you can find the right duplicatorat the right price, and you'll find it faster. For more informationand detailed specifications, write to Telex Communications, Inc.,9600 Aldrich Ave. So., Minneapolis, Minnesota 55420, Telephone:612-887-5550.

Call Toll Free in U.S. 800-328-3771

For small tomedium productionruns...

The NEWCD Series

TELEX®1.1

The Model6120-formedium tolarge produc.fiat runs.

Ask a participating dealer about special payment terms available only with the Telex 6120!


AudioEngineering & Production

ble to store 1000 minutes of monoaudio at a 33 kHz sampling ratefor 15 kHz frequency response.The eight inputs/outputs meanmultiuser stations at remote loca-tions can be set up, with all cutsavailable to any remote locationas soon as they are recorded. Prod-uct manager Ray Blake says an-other possibility is using the eightchannels as eight tracks formultitrack recording.

The Sirius 100 units are also de-signed to resemble cart machines,with easy start and stop operation.Editing capabilities, such as loop-ing, are also possible.

Including main electronics in arack -mounted unit, a keyboard,and remote record/play unit, theprice tag on the Sirius will beabout $35,000.

Another multistation, multi-access hard disk-based systemcomes from a brand-new player inthe field. Digital BroadcastSystems' Astre performs the func-

tions of a digital audio record/playback system but also featuresscheduling/logging via computerand can offer manual, live -assist,or full automation control.

The Astre is a schedule -driven,software -dependent system thatuses the Unix operating system. Astation starts with a schedule ofevents to air, which is downloadedinto the system. Events are re-corded, and playback is with in-stant access from a keyboard. Themultiaccess feature means thatthe scheduling can be done fromsales, or programming, or any keylocation, with playback from theon -air studio. At the end of the day(or when desired), the systemprints out a log of events thataired, so deletions are easily de-tected. All of Astre's functions areperformed in real time from eachstation, and changes in schedulingare possible right up until air,which preserves one of radio's ma-jor advantages: immediacy.

Digital Audio

President Richard Lavelle notesthat the Astre's sampling rate andfrequency response are variable.The system will operate at sampl-ing rates up to 48 kHz and 20 kHzfrequency response, or offer lowersampling rates for stations-such as all news-that may notneed full bandwidth. Storage timeon a single system 380 megabytedisk drive varies according to thesampling rate, with about 80 min-utes of mono audio possible at 15kHz, 110 minutes at 10 kHz, and160 minutes at 7.5 kHz. Astre fea-tures 16 -bit sampling.

Because of its price tag, about$75,000 for a system with one diskdrive, a record/play channel eachfor on -air and production, com-plete software, three terminals,and printer, DBS is marketing theAstre to larger operations.

"The networks thought theprice was inexpensive for whatthey wanted," Lavelle notes. "Sta-tions spend about as much on cart

GAIN OVERLOAD

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COMREX EXTENDER $495!Finally there's a frequency extender that's really affordable. And, it's a Comrex.Frequency extension is a way to send broadcast -quality program over a

standard telephone line. It's an encode/decode system that restores the lowerfrequencies that the phone can't handle.

We've been building these systems for years, but a lot of people who shouldhave been using them simply couldn't afford them. That's why we developedthe Basic extender. Each component (encoder and decoder) sells for $495, soyour complete system is less than $1,000.

The Comrex Basic may not offer some of the "extras" available on our othermodels. What it does offer is a distinct improvement in program quality sentover telephone lines.

Call Comrex for a demo tape, at 1-800 -237-1776. Or write Comrex Corporation,60 Union Avenue, Sudbury, MA 01776.Tel (617)443-8811. TWX 710-347-1049. BUILT FOR BROADCAST



automation and an IBM PC to runit, and they don't get our multi-user capabilities," he adds.

Lavelle is convinced the time fordigital audio in radio is here. "Infact," he says, "it should alreadyhave happened, given most sta-tions' heightened awareness ofdigital because of CDs."

Microprobe Electronics Inc.,meanwhile, has had its DigiSoundhard disk system ready for about ayear, and it was featured at sever-al booths showing station automa-tion at the NAB. It features rackor table -top mounting, with a softmembrane keypad and CRTscreen. Digisound stores 76 min-utes of mono audio with one drive,but drives can be added, and it canhave either a 15 or 20 kHz fre-quency response.

MEI president Dave Collins saysthe system is a natural for automa-tion and that original fears over ra-dio personnel adapting to computercontrol have not materialized. He is

positioning Digisound as a directcart machine replacement and hassold some units, but there are ques-tions of cost to consider. Previously,a one -drive unit cost nearly$28,000, which has been reduced to$20,000. Collins says he will main-tain that price by breaking outsome options. He will also offer anew "economy" model: theDigisound E, priced at $14,995. Ithas a more cost-effective disk drive,with 280 MB offering 62 minutes ofmono audio.

"Then," Collins says, "we'll beable to comptete eyeball -to -eyeballwith mechanical cart equipment."

One additional manufacturermarketing a hard disk digital au-dio system, but mainly to high -endbroadcast operations, is GothamAudio. Gotham also has both a largestorage system, the Systex, andthe EMT 448 Spot Player. TheSpot Player offers removeable andnonremoveable hard disks, whichresemble audio carts and offer the

advantage of a tangible storagemedium. Storage space is limitedthough, so the nonremoveabletechnology may find greater ac-ceptance. The 5 mega -byteremoveable hard disk offers 25seconds of stereo audio at 20 kHz.The nonremoveable 100 megabytehard disk will give seven minutesof stereo audio at 20 kHz. The sys-tem is PC controllable and canplay back a series of test signalsand tones.

The 100 MB nonremoveabledrive system costs $16,000. Theremoveable disk system costsabout $15,000. The Systex is$135,000 for two hours of stereoaudio storage.

Sales engineer George Johnsonsees a limited acceptance of harddisk systems, mostly for larger ap-plications and among stationgroups. But he does point out thatthe cost of hard disk systems willbe offset by a savings on cart re-placement and cart machine

schameans

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WHERE ELSE WOULD YOU BUY A PREVIOUSLY OWNED "SCHAFER" AUTOMATION SYSTEM, OTHER THAN FROM THE COMPANY THAT BUILT IT!

Circle 124 on Reader Service Card36 BM E JULY 1986

maintanence. "Yet," Johnson ad-mits, " I really don't know if indi-vidual or small stations will find ause for digital audio systems."

Hard disk, floppy disk, andRAM chip systems are beingreadied for the broadcast market,but are radio stations ready tobuy? The most expensive systemsare major purchases that will bebudgeted for-if at all-severalyears down the road. Test systemshave to be up and running, and allthe software and hardware bugsmust be ironed out before stationswill want to risk airing spots,which are their bread and butter.

In the meantime, stations con-tinue to rely on their existing cartmachines and make interim newpurchases as their needs grow.

Tape systems surviveCart machine manufacturers

are beginning to think that the re-liable, old tape -based audio cartand mechanical cart deck has been

getting a "bad rap" with all the ex-citement generated over digitalaudio. They don't debate the tech-nical advantages digital recordand playback have to offer, andthey generally acknowledge thatsomeday, the radio station will nodoubt be a digital world. But in themeantime, there's a chance thatsome recent improvements intape -based analog recording, aswell as some emerging technolo-gies, may allow tape -based record-ing to compete with CDs and someof the new digital storage medi-ums for some time to come.

Originally, tape carts, whichcame into use in mono AM sta-tions for voiceover commercialsand IDs, and the machines de-signed to play them, didn't havethe advantages of full fidelityaudio-nor did they need to. It wasonly in a more competitive radiomarketplace, first with the rise oftight formats requiring consistentcuts, then with stereo FM, that

carts and machines came in forsome severe criticism-a lot of it,unfortunately, deserved. The car-tridge industry also suffered whenconsumers abandoned the eight -track cassette, which had used thesame back -lubricated tape as cartsand helped keep the supply of suchtape abundant and of reasonablequality.

As is the current situation withCDs, the radio market was simplytoo small for tape suppliers to con-tinue to market that tape, andcompanies in the cart machinebusiness were forced to developtheir own tape formulas. It tookawhile for the problems to beironed out, and, in the meantime,along came the first talk of digital.

But the cart machine makersweren't just resting on their lau-rels. Improvements to the originaldesigns, making use of newtechnologies such as microproces-sors, began to bring the cart ma-chine into the current decade.

7Creative Powerhouse.Dual 16 -Line TBCs forTrue A/B Roll Editing

22 Production Effects(cut, wipe, fade, dissolve)

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These advances, plus some of thebuilt-in conveniences that cartshave to offer in the "real world" ofday-to-day radio are reasons whythose in the cart machine busi-ness, and even some proponents ofdigital systems, believe replace-ments for carts will come about ina slower, more evolutionary waythan might be concluded from allthe enthusiasm surrounding digi-tal audio.

"Digital isn't the only game intown, just the newest," observesJack Williams of Pacific Recordersand Engineering. The companybrought about one major improve-ment in cart technology with theintroduction of its Maxtrax widertrack format, standard on PacificRecorders Tomcat machines andoffered as an option on the compa-ny's newer Micromax machines,as well as on Fidelipac's Dynamax

Performance... MIN

Performance is a word often heard in the audio industry. Whether it isconsumer Hi-Fi, studio broadcast or communication equipment,recent years have seen tremendous improvements in performance.This creates a need for more performance in your audio measurementequipment.

The Amber 5500 Programmable Audio Measurement System meetsthe challenge with a performance level among the best in the industry(distortion to below 0.001%! - 100dB, noise to below luV/ - 120dBm,balanced generator output over 30V/ + 30dBm). And in anothermeasure of performance - thoroughness and speed of testing - the5500 excels as well with measurements to virtually all world stan-dards, NAB, AES, CCIF, CCIR, CCITT, IHF, DIN, SMPTE, three toten times faster than other systems. For ATE applications, the 5500can be easily driven by your controller via either the GPIB/IEEE-488or serial RS -232 port. To ensure that the 5500 continues to excel inperformance, its unique modular architecture lets the system growand change as the industry advances.Improve the performance of your product by using a high perfor-mance audio test system. Ask for our comprehensive technicalbrochure on the Amber 5500.

Amber also makes one of the most popular portable highperformance audo measurement systems - the 3501. Half theweight and size of comparable instruments, the 3501 has one ofthe best reliability records in the industry.

orAmber Electro Design Inc.4810 Jean Talon WestMontreal Canada H4P 2N5Telephone (514) 7354105Telex 05-827598US Toll free 800-3613697

CTR100 series. The format is alsoavailable for other cart machinemanufacturers.

Williams notes that one prob-lem the new format has encoun-tered is also a reason why manyradio stations won't turn imme-diately to CDs and new musicsources-they don't want to re-build their entire libraries just toreap the benefits in audio.

Other improvements in cart ma-chine technolgy have been devel-oped over the last few years aswell. ITC/3M, which claims a 67percent share of the cart machinemarket in this country, says it soldmore cart machines last year thanever, even in the midst of the ex-citement over new digital medi-ums. ITC/3M's high -end Series 99machines feature "ELSA"-built-in tape erasing, splice locating,and automatic azimuth adjust-ment to eliminate phasing prob-lems.

Fidelipac offers an advance-ment called "cartscan" in its high -end Dynamax CTR100 machines.It's an infrared scanning devicethat can detect such conditions asstereo -mono, matrix, and noise re-duction encoding and switch themachine's record and playback ac-cordingly. It will even flash a lightto warn announcers when a livetag is needed on a spot.

"We're solving more problemswith cart machines than radio sta-tions ever imagined," saysFidelipac's Arthur Constantine.

ITC/3M's Bob Bomar agrees."Our cart machines actually gavestations better quality than theywere able to get from their sourcematerials-vinyl and tape," henotes. "With digital sources, sta-tions are just now starting to takeadvantage of the audio quality ourmachines do offer."

ITC/3M, Fidelipac, and PacificRecorders all had demos at thisyear's NAB show comparing play-back from a CD to that of a cart re-corded from a CD, and all reportedthat even the most "golden eared"radio engineer was hard pressed totell the difference.

But the speed of digital's accep-tance into the radio station mayrest on something that is more diffi-


cult to measure, namely the symbi-otic relationship that has developedbetween the cart and the way astation operates. Digital systemmanufacturers believe that broad-casters are ready to begin lookingat new ways of doing things andthat they shouldn't be tied to thepast. But will stations be willing toabandon techniques that havebrought them ratings?

Constantine cites as an examplethe "morning zoo" format, whichhas enjoyed recent popularity. Thequick -on -the -feet spontaneity ofcarted sound effects and voicesplayed at the sheer whim of theon -air talent would not fare well inthe preprogramming and logicalforethought needed to run somedigital systems. And last-minutechanges are a reality at even themost sedate stations.

As Constantine observes of thedigital systems, "Stations that getratings can't use them, and sta-tions that don't get ratings can'tafford them." He adds that one ofthe reasons carts have become somuch a part of radio is that "theymake so much sense.

"The people who develop thesedigital systems aren't broadcast-ers," notes Constantine. "Theydon't realize that the equipmenthas to work when it's only margin-ally maintained, that it has to suf-fer the abuse of harried DJs, andthat it's used on a 24 hour basis."He wonders what will happen thefirst time a hard disk-stored li-brary crashes or a system gets hitby lightning.

Williams agrees that carts havefound favor because they evolvedwith modern-day radio and havebeen fine-tuned to the industry'sneeds.

"Carts give the ability to pro-duce in-house; they offer the ad-vantages of single -play events, theway vinyl recordings did," he says,pointing out as well that cueingand quick find and startup is aproblem for CDs in light of theirtime code inconsistencies and thevarying speed of CD players.

"In the Tomcat machine, the tal-ent could actually hold the 'play'button, jam in a cart, and have in-stant start," Williams explains.

The most recent player in the

Tape -Based Digital EmergesThere is no product available yet, the support RDAT enjoys, and thebut a recorder using digital tape first projected consumer producttechnology is considered, by ob- will probably utilize the RDATservers in the consumer market, format.to be just around the corner. Besides the excitement the new

The Electronics Industries Asso- digital tape system have gener-ciation of Japan had previously ated in the consumer market, thegiven the go-ahead to two in- technology is being closley scruti-compatible formats: the RDAT, or nized by some cart machine man -rotary digital audio tape recorder, ufacturers, possibly for the digitaland the SDAT, or stationary digital cart machine of the future. Whileaudio tape recorder. RDAT uses the consumer forces seem to fa -rotary heads and helical scan re- vor RDAT, it's. possible that SDATcording, very similar to videotape would make more sense for itsrecording, but with a 4 mm digital use in broadcasting because ittape. The technique allows for would avoid problems with rotarythe high write speed needed to heads and because of the abilityrecord high -frequency material. to splice edit. Another problem,Over 100 manufacturers are ap- which needs to be addressed, isparently backing RDAT. the availability of digital tape for

SDAT uses stationary heads in a such recorders, although thatlongitudinal scan and requires problem could be solved by wide -thin -film heads for the necessary spread consumer acceptance ofhigh -frequency recording. In the technology. No cart machinesome ways, it resembles analog manufacturers will admit to seri-tape more closely than does ous consideration of tape -basedRDAT because it is possible to digital recording technologies, butsplice edit on the SDAT format. it's certainly on their list of futureBut SDAT does not seem to have possibilities.

Improve thesound ofyour 'actu-alities" withclose-up audioeven whenyou're attelephotorange. Useour ShortShotgun orone of ourBig Guns.Choice ofbattery orphantompowering.Easy tohand -hold,fishpole, orboom mount.Complete withfull-lengthwindscreen.

But the sound isthe clincher: So goodevery major network hasbought A -T shotguns ...and ;eyed a bundlecompared to older designs.

Get the facts from yourA -T dealer or write for com-plete Audio-Technica AT800Series catalog and dealerlist today.

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Circ'e 127 on Reader Service Card


cart machine market is Otari,with its CTM-10 machine, whichmade its debut at the NAB show.National sales manager DavidRoudebush says the companylooked closely at all digitaltechnologies first and finally con-cluded that there is and will be astrong market for cart machinesamong radio broadcasters forsome time to come.

None of the cart machine mak-ers are dismissing digital audioand the impact it can and probablywill have on improved S/N, dy-namic range, and overall radiosound. They agree that CDs espe-cially make good source materialfor carted music.

Williams believes that there is aplace for CDs in the radio studio,as sources for carts, and on -air inclassical and jazz stations, as wellas new releases-after they arerushed to stations for quick pro-motion and play on vinyl.

But the general consensus is

that initial problems with digitalsystems have yet to be ironed out,their costs have to come down, andall of the new digital medium, in-cluding CDs, will have to pay moreattention to the realities of radiobefore they will replace carts andcart machines.

In the meantime, some emerg-ing technologies may enter thepicture.

Striving for qualityOtari, with its first cart ma-

chine, decided to incorporate thenew HX Pro bias optimizationfrom Dolby into its CTM-10. Biasoptimization gives a tape moreheadroom for high frequencies,but its benefits are best achievedat slower recording speeds, aroundat 3 .1/4 ips (at 0 dB reference) at 13kHz. At 7 1/2 ips, it gives 3.5 dB ofhigh -end improvement (0 dB ref-erence) at 13 kHz. But at higherspeeds, the benefits drop off.

Dolby developed the HX Pro, and

its new SR signal processing, for themultitrack recording market. SRespecially is designed to makeanalog tape recording competitivewith digital benefits. But Dolbysays two cart machine manufactur-ers have discussed the possibility ofincorporating SR processing intoradio equipment, either as a built-in benefit to cart machines or as anoutboard unit.

But the problem of using SRin a radio station is, again, oneof encoding and decoding, whichwould mean a station has to builda completely new library in orderto reap the benefits. The other fac-tor is cost. Dolby estimates thatincorporating HX Pro into a cartdeck could raise the price of a unitby as much as $500. The additionof SR, meanwhile, could raise thecost of a cart machine some $1000.As ITC/3M's Bomar explains,"Stations have to weigh its meritsand costs against the capabilitiesof existing products."

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There will always be a questionas to whether or not such ad-vanced electronics actually bene-fit a station in practical terms,considering the limitations oftransmitting systems and receiv-ers; although new systems such asthe FMX may raise the standards.

It's a safe bet that all the playersin the high -end cart machine mar-ket want to keep pace with thestate-of-the-art and that all arecurrently researching future prod-ucts incorporating digital technol-ogies. Broadcast Electronics con-tinues to develop its Digitalksystem and is still interested in ajoint venture with Compusonics inthe area of floppy disks. But proba-bly the most intriguing new tech-nology that could be adapted bycart machine companies is thenew tape -based digital audiorecoding systems being developedfor the consumer market (see"Tape -based Digital Emerges" inthis issue).

Yet so far, only one company hasadmitted openly to actually work-ing on a digital product. ITC/3M'sBomar confirmed ongoing devel-opment of "a digital audio productto supplement (our) existing line."He says it will draw on the re-sources of parent company 3M,which means it could be either anoptical or tape -based digital prod-uct, since 3M has been re-searching both. Bomar cautionsthat a new product in this fieldwill be "significantly more expen-sive than current analog equip-ment," although it will offer "anew level of audio performance."He believes it will not be suitablefor everybody.

The picture being painted, then,as radio's level of awareness aboutdigital increases, is one of peacfulcoexistence between digital andanalog systems in broadcasting to-day, as stations wait to get a closerlook at the digital choices avail-able and evaluate them againstwhat has worked so well for themfor so long. Almost all industryplayers agree that the future of ra-dio is digital, but the verdict is stillout as to how far off that futuremay be or what form it will takeonce it finally arrives. BM/E

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STEREOINPUT L

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SIMPLEX LINK(OPTIONAL DUPLEX)

VIDEOB B SIGNAL

AD CONVERTER

L RMONITORSTEREOOUTPUT

OPTIONAL COMPANDED AUDIO/DATACHANNEL INSERT NOT SHOWN

VIDEO

ERROR

CORRECTOR

XA,A COM

INTERFACE UNIT

23CC Or 23VFMTX

VIDEO INPUT

VIDEO FORMATGENERATORENCODER

DIGITAL CPDM OR PCM PROC

ERRORCORRECTOR

SSOR

VIDEO FORMATGENERATOR DECODED

OPTIONALM/A-COMSTEREO

INPUT

MICROWAVE TRANSMIT SITE

INTERFACE UNIT23CC or 23VFM

RECEIVERVIDEO OUTPUT

VIDEO

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LOPTIONALMA-COMSTEREO

R TOAM STATION

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MONITORTEST INPUT

(ANALOG)STEREO OUTPUT

TOSTATION

TRANSMITTER

OPTIONAL COMPANDED DATA/VIDEOCHANNELS (BACK UP AUDIO 8 DATA NOT SHOWN)

MICROWAVE RECEIVE SITE

Digital modulation gives better quality sound on M/A-Com's 23 GHz microwave link.

STLs are taking advantage of newly approved high -frequency microwavebands as well as making more of the established bands.

Finding a vacant studio -transmitter link (STL)channel in a sprawling

urban center like Los Angelesisn't easy. "There just aren't anyleft to be found," says MichaelCallaghan of the local AM/FM sta-tion, KIIS.

Los Angeles is one of the coun-try's most congested areas for ra-dio traffic, but the story is thesame in many other locations.There has simply been too muchtraffic squeezing into too fewbands. Already, says Callaghan,each available channel is used bya number of stations. And theproblem is set to worsen. "Now

By Hugh Aldersey-Williams

that we have AM stereo," he says,"there is much more demand forthese channels."

Callaghan's remarks, given inan engineering paper at the NABlast April, refer specifically to au-dio microwave transmission, butthe situation is equally dire forvideo. With the arrival of AMstereo being paralleled byincreasing implementation ofMTS capability in television, allbroadcasters are beginning to ex-perience greater bandwidth de-mands. In addition, manyaudiophiles, by now accustomed tothe fidelity of compact disc record-ing, would like to hear the same

quality from their broadcastentertainment.

The heightened demand on mi-crowave comes partly as a result ofthe divestiture of AT&T, whichled to generally increased privatetelephone leasing charges inbroadcast applications. There areclaims of ten -fold and greater in-creases in costs in some cases forsuch services. Set against theserates, an STL can usually pay foritself in less than three years, saymanufacturers.

Easily overlookedThe addition of stereo as well as

consumer expectations for higher

BM/E JULY 1986 43

RF EngineeringMicrowave Transmission

As well as its narrowband aural STL-10 system, Marti has introduced the MW -500booster to redirect microwave signals around obstructions.

signal quality overall clearly leadto increased bandwidth demandsthroughout the entire signalchain, from studio mic to homeloudspeaker. A weak link in thechain renders all the improve-ments elsewhere along the chainuseless, and the studio -trans-mitter link is surely easily over-looked in the process.

What is being done to give theSTL the attention it deserves? Onthe one hand, some new bandshave been made available by theFCC for STL purposes followingpetitioning by the NAB. These areat 18 GHz and 23 GHz, in additionto the established 7 and 13 GHzbands. For broadcast -quality vid-eo at these frequencies, there isthe RS -250B standard, to whichcompanies are beginning to com-ply. The Commission has alsogranted additional spectrumspace for radio STLs in the 944 to947 MHz range and has approvedcloser stacking of channels in thisand in some other bands.

Some companies responded tothese new opportunities with an-nouncements at the NAB of STLequipment for the higher frequen-cies. Other companies are takingan alternative approach, aimingto compress the bandwidth re-quirement of existing STL equip-ment in the lower frequency audiomicrowave bands.

Old bands, new tunesIn aural transmission, the

FCC's moves to alleviate STL con-gestion in urban markets havebeen two -fold. First, the Commis-sion granted an additional 3 MHz,from 944 to 947 MHz, for STL use.This allocation will not in itself re-lieve the spectrum crowding, andthe industry does not expect to re-

ceive further spectrum space foraural STL use in the foreseeablefuture. However, the FCC alsoproposed, in Docket 85-36, to di-vide the 950 MHz band-now en-compassing frequencies from 944to 952 MHz-into 25 kHzstackable segments. This movecame into effect from December16, 1985.

Under Docket 85-36, a compos-ite STL for FM stereo would occu-py 300 kHz (12 segments) in placeof 500 kHz (12 40 kHz segments)before. The Commission says thenew bandwidths are capable ofsupporting full stereo audio andtwo limited audio channels. Ac-cording to Michael Callaghan atKIIS, the FCC proposal would sup-ply the equivalent of 30 new chan-nels to the Los Angeles area. "Thebeauty of that," he says, "is thatmost of that will be to AMstations."

The FCC proposal was not mademandatory for two reasons. Thefirst was that the NAB pointed outto the Commission that manufac-turers of STL equipment mightnot wish or be able to make thenecessary equipment, leavingbroadcasters unable to complywith the new regulation.

The second reason is that not ev-ery market needs the narrowbandSTLs-at least not yet. The FCCsaid that in markets where spec-trum crowding on this band is nota problem, broadcasters wouldcarry on using the full 500 kHz ofbandwidth after the July 1, 1990date from which the Commission'sproposal will require approval ofequipment used. The FCC is nowsoliciting comment on which areasof the country should be requiredto convert to the narrow channels.

Another concern brought to the

FCC was that the narrower STLchannels might not be able to car-ry stereo audio and additionalchannels for remote control andSCA use. Spectral overlap withthe subcarriers used for these pur-poses clearly increases as the car-riers are narrowed and stackedmore closely. Subcarriers are af-fected to different degrees depen-dent on whether the STL system isSCPC or composite.

Narrow channelsOne of the companies leading

the move to narrowband auralSTLs is Marti Electronics. At theNAB, it demonstrated four STLswith its STL-10 equipment, oper-ating in a 500 kHz total band-width using the new stacked 25kHz segment channels. An eight -segment AM stereo STL occupied200 kHz, with the remaindertaken up by a twelve -segment FMstereo STL. Thus, Marti claims,two stereo STLs could operate inthe same bandwidth needed byjust one before. The STL-10narrowband transmitter and re-ceiver won FCC type authoriza-tion shortly before the NAB.

Tests by Michael Callaghan atKIIS and Barry Victor of the Vic-tor Group, both in Los Angeles,using the Marti STL-10 transmit-ter and receiver gave the followingresults, reported at the NAB. For a15.4 mile link between Hollywoodand Mount Wilson using a signalstrength of 50 pi,V, Callaghan re-corded an S/N ratio (p -p dynamicrange) of 66 dB and a THD of 0.7percent. Deemphasis of 75 tis wasapplied in the tests.

A second test using the Martiequipment, on an eight -mile graz-ing path from KFWB, in Monte-cito Heights near DodgerStadium, to Hollywood using asignal strength less than 50 µV,gave an S/N ratio greater than 62dB and a THD less than 0.7 per-cent, according to Callaghan. Athird test, using prototype com-posite TFT equipment, was aban-doned following an interferencecomplaint from a station 250 kHzaway. Both transmissions hadbeen using the same polarization.

Callaghan and Victor note in44 BM/E JULY 1986

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At the heart of the SCPC-2000C is a sophisticated phaselocked microwave oscillator and multiplier system thatenables the SCPC-2000C toexhibit exceptional stability. Thefrequency accuracy and low phase noise of the phase lockedcavity oscillator make the use of smaller antennas possible.You can obtain very high audio signal to noise ratios with anAVCOM SCPC-2000C. No other equipment at a comparableprice can offer the performance of the SCPC-2000C Receiver.

Included in the SCPC-2000C Receiver is AVCOM's AudioExpandor Module, AEM-123. The AEM-123 is a cost effectivemeans of obtaining versatile preset 1 -to -2 or 1 -to -3 expansionwith a choice of 0, 25, 50, or 75 microsecond deemphasis.Other features include selectable low pass 15, 7.5, or 5 kHzaudio filters, and an on -board output driver stage for speakeror low impedance microphones. The SCPC-2000C comes ina standard 31/2" rack mount cabinet.

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RF EngineeringMicrowave Transmission

Moseley's PCL-606 STL operates in the 950 MHz band. Future models will use in-ternal switching between different channel spacings.

their NAB paper, however, thatearlier tests using Moseley's com-posite PCL-606/C system and aseparation of only 125 kHz be-tween the KIIS signal and the testfrequency caused no problem de-spite the fact that the polariza-tions were again the same. Theauthors concluded: "It's now evi-dent that painstaking selection offrequencies, high performance an-tennas, evaluation of the perform-ance of existing equipment onadjacent frequencies, cross polari-zation, and complete path andpower engineering studies will benecessary to achieve the successwe seek."

Marti's SCPC system providestwo 26 kHz subcarriers under theAM stereo operation and two 39kHz subcarriers under FM stereooperation for SCA. The companyclaims, in its comments to theFCC, to "have found single chan-nel per carrier (SCPC) techniques[to] offer immunity to interfer-ence, lower channel cross talk,lower receiver noise threshold,and higher signal-to-noise ratiothan multiplexed (composite) FMsystems in stereo STL/ICR ser-vice." Callaghan agrees that thescheme offers "minimal" interfer-ence into the subcarriers.

Also at the NAB, Marti an-nounced FCC approval of itsnarrowband STL system underPart 74 of the rules for auralbroadcast use and also under Part94. The Part 94 regulates the pri-vate operational -fixed microwaveservice. It is important to radiobroadcasters, according to Marti'svice president, M.E. McClanahan,because it offers many frequencies

in the 928 to 960 MHz band (andother bands), which can be usedfor non-STL transmissions such aspoint data, background music, te-lemetry, and satellite programfeeds.

Channels are allocated after afrequency search in 25, 50, 100, or200 kHz segments, according tothe use to which they are going tobe put. A background music chan-nel, for example, would requireonly 25 kHz, whereas some formsof data transmission might need tooccupy the maximum bandwidth.Under Part 94, these frequenciescan be used by broadcasters pro-vided that they are not the finallink for program material to thebroadcast station.

Composite STLsOther manufacturers respond-

ing to the narrowbanding need at950 MHz include Moseley Associ-ates, TFT, and Micro Controls.Moseley has announced a spec-trum -efficient version of its 950MHz aural STL, designated thePCL-606SEC. The equipment canoperate in low -density areas on500 kHz and in crowded frequencyareas on 300 kHz, with program-mable control and jumpers to

choose the bands required. Facto-ry prealignment allows the PCL-606SEC to be internally switchedafter years without recalibration,claims Glenn Sanderson,Moseley's principal RF engineer."A user could initially have thelink configured for 500 kHz chan-nel spacings and then change to300 kHz operation when the needarose," he explains.

Narrowbanding degrades theS/N ratio. Sanderson claims a 70dB figure for 300 kHz operation, asopposed to 75 dB at 500 kHz. THDis typically 0.5 percent, and stereoseparation is 45 dB in thenarrowband mode. Subcarrierpossibilities are reduced to a 67and 92 kHz scheme or 67 and 110kHz. Spectral overlap prohibitsthe use of the 185 kHz subcarrier.The SCA S/N ratio at 92 kHz, with10 percent injection, would fallfrom 55 to 46 dB under narrow-

band operation, according toMoseley. The company hopes togain FCC type acceptancefor the new STL.

Another new composite STLtaking account of the new FCC al-location proposal comes from TFT.Its 8303 receiver is designed to ac-commodate a mono STL user be-tween two existing composite STLchannels and is optimized to workat 250 kHz spacing. In addition,notes TFT's director of marketing,Jesse Maxenchs, the 8303 has awideband/narrowband switch al-lowing it to be used in uncongestedareas without any performanceloss.

The 8303 is a modification ofTFT's existing 8301 receiver, withsharper IF bandpass skirts to ac-commodate the closer channelspacing. Micro Controls is alsoworking on narrowing the front

TFT's 8303 STL receiver can accommodate a mono user between two existingcomposite STL channels.

46 BM/E JULY 1986

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RP EngineeringMicrowave Transmission

ends and IF filters on its 950 MHzSTLs. One benefit, according tocompany president Jeff Freeman,will be the capacity for AM stereotransmission. MCI hopes to re-lease performance figures for theupgraded STL within a fewmonths, he says.

KIIS's Callaghan stresses theimportance of such early manufac-turer involvement. Their activeinvolvement with the tests, to-gether with good results comingout of them, will lead to FCC coop-eration for new approaches tosolving the STL crowdingproblem.

Upward mobilityAt higher frequencies of aural

STL operation, there are alsomoves afoot to relieve congestion.Moseley's Glenn Sanderson sug-gests that the band from 1.5 to 1.7GHz, currently used in Canada,could be made available to U.S.broadcasters. The path reliabilityof the band is similar to that for950 MHz, he says, and it does notsuffer from rain attenuation likethe higher frequencies.

Moving up the spectrum andinto video as well as audio trans-mission bandwidths, the FCC hasproposed a more flexible stackingsystem in the 1990 to 2110 MHzand 6875 to 7125 MHz bands.Stacking was initially intended tobe based on 1 MHz segments. Morerecently, the Commission insteadadopted 250 kHz as the segmentwidth with maximum authorizedchannel bandwidths of 17 and 25MHz in the respective bands.

The Commission has suggestedthat 6 MHz amplitude modulatedlinks currently used in the 13 GHzband might be feasible for remoteTV pickup in these lower frequen-cy bands. Channel availabilitycould be doubled or even quadru-pled, the FCC claims.

At 13 GHz, the FCC is examin-ing frequency coordination proce-dures among the various fixed andmobile station services that oper-ate on the same channels withinthat band. Manufacturers are re-sponding by introducing moreflexible STLs at these frequencies.

RF Technology's new RFL

New bands are being examined by RFTechnology, which currently manu-factures STLs for 7 and 13 GHz.

series of STL microwave links at 7and 13 GHz are examples. The sys-tem has fault diagnostic featuresand is retunable in the field any-where within the band of opera-tion, according to Christopher Layof RF Technology's communica-tions marketing. "With frequencyre -coordination an ever increasingoccurrence," he says, "this hasproved to be a very popularfacility."

New frequenciesOf the two newest bands-at 18

GHz and at 23 GHz-for STL oper-ation made available to broadcast-ers by the FCC, only the higher isbeing met with much enthusiasmfrom microwave equipment man-ufacturers. What little 18 GHzequipment is available isexpensive.

One reason for this is that 23GHz equipment has been manu-factured in the past for nonbroad-cast use. The FCC's authorizationof the channel for broadcastersgave those companies anothermarket without the need to modifythe technology to the 18 GHzband. "More's the pity on that,"says Ed Williams of the NAB's of-fice of science and technology. "18GHz offers some very interestingpossibilities." He feels that itwould not be hard for microwavemanufacturers to develop 18 GHzSTL equipment and that suchequipment will become availablewhen broadcasters start to ask forit.

There was no evidence of 18GHz STLs at the NAB, however.Nonetheless, microwave compa-nies are examining the possibili-ties offered by the band. RFTechnology, for example, says it

would be "foolish not to be lookingvery seriously at this attractivebroadcast band." For the moment,the company has no product an-nouncements planned. "It seemslikely that 18 GHz will become awidely used band for short haul,high -quality TV and audio, leav-ing 23 GHz for more industrialrequirements," predicts RF Tech-nology's Lay.

The history of the 18 GHz banddates from 1984 when the FCC au-thorized 24 5 MHz channels foraural STL use. With cross polar-ization and high beam antennas,coordination on shared channels isrelatively simple to achieve, notesWilliams. In addition, the high ca-pacity of the channels is suited todigital as well as analogmodulation.

In his paper at the NAB,Williams described a scheme toovercome the current dearth of 18GHz systems. A link could be de-signed using a 950 MHz STLtransmitter and a combined UHFreference and multiplexer input toa mixer whose output could thenbe fed through a bandpass filter tothe transmitting antenna.

There is a greater availability oflinks at the 23 GHz band. Al-though originally intended bytheir manufacturers for nonbroad-cast-mainly private com-pany-use, stations are nowbuying 23 GHz STLs for video andalso for aural use, following indi-cations from the FCC that broad-casters could apply at thesefrequencies. "There is relativelycheap video 23 GHz STL equip-ment available," notes the NAB'sWilliams. He says a complete sys-tem could be configured for around$10,000, including antennas andone video circuit and a single au-dio channel.

Among the new 23 GHz equip-ment at this year's NAB was theMicrostar-23 system, made by Mi-crowave Networks and marketedby Harris Broadcast Microwave,and the Starpoint 23 HPV videomicrowave radio from Motorola.At the time of the show, the Harrisunit was claimed to be the onlysystem available meeting EIAstandard RS -250B.

48 BM/E JULY 1986

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RF Engineering

The Microstar 23 is intended forbroadcasters who would otherwisehave used the crowded 2,7, and 13GHz bands-for which there areexisting Harris Microstar pro-ducts-for their short -distancevideo transmission needs. Its mod-ular design allows the Micro -star -23 to be configured in thefield for simplex or duplex opera-tion in nonprotected or hot -standby modes, according toHarris.

WITF, an educational televisionstation in Harrisburg, PA, lastmonth purchased the first Micro -star -23 unit, which it will use totransmit programs originated atthree college sites to a mainstudio.

Video links go auralM/A-Com has had a 23 GHz STL

for video use available for threeyears, but at this NAB the compa-ny demonstrated its use for aural -only transmission. The MA -23aural STL uses digital audio pro-cessing to achieve up to 90 dB S/Nratio (110 dB dynamic range) com-pared with the typical analog S/Nratio of up to 70 dB for convention-al links. Stereo separation in the80 dB range is also attained, ac-cording fo M/A-Com nationalsales manager, David Erikson.

M/A-Com's NAB demonstrationused the dbx 700 Digital AudioProcessor and the MA-23CC mi-crowave link using compandedpredictive delta modulation toachieve the high sound quality re-quired by major market stations.A second demonstration used theSony Model PCM 701ES processorwithout companding to achieve 90dB dynamic range. Both these de-signs take the digitized audio sig-nal and convert it to video formatfor microwave transmission usingthe video baseband of the 23 GHzfrequency.

Other methods for aural trans-mission over the new high -fre-quency links are to use eitheranalog or digital subcarriers inthe baseband above the video bandor to use T1 channels over a digitalmicrowave link. A possible draw-back of these techniques for broad-casters is that they require stereo

The Microstar-23 from Harris Broad-cast Microwave is claimed to be thefirst 23 GHz STL on the market to meetthe RS -250B standard.

generation and some audio pro-cessing at the remote transmittersite because the recovered pro-gram audio appears as discreteleft and right channels.

Unsurprisingly, manufacturersof aural STL equipment at lowerfrequencies are skeptical aboutthe suitability of video links foraural use. Because of the compara-tively high cost and susceptibilityto rain attenuation of the 23 GHzequipment, they say that it doesnot compete with 950 MHz bandlinks. "We do not plan to manufac-ture equipment for the 18 and 23GHz bands," says Marti'sMcClanahan. "We feel that ournarrowband equipment, if proper-ly utilized by the industry, will pro-vide more than enough audiochannels for aural STL."

Moseley's Glenn Sanderson es-timates total system cost forequipment running at the higherfrequencies will be about doublethat of a similarly performing 950MHz system. Jesse Maxenchs of

Microwave Transmission

TFT agrees the 18 and 23 GHzbands are not competitive. Headds that the two bands can coex-ist with broadcasters using thehigh frequencies over short dis-tances to get out of a city and thenswitching to the 950 MHz for alonger hop in a less spectrum -crowded area.

Rain attenuation is the othermajor problem that confronts mi-crowave users at high frequnecies.Ed Williams at the NAB puts itsuccinctly: "18 and 23 GHz are notvery good for long haul unlessyou're in a desert."

In ideal conditions, an oftenquoted maximum transmissiondistance using the 18 and 23 GHzfrequencies is around 15 miles.Bad weather causes a very rapiddegradation of performance.Rough figures given by Williamsshow a 3 dB/mile loss of signal in amoderate rainfall of one inch perhour. In a four -inch per hourdownpour, the loss over one mileleaps to 18 dB.

Even proponents of 23 GHz op-eration concede that these levelsof performance loss are unaccept-able. Possible solutions could be tohave 23 GHz microwave capabili-ty for occasional use only, or tokeep a 950 MHz link on standbyfor times when the high -frequencytransmission would suffer attenu-ation. The question for broadcast-ers is to weigh the chance ofouttages at 23 GHz due to badweather against the likelihood offinding spectrum space when it isneeded at lower frequencies. BM/E

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Our BT Series monitors areideal fcr broadcast becausethey all have the quality and im-portant controls brcadcas-ersrequire. Like a normal/uncerscan switch that lets vo Jselect either the camera view or the actual monitorpicture. Pulse -cross circuits for easy observation ofsync detail. And blue only -or easy chrominance adjust-ment. The 13" and 19" BT Series monitors (all screensizes meas diag ) have our special CompuFocuspicture tube. Add to that a switchable comb filter andthe result is increased definition and color sharpness.

Perhaps -he most versatile of the BT Series are the7" monitors. There's one ti -at operates on both AC andDC so t's perfect fcr field use. Another model includesswitchable line inputs, external sync terminals and 13

available as a single unit or ina dual rack.

Our CT monitors alsocome in a wide variety of con-figurations. You can choosefrom our 19" models. Onecomes with a tuner, and onecan be used internationallybecause it lets you switchbetween NTSC, PAL andSECAM. The CT Series 13"and 14" monitors include

models with a bu It -in tuner, NTSC composite and RGBinputs for use with computer graphics. And whenlight weight and portability are important, there's theCT Series 5" mon tor receiver.

For medical use, the MT -1340G conforms to theUL -544 standarc. Its Data Grade in -line picture tubeprovides the precise resolution medical applicationsrequire. While RGB inputs assure you of criticallyaccurate color reoroduction

By now it should be clear, no matter what yourspecial applicatioi, the monitors in the BT, CT and MTSeries have the right qualifications. Monitor pictures simulated.

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RF Engineering

BroadbandingYour Own?

The drive for technical improvement and the promiseof stereo in AM radio are bringing

renewed attention to antenna broadbanding.

v. olumes of literature havebeen published about AMantenna broadbanding

stretching back over many years.Now, the issue is more pressingthan it has ever been, as AMstereo and other AM improve-ments slowly make their mark inradio broadcasting. The expectedNational Radio SystemsCommittee (NRSC) standard onpreemphasis, for example, will bemeaningless if AM antennas arenot tuned. "The antenna is the fi-nal filter of a station's audio," re-minds Michael Rau of the NABoffice of science and technology.

Despite the need for broadband-ing and despite the fact thatbroadcasters are in a good positionto troubleshoot their own anten-nas, they are frequently reluctantto do so. Why is this?

Some engineers are unwilling tomeddle with such a vital piece ofequipment where there is no roomfor error. Many stations might, forexample, have two transmittersbut only one antenna. The engi-neer can risk an attempt at ad -

By Hugh Aldersey-Williams

justing the transmitter becausethere is always a standby, but anunsuccessful attempt to broad-band the antenna could prove dis-astrous, perhaps impairing thestation's pattern or taking it off -air completely.

In other cases, what was initial-ly thought of as a simple problemin arithmetic can build alarming-ly as other factors- maybe an an-tiquated transmission line, thetower, etc-are brought into con-sideration. Many broadcastershave left the antenna, and thewhole broadbanding issue, wellalone.

Wideband receiversThis technophobia is one reason

for broadcasters' hesitancy in at-tempting broadbanding. Anotheris that there is as yet no obviousmarket for the higher quality sig-nals broadbanding would provide.

The antenna is the "final filter" forhigh-fidelity AM sound (photographcourtesy LeBlanc and DickCommunications).

BM/E JULY 1986 55

RF EngineeringAM Broadbanding

This simple network can match the source and load, butit ignores system bandwidth considerations (courtesyCarl T. Jones Corp.).

Long-standing promises of higherquality receivers have been slowto be realized. Without a listeningmarket with receivers that couldappreciate the potential improve-ment, why should broadcastersmake the effort?

Such progress as there has beenin wideband AM receivers is basi-cally the progress of stereo AM re-ceivers, since the wider bandwidthis needed to create the stereo ef-fect. "There is no new design beingdone in mono. Any AM mono radiois an old design," says Ken Brown,senior RF engineer at ABC.

Stereo AM receiver market pen-etration remains low. Probablyless than one in 20 AM receiverssold is a stereo unit, according toindustry observers. Receiver man-ufacturers, in some cases, appearto be waiting for increased con-sumer awareness. A Sony spokes-person, for example, says thatmarket acceptance of its XRA-33AM stereo car radio so far indi-cates only a tentative increase inwideband receiver demand. BillGilbert, a staff engineer at DelcoElectronics, says his company iscurrently doing a market study togauge people's awareness of AMstereo.

Transmission (line

Antenna

Reactance -correctingInput coil L,C output

-MAH

Shunt coil

Shunt capacitor

The TNET program can handle more complex circuit de-signs such as this generalized T network (courtesy Carl T.Jones Corp.).

The vast majority of applica-tions for AM stereo receivers arein cars. The market may be evenslacker for nonautomotive AMstereo if the progress of anotherSony radio is anything to go by. ItsSRF A100 portable AM stereo re-ceiver, introduced in 1983, has re-cently been taken off the market.

While manufacturers wait forgreater consumer interest inhigher quality AM, the broadcast-ers in turn wait for the manufac-turers to introduce widebandreceivers. This cycle of inaction iscompleted by the consumer, whowaits, seemingly in vain, for someindication that there is even anypotential for AM improvement.

OvermodulationTo break the cycle, broadcasters

should first set their own house inorder, admonishes ABC's Brown.He is referring to "splatter," whichoccurs when stations overmodu-late to over 100 percent negative.When this happens, the carriercuts off, and interference occurs inadjacent channels. "Splatter islargely caused by overmodula-tion," says Brown. "We shouldlimit negative modulation to -99.9percent." (Splatter and its relation

to preemphasis of AM signals iscovered in more depth in the firstarticle in BMIE's Rebuilding AMseries: "Preemphasis: Key to AMImprovement," February 1986,page 25.)

Splatter is introduced in one oftwo ways, according to Brown. Thefirst, which should be stampedout, is that it is introduced deliber-ately; it can be seen on a modula-tion monitor. The second way isunintentional and arises when atoo -simplistic approach is taken tobroadbanding. A folded unipole,for example, is not sufficient,Brown warns.

Splatter is more than an un-pleasant noise for the listener. It'salso the reason for many AM re-ceiver manufacturers' refusing towideband. Instead, they presentlyneed to narrow the bandwidth tocut out the interference. Delegatesat the NRSC meeting on pre -emphasis, held in mid May, foundit an eye-opening experience tohear just how bad second adjacentchannel interference was in theirstudy area of Chicago, reports Gil-bert, who is also co-chairman ofthe NRSC preemphasis commit-tee. The committee is currentlystudying limiting the maximum

56 BM/E JULY 1986

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RF EngineeringAM Broadbanding

bandwidth to 10 kHz.Some see a conflict. Broadcast-

ers are concentrating on gettingthe best signals to the majority oftheir listeners, whom they claimlive in strong signal areas. The re-ceiver lobby, on the other hand,wants to sell radios that will alloweveryone in a given station's cov-erage area to receive an accept-able signal. "Radio manufacturersbluntly are going for the fringe au-

dience," says Brown. Gilbert sug-gests the differences are not sogreat, however. "It's a cooperativeprocess," he says. A preemphasisstandard is expected by the Radio'86 show in September.

Healing thyself?These are some of the symptoms

that currently ail AM radio. Onepossible treatment is to broadbandthe antenna. But how is the broad-

DELTA'sImpedance MeasuringProducts

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Frequency increment and decrementkeys sweep the operating frequency in 1,10, 100 or 1000 kHz steps.

Frequency range: 100 kHz to 30 MHzReceiver/generator isolation: >120 dBGenerator output: to 10 VRMS into 500Modulation: 400 Hz, 90% AM, 50 Hzsquare waveReceiver sensitivity: 5 micro V nominal

01133

The 01134 Operating Impedance Bridgeprovides extended resistance and reactanceranges, measuring up to 1000 ± j900 ohms.The bridge has a built-in carrying case andRF amplifier for improved nulling.

Frequency Range: 500 kHz to 5 MHzThrough Power Rating: 5 kW Modulated10 kW Carrier onlyDirect Reading in R: -1000 to + 1000ohmsDirect Reading in X: -900 to +900 ohmsAccuracy: R and X, 2%, ± 1 ohm

01B-1The OperatingImpedance Bridgemeasures the imped-ance of networks,radiators, and the likewhile they operate underfull power. VSWR aswell as complex impedanceof up to 400 ohms ± j300ohms can be measured.

Frequency Range: 500 kHz to 5 MHzThrough Power Rating: 5 kW Modulated10 kW Carrier onlyAccuracy: R and X, 2%, ± 1 ohmDirect Reading in R:-400 to +400 ohms, standard-1000 to + 1000 ohms, optionalDirect Reading in X:-300 to + 300 ohms, standard-900 to +900 ohms, optionalMeasures VSWR: Z0 = 0 to 400 ohms

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caster to tell whether this is appro-priate? A method for diagnosis isneeded.

For the most part, stations canundertake their own diagnoses. Incases where simple, nondirec-tional antennas are used, it mayeven be possible for broadcastersto administer their own treat-ment. By and large, however, theremedy is to turn to a consultantfor the prescription. Identificationof an antenna broadbanding prob-lem is easy, says Edward Edison ofHammett and Edison consultingengineers in Burlingame, CA. Butits correction may require the in-novative engineering on whichthe consultant is up to date.

Now, there are new diagnosticaids in antenna engineering. Oneapproach was described byWilliam Ball of Carl T. JonesCorp. in Springfield, VA, at thisyear's NAB. Ball's solution lies inthe use of a card -programmablehand-held calculator to lightenthe load of performing the circuitanalysis necessary to construct amatched network for a nondirec-tional AM antenna. Ball has alsotranslated the programs into BA-SIC, FORTRAN, and Pascal pro-gramming languages.

The use of a calculator allowsthe broadcaster to go beyond sim-ple back -of -an -envelope arithme-tic. This approach taken in thepast would probably havesimplified the problem to use onecapacitor and one coil in the net-work. The calculations mighthave shown a match between thesource and load of an antenna, butit would only have been at the car-rier frequency. Sidebands wouldhave been ignored in this basicapproach.

Ball's program, christenedTNET, allows a series of networksto be calculated with variousphase shifts. In working on towercoupling networks in the past,Ball says: "I came to the conclu-sion that in order to achieve a goodbroadband match, one had to con-sider the total phase rotation ofthe system, modify it where possi-ble, and minimize as many unde-sirable effects as possible."

TNET can handle both the real58 BM/E JULY 1986 Circle 139 on Reader Service Card

and imaginary components of theL, C variables of a network. Ma-trix calculations using the generalcircuit parameters are also possi-ble for multiterminal networks.Repetition of the matrix calcula-tions can be continued to includeall the components of a couplingsystem. "What we have here,"sums up William Ball, "is a meth-od that will allow relatively sim-ple analysis of complex networks."

Sideband analysisA second computer program at

the NAB was designed to copewith more complex problems. Jer-ry Westberg of Harris Corp.'sBroadcast Group described the re-sults of a sideband analysis for adirectional antenna systemcarried out on a DEC PDP-11mainframe computer.

The program was designed tocompare the field pattern's thatwould result from different powerdividers connected to antenna sys-

tems of different sensitivities.Such calculations might involvethe manipulation of matrices of upto 40 x 40 elements, saysWestberg, rather than the 2 x 2matrices handled by the TNETprogram in the single antennacase.

The problem is that with direc-tional antenna arrays, the com-plexity of the problem risesexponentially with the number oftowers in the array. Even a four -tower array, recalled Ken Brown,required the solution of 21 simul-taneous equations, a job not for aPC, but for a computer the size of aVAX.

In evaluating the performanceof the power divider scheme,Westberg found that transmissionline lengths and types, antennacoupling circuitry, phase shifters,and array operating parametersall affected its adjustability. SaysWestberg: "The program we usedtakes into account the entire

circuit."These new techniques for look-

ing at antenna performance dem-onstrate the potential impact thatcomputers could have for AM sta-tions. This computing power, to-gether with commerciallyavailable programs or licensingand timesharing arrangements,would enable station engineers todo their own broadbanding calcu-lations, at least in single towercircumstances.

The majority of stations couldachieve much better impedancematches in their transmission net-works using comparatively mod-est hardware. A personalcomputer or programmable calcu-lator is within most budgets, if oneisn't already owned by the station.All that remains is to make avail-able for sale or license the antennaanalysis programs that currentlyremain proprietary to the compa-nies and consultants involved inantenna design. BM/E

We Guarantee...We guarantee that our camera tripodplates and VTR/Camera Cables will lastlonger than other manufacturers'...or we will replace them at No Charge.

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ENGenius!IKEGAMI HL -95 IS

THE CROWNING ACHIEVEMENT OF THE 80's.The engineers at Ikegami have just en-

hanced the finest ENG component camera inthe industry, by making it the most versatile.

Now the Ikegami HL -95 camera headcan be the crown jewel of your V?' Beta ENGsystem, as well as three other configurationsincluding "1/4", '/4" and MII formats.

Considered by many as the most im-pressive and important hand-held camerabreakthrough of the 80's, the HL -95 achievestotal operational flexibility without compro-mising strict performance, sensitivity, resolu-tion and registration.

Featuring registration stability withoutadjustment (proven over many weeks): bet-ter shoulder balance, better low light levelsensitivity (1.5 ft candles); better S/ N forgiven low light levels (proven in exhaustivecomparison tests); plus minimum mainte-nance, weight and power consumption. TheIkegami HL -95 far outdistances any camerain its class. It's pure ENGenius.

For a demonstration of the HL -95 andother Ikegami cameras and monitors, con-tact us or visit your local Ikegami dealer.

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TV Engineering & Production

Engineering in theClient's Interest

From local commercials to elaborate productions, TV stations are mak-ing a mark in the competitive teleproduction business.

For a television station,getting started in telepro-duction is a logical exten-

sion of its current business. Theequipment is at hand, and thesales department is bringing inthe clients, so making local com-mercials "comes naturally" to sta-tions all around the country. Andonce you're making commercials,why not move on to other kinds ofclients and jobs?

It's at this point that whatstarted out as a simple operationbecomes clouded with complexquestions. Producing commercialsfor your own clients makes obvi-ous business sense, bringing inspots that otherwise would neversee air. But a station -basedteleproduction operation that ser-vices outside clients, such as localand regional businesses, may faceserious competition from indepen-dent production companies as wellas other stations. The more sophis-ticated the market, the more de-manding the clients are oftechnical facilities and creativeexpertise. In all likelihood, thesimple equipment setup that suf-ficed for the used -car dealer downthe street won't satisfy a regionalad agency or major business.

At the same time, growth in theproduction operation may fosterconflict within the station itself. Ifthe production department sharesits equipment with on -air or newsoperations, what happens when a

By Eva J. Blinder

Scheduling conflicts are a major problem for in-house production crews. WCTV'sextensive post -production facilities are shared between the station's own on -airrequirements and the demands of its outside production services.

hot story forces news intoovertime-right into evening pro-duction hours already booked by aclient? The obvious answer is toequip the production departmentseparately. But is the extra ex-pense justified? Does the marketprovide enough work to pay for thenew equipment?

In almost every market, televi-sion stations are facing thesequestions and working out solu-tions based on local conditions.They range from purposely keep-ing the production departmentsmall and resolving all conflicts in

favor of air, all the way to settingup a separate production companyunder the aegis of the station, withits own facilities and equipment.

Taking advantageIn Mobile, AL, CBS affiliate

WKRG-TV has taken advantageof relatively light competition tobuild a serious outside productiondepartment. Although WKRG-TVProductions remains integratedinto the station, it has sufficientstaff and equipment resources toattract regional (and a few nation-al) clients.

BM/E JULY 1986 63

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ATTENTION NEWS DEPARTMENTS

Please take a moment to fill out the form below so we can planeven better coverage of cameras, VTRs, and news equipment.

1. Indicate your buying status on the following types of equipment. Please use the boxes toindicate how many of each type of equipment you have now or intend to buy:

intend to buy

have now,on order

within3 mos.

within6 mos.

within12 mos.

Betacam recorder/cameras HM -format recorder/camerasCCD camerasStudio/EFP camerasPortable VCRsOne -inch VTRsMERPS automation for newsArt/paint systems for news graphicsDedicated image processing for newsSatellite truck for news gatheringSatellite uplink for news exchangeNewsroom computersENG vansMicrowave equipped helicopter

2. Looking ahead to the coming year, what will be your station's number -one purchasepriority?

3. About engineering at your station:Do you have a separate engineering staff for news? Yes NoWhat is the title of the person who heads news engineering?

4. About expenditures for cameras and VTRs:What percentage of the news equipment expenditures goes toward cameras and VTRs?

What percentage of overall equipment expenditures goes toward the news department?

5. Do you foresee CCD cameras having an impact on equipment purchases for news withinthe next year? '1J Yes No

6. Will you attend the RTNDA convention in 1986? Yes NoCheck all previous years that you have attended RTNDA: 1985 1984 1983 Prior to 1983

7. About the stories on video production and news in this issue:Did you find them informative? Yes NoDid they contain enough detail? Yes NoDid you read all of them? Yes No

8. Did you pass this issue on to others? Yes No If yes, how many?

9. About yourself: Do you work at a:H TV station Radio network TV network Production companyLI Radio station Post -production facility Other (specify)Are you a: Chief Engineer Engineer General manager Production manager Operations manager Other (specify)Do you: use the equipment? make buying suggestions? make buying decisions? evaluate equipment?

NAME AND TITLE

STATION OR COMPANY

ADDRESS

CITY, STATE, ZIP

PHONE(

MAIL BEFORE AUGUST 15, 1986

Fold here and staple closed. Thank you for your cooperation.

BM1EBROADCAST MANAGEMENT ENGINEERING

CAMERA, VTR

NEWS EQUIPMENT

SURVEYMAIL BEFORE AUGUST 15, 1986

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TV Engineering & Production

Mobile, AL's WKRG-TV has developed a strong niche in its relatively small mar-ket. Here, a crew member sets up a shot for a Delchamps Food Systems spot.

"We've been pretty successfulmainly because in this part of thecountry there's not that many peo-ple who do this," states productionmanager Ed Whatley. Accordingto Whatley, until very recently theother stations in WKRG's market"didn't try to compete with us" incommercial production. WKRG'smain competition has come fromoutside the market, from citiessuch as Baton Rouge, New Or-leans, Atlanta, Nashville, andJackson, MS.

In the past two years, however,the number of stations in Mobilehas grown from three to six, andindependent production facilitieshave also increased. The increasedcompetition has changed the char-acter of the market, Whatley says.

"The biggest challenge I'vefound here is that for so long it wassuch an isolated market," he ex-plains. "...It's awfully hard to com-pete with some people becausethey'll do it for nothing. They'll doit every day, just to do the job.They don't understand that if we'dall get our rates in line then we'dall make money.

"The business is there, it's just amatter of going to get it. A lot ofbig industries in this area are nowjust discovering videotape. It's nota sophisticated market, but it's gotpossibilities."

Staying competitive means of-fering clients facilities that will dothe job. The WKRG production de-partment boasts two productioncontrol rooms that can be mixed

together for large projects. Onehas a Grass Valley Group 300switcher, the other a Vital switch-er. The two rooms control a total ofseven Sony one -inch VTRs, rang-ing in model from 1100s to 2000s,along with a Thomson-CSFVidifont Graphics V character/graphics system. A Dubner paintsystem will be installed shortly.As of now, the station does nothave computerized editing.

An important part of WKRG'sclient production workloadconsists of mobile shoots. The sta-tion operates a 17 -foot Wolf Coachcube van with up to five IkegamiHL -79 cameras and a Sony switch-er. Whatley notes that the van de-sign was deliberately kept simple,without many of the bells andwhistles found in large trailers.

The production department con-trol room equipment is sharedwith news operations, and this oc-casionally leads to conflicts. Tokeep these to a minimum, clientsbook production time three weeksin advance, with the news produc-tion schedule always taken intoaccount. If news knows a specialevent, such as a local election, iscoming up, "they'll book produc-tion time with us just like a clientwill."

"The operation of the televisionstation comes first," Whatley in-sists. "The bottom line is it's a tele-vision station, not a productioncompany." Keeping "a little flexi-bility" in the schedule avoids con-flict most of the time.

In -House Production

Tight marketAlthough Oklahoma City has

three independent productioncompanies, KOHK-TV Studio 25gets most of its competition from apair of local network affiliates, ac-cording to production managerJerry Rodgers. The station doesbusiness as Studio 25 to empha-size that it has a production de-partment separate from on -airand news operations.

"One of my main draws is that Idon't have to shut down for news-casts," Rodgers asserts. "The oth-ers do." If needed, he adds, hisproduction crew can keep going 24hours a day, seven days a week, al-though normal production hoursare 8:00 a.m. to 10:00 p.m.

"We're filled to capacity pro-bably 75 percent of the time," heestimates. The production depart-ment works on station promosabout eight hours a week (12hours during sweeps). "The rest ofthe time is available for me tosell."

Studio 25 is equipped for full cli-ent services, with an on-line CMX3400 computer editor controllingfour Ampex VPR-2B one -inchVTRs and two AVR-2 quad decks.Other post -production equipmentincludes a Chyron 4, a GVG1600-7K production switcher withE-MEM and two channels of digi-tal effects, an NEC Optiflex forperspective and rotation, and anAurora/75 animation computer.

Two studios share three RCATK-47B studio cameras, an Avab2002 computerized lighting con-trol board, and an ADM32 -channel audio console. In addi-tion, the station operates a smallmobile unit with an AmpexVPR-20 one -inch portable and anIkegami HL -79 camera. The totalproduction department staff of 11services two shifts, day andevening.

All equipment, except one of theVPR-2Bs and the two AVR-2s, isdedicated to the production opera-tion. "Very rarely do I have to holdthe client up because of equip-ment," Rodgers claims.

Studio 25's projects range fromlarge-scale industrial presenta-tions to commercials, the lattergenerally coming through local or

BM/E JULY 1986 67

TV Engineering & ProductionIn -House Production

in-house agencies."Last year, revenue -wise, we

probably made the biggest per-centage [of our income] from doingindustrial presentations,"Rodgers notes. "...Number -wise,we don't service hundreds of in-dustrial clients, but when theycome in they reserve large blocksof time and pay for large blocks oftime." Revenues from KOHK'sproduction operation are around$1 million a year, according toRodgers. Generating more, hefeels, would necessitate attractingclients from outside the OklahomaCity market-something he's notsure is feasible.

"Dallas is about 212 miles southof me, so its hard to compete," hecomplains. "It's even hard to getbusiness out of Tulsa," only 100miles away. "If they really needthe razzle-dazzle, they just flyright over me and keep going toDallas." Many of those who do soare seeking the capability of aRank Cintel film -transfer ma-chine, not available in Oklahoma."We don't have enough business towarrant the purchase of such a de-vice," Rodgers adds.

Finding a nicheEven without a separate pro-

duction department, WCTV, lo-cated in the Thomasville,GA/Tallahassee, FL, market,manages an impressive job of at-tracting clients for its outside pro-duction services.

"Our market is quite a bit differ-ent than most Florida markets,"says WCTV production managerTom Gay. "This is a seat of govern-ment and also a university area.There's not much manufacturinghere, so we don't have that marketto go after, but we do a good bit ofwork for various Florida stateagencies, producing public serviceannouncements that we shiparound the state. We have to bidon it, but we get quite a few be-cause we can cut our costs belowwhat an independent productionhouse would charge, because ourmain business is to operate thistelevision station."

One problem Gay encounters isclient stereotyping of the kind ofwork television stations are capa-ble of. He notes, however, that"people are becoming more andmore aware" of the station'scapabilities.

Equipment, shared with the sta-tion's own production and on -airneeds, includes Ikegami HL -79sand Sony U-matics for field as-signments. "We still shoot 3/4 -inchin the field," Gay relates, "but nowwe're one -inch in-house, so we dubup to one -inch." The station's twostudios, which produce four and ahalf hours of live programmingeach day, have three IkegamiHK -357 computer setup cameras,Ampex one -inch recorders, a 3MD-8800 character generator, and abrand-new NEC System 10 DVE,one of the first in the country. The

KOHK's Studio 25 crew working on a local commercial spot. The OklahomaCity-based station's projects range from on -location shoots to large-scale in-dustrial presentations.

station has no computerizedediting, although "that is one ofthe next steps we hope to take," ac-cording to Gay.

With all the live programming,"occasionally conflicts do arise,"Gay admits. "But normally, inevery case, in the bid process cli-ents always give adequate time forconception, production, and dubb-ing. With our other clients, westress up -front that our primaryobligation is to our commercialon -air clients, and they takeprecedence."

Flexibility and preplanning arekey factors to WCTV's success.Since the station staffs three sepa-rate production shifts-with a to-tal of 25 people-"we can schedulesome production with a crew thatmay be going through a slack peri-od," Gay adds.

Going all the wayFor an example of the ultimate

in station -run teleproduction fa-cilities, one need look no furtherthan WHAS-TV, Louisville, KY.Well a little further: WHAS's pro-duction arm, Louisville Produc-tions, is a separate companyowned by the station. It treats thestation (almost) as just anotherclient and, in turn, buys servicesfrom the station.

According to Ed Tonini, generalsales manager for Louisville Pro-ductions, the operation started outabout 14 years ago in the usualway-as an adjunct to the sales de-partment, making commercialsfor air.

"After two or three years of op-eration," Tonini continues, "...itgrew to the point that it became anindependent entity. As the yearswent on, smaller and smaller per-centages of the work were gener-ated for the local station, to wherenow virtually none of the work wedo is aired on WHAS. The majorityof our business is even outside ofthis market. In fact, the mix in ourbusiness is about 65 percent in thearea of business communica-tions....The majority of our work isnonbroadcast."

The operation's size is such thatit is structured into four operatinggroups. LP Film and Tape is theproduction arm, with facilities for

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35 and 16 mm film as well as one -inch and 3/4 -inch tape. LP Post,with three full-time editors, hastwo computerized edit suites, onefor one -inch and a brand-new onefor 3/4. The third operating divi-sion, LP Business CommunicationGroup, is a concepting group thatcomes up with creative ideas forclients and determines the bestway to fulfill their objectives.

The fourth operating division,LP Satellite Services, is the mar-keting arm for the KentuckyTeleport and provides transmis-sion services for clientsworldwide.

Louisville Productions has itsown offices, two studios, and a one -inch edit suite all located withinthe WHAS building. A 3/4 -inch editsuite is located in anotherbuilding.

The one -inch suite features atwo -channel Ampex ADO with theInfinity effects package, a Thom-son-CSF Vidifont Graphics 5 withVidifex, along with an AmpexESS-3 digital still store, GVGswitcher, and Vital SqueeZoom.The Sony BVE-5000 editing sys-tem controls three Sony BVH-2000 and two Sony BVH-1100VTRs.

The 3/4 -inch suite, just going on-line at press time, is one of the firstin the country to utilize Sony'sbrand-new SP U-matic equip-ment. Equipment includes a GVGswitcher and Sony 3000 editingsystem, controlling three new SPU-matic decks, one with ASTheads for slow-mos. The room isdigitally interfaced to co -located16 -track and 32 -track audio studi-os with Sony one -inch laybackrecorders.

One of the two studios has an at-tached control room and the abili-ty to go to three Ikegami HK -312cameras, although most shoots aresingle -camera "film style." Thesecond studio is a smaller insertstage. A brand-new, powerfulstereo routing system from ImageVideo Systems connects every au-dio and video source in thebuilding.

Although Louisville Produc-tions does plenty of location work,it does not operate a mobile unit;location work, with Ikegami HL-

New 3/4 -inch editing suite at WHAS'sLouisville Productions is one of the firstin the country to employ Sony's SPU-matic decks.

79EAL cameras and a SonyBVU-500 recorder, is again donefilm style, complete with filteringpackages and HMI lighting.

With so much capability of itsown, Louisville Productions oper-ates virtually independently ofWHAS-TV.

"When the station comes to us,we treat them as a customer,"Tonini asserts. In turn, LouisvilleProductions buys electronic artservices from the station, whichhas a top-flight art departmentcomplete with five full-time elec-tronic artists and an AmpexAVA-3 graphics system. [TheWHAS art department, headed byCathy Galvin, is described inBM/E's May 1986 issue, p. 23.]

"The resources we have beenable to purchase from Cathy havegiven us tremendous strength,"Tonini adds.

Nonprofit profitAs a public station, WXXI in

Rochester, NY, is prohibited fromturning a profit. In these days ofreduced funding, however, publicstations have a greater than everneed to generate income, andWXXI has found producing showsfor outside clients an excellentfundraiser.

"What we market is excess ca-

pacity," says production managerMark Leonard. No separate de-partment or personnel is devotedto client production.

The station concentrates on re-mote work, renting its six -cameramobile unit to other television sta-tions and corporate users anddoing sports remotes for regionalnetworks and ESPN. A little overa year old, the truck is a Gersten-slager trailer with six Ikegamicameras, including HK -357s, anHL -79D, and an HL -95. It carriesfour Ampex VPR-2B one -inchVTRs and a Grass Valley 1680switcher, plus Chyron graphics.WXXI's studios also are used byclients, including occasional tele-conference origination.

Because all facilities are shared,conflicts are inevitable. "It's al-ways a challenge," Leonard says."Most of the in-house production Itry to schedule as far in advance aspossible so we have some idea ofwhere the windows are forclients."

Competition for the WXXI trail-er comes from all around the eastcoast.

"We get the majority of localRochester business," Leonardsays, "but as far as the region, weare probably competing with someof the larger trucks. But in somecases we are more available thanthey are, so people can use us onshorter notice." The truck's ratesalso are "negotiable," according toLeonard, for additional competi-tive leverage.

When in RomeWhat kind of teleproduction

work could a TV station possiblyfind in the competitive LosAngeles/Hollywood market? Theclient roster at KCOP reads likethat of almost any other Holly-wood production house: serial TVprogram syndicators.

For the past nine years, KCOP'sproduction department has pro-vided the facilities for The Joker'sWildand Tic Tac Dough, twopopular syndicated game shows.Both shows are ceasing productionthis year, however, so JohnBraislin of KCOP's Chris-CraftVideotape Center says he'sseeking more of the same.

70 BM/E JULY 1986

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I8811111111%1 WXXI's teleproduction trailer does the

Compared to many of the inde-pendent facilities in his market,Braislin says, his is a "small" facil-ity. Two studios are shared withthe station's on -air operations; oneis about 6500 square feet withseating for 200 viewers, and theother is about 2000 square feet.The small studio is usually tied upwith KCOP's public affairs andnews programming, so it is thelarger that is used most often foroutside production.

Available equipment includesAmpex VPR-2 and VPR-80 VTRs,RCA TK-46 cameras, CDL 480production switchers, a Thomson-CSF Vidifont Graphics 5 charac-ter generator, an NEC E -FlexDVE, and a CMX 340 editingsystem.

In addition to the series work,KCOP does some commercial pro-duction and often serves as a loca-tion for movie crews. "We have acontrol room that overlooks thestage with a glass window, andthey love that," Braislin says. An-other source of revenue istelethons, both local and nationalbut mainly the former. The stationalso does some teleconferencing. Ithas chosen not to pursue mobilejobs.

Even with the shared facilities,conflicts have been kept to a mini-mum, Braislin says.

"Yes, we have had conflicts," headmits. "Fortunately, manage-ment is very understanding andwe are usually able to work it outby rescheduling what the station

bulk of the station's client work.

is doing. But air comes first. Gen-erally, we've been able to resolvethe conflicts quite well."

The station sees two other localtelevision outlets, KTTV andKTLA, as its main direct competi-tors. "We're friendly competitors,"Braislin says. "We all know eachother, and we'll help each otherwhen we can." But he concedesthat business right now is "astight as I can ever remember it."

Making it workThere's probably no place mar-

ket differences show up moresharply than in local teleproduc-tion. Each market has its own dis-tinctive competitive environment,shaped not only by local businessbut also by pressures from the sur-rounding areas. Each market, too,has a characteristic mix of avail-able clients. Their real or per-ceived teleproduction needs,degree of sophistication, andbudgets will directly affect thekind of work that is available.

To be successful, then, a stationmust accurately gauge market de-mands and then weigh this infor-mation in the light of its ownin-house needs. Even if a well-equipped production facility cansucceed financially, it must do sowithout draiviing the resources re-quired for the station's primarybusiness-broadcasting. But withcareful planning, client work canenhance a station's image and ex-pertise while boosting the bottomline. BM/E

72 BM/E JULY 1986

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Progressive Concept:: in Television Technology


Br d m n -

Equipment Acquisitionat the Group Level

A case study of the planning and management process of large-scalecapital investment in equipment.

By William Strube, Director ofEngineering, Meredith Stations

Group-level buying offersmany options and advan-tages not associated with

single-station/single-product pur-chases; among which should belisted substantial cost savings dueto the size of the negotiations.Such leverage can provide otherbenefits as well. However, thegroup buy can cause as many prob-lems as it solves, and this is wherecareful planning enters the pic-ture. Part of such planning in-volves the coordination of theneeds of all stations within thegroup. If as many stations as possi-ble are on the same purchasingschedule, and the particularequipment needs coincide, then aprime opportunity for the groupbuy would be at hand.

At the Meredith stations, weplan our purchasing cycle to covera three-year time span, so whenthe need and timing among sever-al stations occur simtaneously,group -level acquisition makessense.

Difficulties can arise here be-cause if the director of engineering

At th erediturchasing cycle to cover a three-year

'span, so when the need and timing amoseveral stations occur simultaneously,group -level acquisition makes se

dictates to the local chief engineerwhat he is going to buy, he thenhas a built-in excuse if the equip-ment doesn't work in his station,and the responsibility reverts tothe director. If the local chiefs areeach authorized to select the ven-dor and the product, then each hasindividual responsibility.

Further, the Meredith group is amixture of affiliate and indepen-dent stations in markets coveringa wide range of ADIs. It has no"typical" need for equipment fornews, local program, and spot pro-duction. For instance, its newsoperations range from almost non-existent to several hours per day

integrated with network newsfeeds.

In this regard, each local chief isthe best judge of his station's on-going needs for facilities modifica-tior. and capital equipmentacquisition. Only our local news,production, and operations de-partment heads, working with thechief engineer as an ad hoc yet per-manent planning task force, canaccurately translate future broad-casting plans into an acquisitionplan structured in appropriatephases.

A good example of the possiblepitfalls involved with group -levelbuying would be in the purchase of

Editor's Note:If a television station is going to stay competitive in to-day's active broadcast industry, tight management andcreative planning are essential elements in achieving thestation's goals. This holds true to a greater extent on thegroup level, especially when the target of management'splans is the purchase of large-scale, expensive videoequipment coordinated among several stations at once.The matters of concern go beyond negotiation of the pur-chase price, delivery, and other particulars to include therelationship between the group representative (director of

engineering) and the individual chiefs, the mix of stations(i.e. independents, affiliates, etc.), and coordinatingneeds, timing of delivery and installation, as well as vari-ous other technical and financial obstacles.

In the interest of taking a "hands on" approach, BM/Ehas asked William Strube to provide readers with a casehistory of some equipment buys at the group level. Themanagement perspective offered here takes into consider-ation budgets, equipment needs, individual station differ-ences, and the successful handling of the available toolsby the leader of the buying team.

BM/E JULY 1986 77

Broadcast ManagementGroup -Level Buying

electronic paint systems, althoughall eight Meredith stations mighthave budgeted for the devices inthe same year. Local needs againrange from almost none to sophis-ticated 3D animation systems dueto local competitive situations aswell as market size. There proba-bly isn't a single computer graph-ics system vendor that offers thedepth and breadth of productlines, price, and features to satisfythe needs of all of our stations.Also, because of the diversity ofour needs, there currently is nojustification for putting in a full-blown system at one station andtying into local terminals at theother stations.

Case history: camera buyOperating within the parame-

ters of our three-year acquisitioncycle, we began planning in 1983for what turned out to be the pur-chase and installation of ninePhilips studio cameras in 1985.These cameras were purchased forWOFL in Orlando, FL (CE JimDoyas), KCTV in Kansas City (CEJoe Snelson), and KPHO in Phoe-nix, my station. We began negoti-ations with four camera vendorsat the group level simply becausethree of our stations had slottednew studio cameras into the samebudget year of 1985/86.

Before the 1984 NAB, we haddecided that the selection of onevendor to supply cameras to all thestations might be advantageous.After visiting all the camera ex-hibits, we eliminated all but fourvendors with computer -based stu-dio cameras for further evalua-tion. They were invited to bringunits to Phoenix for a rigoroushands-on evaluation.

At the start of the evaluation,each vendor was invited to give hisstandard demonstration and salespitch and to present a technicallengthy list of evaluation criteria.

Included in the list were itemsand price proposal for the nine -camera buy. They all knew we'd beexamining not only the camerabut also the company and theirtechnical support people against alengthy list of evaluation criteria.Included in the list were items

such as picture quality, auto setupfeatures (especially the ease ofrealigning the camera afterchanging pickup tubes), diagnos-tics software and its means forpresentation, and the engineeringand technical support structure.

Software update policy was an-other important criterion forjudgement as were additionalsoftware development plans, docu-mentation, prior business rela-tionships with the company, andwarranty and loaner policy tokeep a camera up and running. Inaddition, service support responsetime and speed and accuracy introubleshooting, both on the phoneand on site, were of importance.

Note that reliability wasn't onour performance evaluation list

"In weighing allthe advantages adisadvantages,group -levelacquisition shouldbe considered on acase -by -case basis. I,

because you can't quantify relia-bility of anything in a short testperiod. But, it is important to ask,as we did, questions about reliabil-ity of the vendors and earlier pur-chasers before extending theinvitation for demonstration. Norwas price on the initial evaluationlist, not because it wasn't impor-tant later, however. In the final se-lection process, price rankedbetween two and four on a scalefrom one to ten (one having high-est priority).

Conclusion of evaluationThe technical evaluations were

concluded by videotaping footagefrom each camera in operation onthe news set, split screening itwith one of our 1973 vintage man-ual cameras to give us a valuablestandard of reference in thesecond -round vendor selection ef-fort. Since, at the end of the tech-nical evaluations, we could not

determine any performance differ-ences among the four cameras onthe basis of the subjective test ma-terial, the individual chiefs leftthe selection up to me. Althougheach CE still had the option ofdealing with a different vendor,they felt the group buy would putthem money ahead.

In late June 1984, we receivedthree refined, three -camera price -and -delivery proposals, quotedagainst detailed camera capabili-ties and specifications drawn upby each station. Variables includ-ed lenses, pickup tube types,camera accessories, triax cablecomplements, patch panel needs,and installation locations. Wethen integrated the best price of-fers and delivery promises fromthe four vendors into the technicalevaluation findings to make ourchoice.

The Philips LDK 6 came outahead in our evaluation, in partdue to the total computer controlof the full range of every adjust-ment. Recalibration after a tubechange can be handled by any ofour video operators within min-utes, and the Philips software sup-port has been exemplary. Updatesinstalled and checked out by theirfield technical support have keptour cameras up to date since theyfirst went on line.

Other evaluationelements

For our three stations, a deliv-ery commitment down to a givenweek or even within a monthwasn't crucial to vendor selection.We were replacing very old camer-as, and the sooner we did it thebetter. However, we didn't have tophase camera cutover into aschedule driven by a facility'sremodelling or relocation. If thatsituation exists, the initial evalu-ation checklist must include an"on -time delivery record" item. Inour particular case, the only re-quirement was that all the camer-as be installed, signed off, and paidfor in the fiscal year when thebudget was available.

In a similar situation involvingboth large investment questionsand availability of the appropriate

78 BM/E JULY 1986

technology to our group, sixMeredith stations are using videocart machines; three Ampex andthree RCA machines, all of themold and in need of being replaced.

One of the problems that hasarisen in regard to cart automa-tion is the disruption of the three-year planning schedule usuallyadhered to by the group due to theformat situation being very com-plicated. There is a need at theMeredith stations for more than40 carts, with additional pressurecoming in stations having to han-dle 15 -second spots. This, ofcourse, means twice as many indi-vidual carts will be necessary, re-quiring larger capacity machines,greater inventory capabilities,and the ability to expand on what-ever system is chosen.

We are desperately looking for asolution in this department sinceit is necessary to fit the acquisitioninto our three-year buying sched-ule. In addition, we want toexpand our whole automation sys-tem into a configuration thatprovides us with downloadingcapability. Our intent is to takethe next day's events schedulefrom traffic, and download direct-ly into the.on-air cart machine asopposed to having a paper playlistgenerated by traffic and a techni-cian slowly type into the machine,operating at much reduced effi-ciency. Systems under considera-tion have been Ampex and Sonyunits, and, currently high on thelist, are units from Asaca andPanasonic because of the futureexpansion capabilities provided.

Sometimes the group -level buyis the way to go, while often it isnot the most efficient way to han-dle the acquisition. Choosing avendor for any major equipmentpurchase is a long process today,and there should be no shortcuts,especially with performance dif-ferences in certain kinds of equip-ment being so subtle. In the end,you are often making a choice ofpeople and the support team. Inweighing all the advantages anddisadvantages, group -level acqui-sition should be considered on acase -by -case basis, centered onyour team plan. BM/E

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New. Running matesthatgo the distance.DataTagDataTapfm eliminates a majorvariable in ENG operations..."when to change batteries':It measures camera powerconsumption to accuratelydetermine remaining run time.Features: Now, with confidence, you can fully

discharge your camera battery to obtainfull capacity and maximum run time.

There are more benefits from fully dischargingbatteries Helps erase cell "low capacitymemory" caused by shallow cycle discharging. Extends battery life.

DataTap's digital readout displays amp hours consumedand is designed to operate in any ENG environment.

Can be used with any NiCad or Silver Zinc Snap-On,'or Pro Pac 90' batteries.

When used with ADM, DataTap can accurately measureand calibrate battery capacity and test for shortedand low capacity cells.

and ADMADM (Automatic Discharge Module)...prolongs battery life and helps eraseNiCad cell "low capacity memory':Features: ADM's load device and built-in automatic cutoff circuit

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Broadcast Management

ior

Outside exhibit area at last year's RTNDA in Nashville, TN, resembled a mini -NAB. This year's exhibit will be even bigger.

Equipment Is LeadStory at RTNDA Meet

Satellite newgathering looks to be one of the hot topics featured at the over100 exhibits at this year's RTNDA show.

hen RTNDA downlinks into Salt LakeCity, UT, for its forty-first Internation-

1 Conference, it will bring with it theassociation's biggest- ever equipment exhibit,along with an information- and celebrity -packedprogram.

At press time, 100 exhibitors had signed up forbooths as large as 2500 square feet, larger thanany yet seen at an RTNDA show. The equipmentarea, up one-third in total size from last year, cov-ers over 100,000 square feet. The exhibition, meet-ing sessions, and conference headquarters willconvene at the Salt Palace in Salt Lake City.

To encourage news directors to bring along theirengineers for help in evaluating equipment, theassociation is offering complimentary one -day reg-istration to station, group, and network engineers

who attend the convention and visit the exhibitson Friday. A special Thursday evening receptionwill welcome engineers.

Satellite newsgathering continues to be a hottopic among news directors, indicated by a slew ofsatellite -related exhibits and several satellite -related workshops. Also well -represented on theexhibit floor will be makers of graphics andweather systems.

Tom Brokaw, anchor of the NBC Nightly News,will deliver the opening address Tuesday evening,August 26, following presenation of the RTNDANational Awards. The closing speaker, at Friday'sPaul White Banquet, will be Fred Friendly, form-er president of CBS News and now Edward R.Murrow professor emeritus at the Columbia Uni-versity Graduate School of Journalism. BM/E

BM/E JULY 1986 81

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Broadcast ManagementRTNDA Preview

RTNDA ProgramTuesday, August 26

RTNDA National Awards PresentationSpeaker: Tom Brokaw, NBC News

Wednesday, August 27Exhibition Grand Opening, 10:00 a.m.

Luncheon Speaker: TBAThird -World News in Main Street America

Management SessionRadio News PromotionTelevision Newswriting

News from SpaceHow to Have Award -Winning

Photojournalism in Your ShopRadio Newswriting

Thursday, August 28Luncheon with Exhibitors

Journalism EthicsWomen's Resource Center

Investigative ReportingFuture of Radio News

Satellite NewsgatheringReception for Engineers

Friday, August 29Minority Delegate Breakfast

Radio News Idea ExchangeTelevision Video Formats

Education and Electronic News

Paul White BanquetSpeaker and Award Recipient: Fred Friendly,

Columbia University Graduate School of Journalism

RTNDA ExhibitorsAbekas Video SystemsAccu-WeatherAlden ElectronicsAmerican Heart Assn.American Medical Intl.AmpexArmy and Air Force Hometown News ServiceAssociated PressAudience Research & DevelopmentBAF CommunicationsBASYS

Bonneville Telecommunications/Satellite Systems Div.Bosch Broadcast Audience Behavior ResearchBroadcast Microwave ServicesCQI SportstickerCentroThe Christian Science MonitorThe Church of Jesus Christ of Latter -Day SaintsChyron Corp.ColorGraphics SystemsColumbine SystemsComputer Sports WorldComrexComsat GeneralComtekConus CommunicationsDALSAT


82 BM/E JULY 1986

Data Communications Corp.E -N -G Corp.Eastman KodakEnvironmental Satellite DataJohn T. Fischer ProductsG&M Power ProductsGTE SpacenetGentner EngineeringThe Graphic Express Corp,Gray Communications ConsultantsHarrisHubbard CommunicationsIkegami USAINN-The Independent NewsIntegrated TechnologiesInternational Tapetronics/3MInvestment Company InstituteIvanhoe CommunicationsJefferson -Pilot Data SystemsKavourasLaird TelemediaLBS CommunicationsListec VideoLocal Program NetworkM/A-ComMACFrank N. Magid Assoc.Major League BaseballMead Data CentralMedia ComputingMedstar CommunicationsMicrodyneMicrotimeMidwest CommunicationsMoney/Pro NewsNEC America, Broadcast Equip. Div.Newsfeed Network/Group WNews/Telepictures Corp.NuradNutrition World EnterprisesPanasonic Industrial Co.Philips Television SystemsProfessional Video ServicesQ -TV

QuantelRF ScientificRP Foundation Fighting BlindnessS.P.R. News SourceScientific-AtlantaShure BrothersSJO-COMThe Sports NetworkTaft TV and Radio Co.TAG AmericaTelescriptTelevision Engineering Corp.TexacoThomson-CSF BroadcastThe Tobacco InstituteTurner Program Services1220 ExhibitsUltimatte Corp.United Press Intl.United Technologies Corp,UT -TV The University of Texas Health Science CenterVisNewsVU -Text Information ServicesWSI Corp.WeatherBankWestern Television NewsWold CommunicationsWolf CoachZephyr Weather Information Service

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Circle 157 on Reader Service CardBM 'E JULY 1986 83

FCC Rules & Regulations

Odds and EndsBy Harry Cole, FCC Counsel

This month presents yet another grab bag of Com-mission decisions of which you should probably beaware. These include the latest development inthe long -running saga of the "issues/programslist" and a whole new policy governing the FCC's

role in allegations of obscene programming.

Issues/programs listsOnce upon a time, when regulators ruled the

world, the Commission developed a complex re-porting system aimed at assuring that broadcast-ers were aware of the problems, needs, andinterests in their respective communities, andthat they were providing nonentertainment pro-gramming responsive to those problems, needs,and interests. This system-generally referred toas "the ascertainment process"-hit its high watermark in the late 1970s.

Not surprisingly, when the deregulators tookover control at the end of the 1970s, one of their

first targets was the ascertainment system. Aftersome initial tinkering with the ascertainment pro-cess, the deregulators abandoned that process infavor of marketplace forces in the context of thecommercial radio deregulation proceeding.

One remaining vestige, however, of the ascer-tainment process called for the preparation of an-nual issues/programs lists, in which each licenseemust list at least five needs and/or interests oftheir communities.

The trouble was that, in the previous radioderegulation decision, the Commission had elim-inated the requirement that licensees maintainprogram logs. But program logs were a primarysource for the public to determine each licensee'sactual program performance. Without logs, thepublic-and, ultimately, the Commission-wouldhave only the annual issues/programs lists fromwhich to evaluate the licensee's programming.And, in the view of the U.S. Court of Appeals in

It delivers the punchwithout the bruise.

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Most importantly, the 412A always delivers itspunch with finesse. Instead of the usual pumping andsquashing, what you get is amazingly natural sound:the dynamic "feel" of the program material is preservedeven when substantial gain reduction occurs. Like a truechampion, the 412A works hard but makes it look easy.

Whether the application is DJ mike enhancement,cart transfers or daily production chores, the 412A isa real workhorse. But the best news is that the mostflexible and natural -sounding compressor/limiter isalso one of the least expensive.

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See us at the RTNDA Show, Booth #559

THE SP -3A. THE SURVIVORJUST GOT BETTER.

Many thought it was impossible. Now theSP -3A has a built-in variable speed electronicshutter. You can stop or slow down fast action.And what a change that's made! This new shutterhas a range of 1/60th to 1/2000th a second.The shutter speed is right in the view-finder. You can option the SP -3Afor triax or multi -core applications,and use it with an integral M-2,Beta: or 8mm format VTRs.

The SP -3A is still the samedurable workhorse it has always

been. Surviving in African deserts or hurricanegales in Virginia. Getting broadcast imagesunder the worst of conditions.

NEC has taken a reliable sure shot, theSP -3A, and turned it into a stop shot. But that's

not all. It costs only $14,500

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Survivor. There is absolutelynothing like it on the markettoday. What you see will stopyou. Right in your tracks.

Beta" is a registered trademark of Sony Corp.

IMAGINE WHAT WE'LL DO FOR YOUCaC Computers and Communications

NEC America, Inc., Broadcast Equipment Division 1255 Michael Drive, Wood Dale, IL 60191 Toll free 1-800-323-6656 In Illinois phone 312/860-7600Circle 160 on Reader Service Card

FCC Rules & Regulations

Washington, that was simply not enough. Accord-ingly, in 1983, the court sent that aspect of theradio deregulation proceeding back to the Com-mission for more work.

In response, the Commission played with theissues/problems list concept. The result, reachedin 1984, was a modified list requirement entailinga quarterly list of at least five to ten issues, togeth-er with descriptions of illustrative programming.The Commission was taken back to the Court ofAppeals, and, last December, the court againturned thumbs down on the FCC's approach.

Now, more than five years after the initial adop-tion of radio deregulation, the Commission hastaken its fourth shot at designing a recordkeepingrequirement that will give the public what theCourt thinks the public needs, while still relievingbroadcasters from excessive and unnecessarypaperwork. This time, the FCC appears to havetaken its cue from the court itself. In its December,1985, opinion, the court noted that the Commis-sion did not appear to have given adequate consid-eration to the "significant treatment" alternative.That alternative would require each licensee tocertify that the programs listed in the quarterlyissues/programs list represent its "significanttreatment" of community issues. And, sureenough, the Commission has now adopted the sig-nificant treatment approach.

Obscene programmingHistorically, the Commission has stated that it

shares authority and responsibility for enforcingthe prohibition against the broadcast of obscenematerial. Of course, the Department of Justice andthe various state attorneys general also have someauthority and responsibilities in that area. But,like it or not, the Commission is included on thataugust list. The FCC has not flexed its censorshipmuscles very often, or with particular force, but ithas at least indicated to the broadcast industryand to the public that it has those muscles to flex.

In April, however, the Commission announcedthat it would no longer take the lead in this area.Instead, it will consider allegations of broadcastobscenity only if and when the people involvedhave been convicted of obscenity in a criminalprosecution.

In the Commission's view, its resources can bebetter spent elsewhere than on inquiries intowhether particular programming is obscene. Asthe FCC sees it, that's what local prosecutors areout there for.

Nonetheless, the laws prohibiting the broadcastof obscene matter are still on the books, and it ispossible that local officials might, in some cases,choose to prosecute. Even in today's relatively lib-eral society, though, the broadcast of anythingthat could even arguably be characterized as "ob-scene" remains a rarity. BMit

AT NEC,WE REALLY KNOWOUR V's AND U's

A worldwide leader ought to know howto put state-of-the-art television trans-mitter technology to work. That's why NECtransmitters are installed in over 1400locations all over the globe. NEC's full lineof VHF and UHF transmitters featurehigh performance exciters, a remarkable30% reduction in exciter parts (meaninga 50% improvement in MTBF- 30,000hours). 100% solict state to 10 kW (UHF/VHF); only one tube to 35 kW (VHF),broad power output ranges and a designthat accepts stereo - without modifica-tion. For transmitter technology that's sureto stimulate your imagination, look to aleader. NEC.

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Provide impressive on -air sound for eventhe most discriminating listener at an unbelievableprice/performance relationship.The Best of Both Worlds

The ITC "Component System" combines thequality of digital source material with all theoperational flexibilities of an all -cart format. Simplyrecord from a compact disc onto a ScotchCart®IIbroadcast cartridge using a 99B master recorder withELSA, then play back on a DELTA reproducer!Separately, These ITC Components areImpressive, Together They're Awesome!

Cartridge, tape and machines have been designedby a single manufacturer to compliment each otherlike never before and produce uncompromisingaudio quality.1. 99B Master Recorder-Loaded with features2. ELSA-A patented automatic cartridge

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4. ScotchCarten Broadcast Cartridge-Capable offrequency response equalling professionalreel-to-reel performance

Allow ITC's "Component System" to provide yourfacility with the operational flexibilities of an all -cartformat while you offer your listeners impressive on -air sound they are sure to love.

When newer technology emerges, it will comefrom International Tapetronics Corporation/3M,"The Leader in Reliability and Service."

Call today to discuss financial options and theunbelievable price/performance benefits of the ITC"Component System." In the U.S., call toll -free800-447-0414, or collect from Alaska or Illinois309-828-1381. In Canada, call Maruno Electronics,Ltd. 416-255-9108. In most countries outside theU.S. and Canada, information on ITC equipment canbe obtained through local distributors.

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New EquipmentDubMaster AutomatesCMX EditorA new software program that automates the repet-itive video dubbing process for CMX 340X, 3100,3400, and 3400A editors has been announced byEditing Services Co. The DubMaster software isdesigned to control video/audio switching, GPI,and any one VTR in a repeated bars/VTR/blackcycle.

The program loads in a few seconds and worksunattended for up to 1000 dub cycles. While therun is in progress, the system displays the currentpass number and the elapsed time within a cycle.DubMaster's ease of use allows rapid switchingfrom a dub system to an edit system, cutting downon the CMX unit's idle time. The software is re-leased on a license -only basis.Circle 260 on Reader Service Card

Leitch Intros TestGeneratorsTwo new NTSC test generators have been an-nounced by Leitch Video of America, Inc.,Chesapeake, VA. The STG-2500N NTSC StudioTest Generator is a compact, 1 RU unit that pro-vides 22 computer -generated video test signals forbaseband and general in -plant studio equipment

uses, available at low and high APL. Test signalsare stored in EPROMS, and conversion to analogform occurs with 10 -bit precision.

The XTG-2500N NTSC Transmitter Test Gen-erator, the same size as the STG-2500, generates22 test signals for AM and television transmitterapplications.Circle 261 on Reader Service Card

Computer -GeneratedStoryboardsLAKE Compuframes has developed a newstoryboard system that utilizes nearly any wordprocessor or graphics program to print storyboardnotes and directions directly from a computer.Compuframes are pin -feed, continuous forms thattear down to standard 8 1/2- by 11 -inch sheets. Theboard sheets come in four formats: six frames perpage or three frames per page, both in either singleor four-way visual frames.

Any word processor with pagination, margins,page breaks, and headers can conform to theCompuframes' format, and graphics programs canbe adapted to print out directly on the sheet boxes.A 500 -sheet box costs $42.95; 2500 -sheet is$168.95.Circle 262 on Reader Service Card

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BM/E JULY 1986 89

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Circle Page Circle PageManufacturer No. No. Manufacturer No. No.Allied Broadcast Lenco Electronics 138 57

Equipment.... 118 29 3M MagneticAlpha Audio . 154 82 A/V Products... 74-75Alta Group. Inc 125 37 McCurdy Radio ... . 115 22Amber Electro Design.. 126 38 Merlin Engineering 155 82Ampex Corp./AVSD.... 145 71 Microdyne Corp. .. 134 50Ampex Corp./MTD... 137 54 MEI MicroprobeAnton/Bauer Inc. .. 153 80 Electronics Inc. 152 79Applied Research Midwest Corporation 108 15

Technology 128 40 Mitsubishi ProAudio Technica. U.S. .. 127 39 Audio Group.. 116 25Auditronics, Inc. 129 41 Moseley Associates 110 17Avcom of Virginia 131 45

NEC America. Inc. 160 86Basys - 85 NEC America. Inc.. 161 87Belar Electronics 135 51 Orban Associates .. 158 84Bosch Corp.. Robert . 104 6-7 Otari Corporation.. 121 33Bryston Vermont Ltd. 151 79

Paco Electronics U.S.A.Camera Mart, Inc., The. 103 5 Inc 163 89Centro Corporation .... 132 47 Panasonic BroadcastCetec Vega 117 27 Systems 136 52-53Circuit Research Labs 130 42 Panasonic Industrial Co 107 12-13Comark Potomac Instruments 120 30

Communications 106 11Schafer World

Comrex Corporation 123 35CommunicationsContinental Electronics. aCorp. 124 36Division of Varian

Associates, Inc 147 72Schiller Associates. RonSennheiser Electronic

112 19

Crosspoint Latch ... 113 20Corp. 164 90

Delta Electronics . 139 58 Shintron Company 157 83

Etchereum Scientific Shure Brothers 119 31

Corp. 143 64 Sony Broadcast ProductsCo. - 2-3

Fidelipac Corp.. 101 1 Sony Tape Sales Co 144 69Fortel, Inc 148 73 Stantron,Unit ofFuji Photo Film USA... 142 62 Zero Corp. 102 4

Grass Valley Group, Inc. . 105 8Studer Revox America 100 C-2

Tektronix ........ . 133 49Ikegami Electronics (USA).Telecom Research 109 16

Inc 141 60-61Telex Communications 122 34International TapetronicsTMD Division, The

Corp./3M 162 88 Will Burt Company.... 146 72U.S. JVC Industries,

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Total Spectrum Mfg

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114

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K & H Products Ltd. 156 83 Ward -Beck Systems C-4Leitch Video Ltd. 150 76 Wheatstone Corp. 165 C-3

SALES OFFICES295 Madison Avenue New York, NY 10017

Eastern States295 Madison AvenueNew York, New York 10017212-685.5320Telex: 64-4001James C. MaywaltTom Joyner

Telex: 64.4001 David Hawthorne, Publisher/Editor

Central States Western States980 North Michigan Avenue 19411 Sierra Noche RoadSuite 61, 14th Floor Suite OneChicago, IL 60611 Irvine, CA 92715(312) 664-0572 (714) 854-1922Gene Kinsella Wally Gilbert

Europe/ United Kingdom33A Station RoadNorth HarrowMiddlesex HA2 7SU England(01) 427 9000Telex: 21289Ric Bessford

Japan/Far East2-14-20 Minami-Aoyama,

Minato-Ku Tokyo 107 Japan(03) 405 5118

Telex 2427388Fax (03) 401-5864K. YamamotoY. Yozakl

Multiple Choice:What do you need in an audio console?Every application is different; what are yourrequirements? Should the input section be ste-reo or mono, mic or line? What kind of outputsand subgrouping do you need? Is a matrix miximportant? Do you require mix -minus capabili-ties? What about metering, timers, taperemotes, mainframes, future expansion?

A-500 RadioOn -Air

WHEATSTONE consoles give you all the choices. Our salesengineers listen to your requirements, then work with youand plan your console from the first module to the last VUmeter. The result is custom -configured equipment builtspecifically to your needs.The truth is, there's only one choice when specifying broad-cast equipment: QUALITY. There's simply no room inbroadcast for cutting corners; when you're on -the -air thephrase "Time is Money" takes on real meaning.

SP -5 StereoProduction

TV -80 Teleuision Master

So whatever your application, stereo or multi-track production, television master control,on -air, video edit, or mobile installation, con-sult WHEATSTONE.

QUALITYThere's No Better

Choice.3224 Multi -Track

NWheotrtone Corporation5 Cdlins Rood, Bethany, CE 06525 (203-393-0887)


The ST Series by Ward -Beck.Television's first true Stereo Console!

ward -Beck proLdly introduces the first purebredS-.ereo Television Console.

This is no ordinery mixing Dowd modified and adapzed for stereo TV. The STSeries has been designed, withcut compromise, fro -n the g-ound up to give

television bircaocasters full stereo facilities.The ST evolved from extensive consultation wizh end -users, resulting in a

microprocessor controlled system. incorporating total y rew circuitry, new moduledesigns, and a unique console profile for ennarrzed cperational simplicity.

-he ST3642 has emple capacity for major productior facilities, while the ST2442is ideal for on -a r ar-cl srnal er productior applications.

The ST Series... _egendary Wand -Beck quality. competitively priced, for everytelevision market'

First by DE -sign.

Ward -Beck Sys:ern3 Ltd.,841 Progress Avenue. Scarborough, On-ario, Canada M1H 2X4.

Tel: (41E) 438-6550 Th.: 065-25399.

BROADCAST MANAGEMENT...

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