that has ANL F - WorldRadioHistory.Com€¦ · EL BELAR ELECTRONICS LABORATORY, INC., DEPT. BM -12...

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Teledyne announcesthe introduction

of their new ColorTelefilm Recorder

that transferscolor tape to

color film withremarkable quality.

Teledyne Camera Systems' CTR-2 Color Telefilm Recorder.

Extraordinary quality and practicaleconomy from the outset.

Teledyne has developed the firstbroadcast quality Color TelefilmRecorder. They knew that excellencewas mandatory. A piece of equip-ment that wouldn't deliver sharp,clear, color -balanced 16mm filmtransfers would not stand up to yourcriteria. So, the system was perfectedand then it was introduced.

Engineering bottom line.Primary heart of the system is thecamera (DBM-64B) which uses com-pressed air to pull down and stabilizethe film in less time than the televisionvertical blanking period. Result is full

frame recording without mid -fieldsplice or shutter bar.

System works for operatornot the other way around.

Human engineering, ease of opera-tion, and maintenance maximizesproductivity. All components are im-mediately accessable. Test points onthe printed circuit cards used with thebuilt-in waveform monitor allow oper-ation, adjustment, and trouble shoot-ing without a separate oscilloscope.Slanted camera optical path is veryconvenient for magazine loading.

It almost had to be Teledyne.You expect innovation from pioneers.Because the camera came first, fromTeledyne, the system's developmentwas only an extension. That camerarevolutionized tape to film transferand is clearly the industry's standard.

Partial list of nomenclaturethat makes the point.

DBM - 64B Camera. Conrac RHM -19Display. Tektronix 528 WaveformMonitor. Modified Tektronix 602 "X-Y" Display. CBS Labs Mark II ImageEnhancer. Rank Decoder. Maurer "F"Prime or Auricon "Modulite" VariableArea Recording Galvanometers.Teledyne CK-120 Magnetic Record-ing System. And so on.

Giant step for the state of the art.Video tape production and 16mmbroadcast and dupe transmission arenow a quality reality. To learn moreabout this capability and making itavailable to your operation, contactTeledyne Camera Systems at 131North Fifth Avenue in Arcadia, Cali-fornia 91006. Telephone (213) 359-6691. They'll send you a reel sample.

/TELEDYNE CAMERA SYSTEMSCircle 100 on Reader Service Card

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Now . . . Belar. Belar is the only company that has the necessary type approvalson all three monitoring systems. Belar accuracy permits use of the maximum powerallowable and maximum power means maximum profit. Add to this that allBelar equipment is immediately available.

Isn't it time you stopped running around and finally settled for a company that canhandle all your frequency and modulation monitoring needs? Contact Arno Meyer .

he'll show you the way.

EL BELAR ELECTRONICS LABORATORY, INC., DEPT. BM -12BOX 83, UPPER DARBY, PA. 19084 (215) 789-0550

Circle 101 on Reader Service Card

JANUARY, 1972-BM/E 3

Listener -participation showscan be a form of publicaccess. WMCA, New York City,inspired this month's cover,but we quickly point out theparty -line hook-up at WMCAis more sophisticated thanshown (see p. 17). Callletters KALL are not availableto opportunists. They'reassigned to Salt Lake CityBroadcasting Company ofSalt Lake City (which has aCall Kall show).

BROADBANDINFORMATION SERVICES, INC.200 Madison Ave.New York, N. Y. 10016212-685-5320

Editor.James A. Lippke

Technical Editor:Thomas R. Haskett

Contributing Editor:Robin Lanier

Assistant Editor:A. E. Gehlhaar

Art DirectorGus Sauter

Production Manager:Arline G. Jacobs

FCC Counsel:Pittman Lovett FordHennessey and White

BROADCAST MANAGEMENT ENGINEERING

JANUARY 1972/VOLUME 8/NUMBER 1

6 Broadcast Industry NewsStudy groups show great hope for cable TV.

10 Interpreting the FCC Rules and RegulationsWhat to do to assure license renewal.

17 Talk Is Big In New York RadioFor engineers: How to design a system for listener participation.For managers: How the No. 1 listener participation station does it.

22 What News Costs at NBCFor managers: An analysis of how NBC spends its news dollars.For engineers: Rundown of equipment available for news.

30 Studio on WheelsFor managers: Objectives for a mobile radio unit.For engineers: Step-by-step details in building a "Martinmobile."

36 Audio FileFor managers and engineers: Some problems of compatability.

38 Convention Log: New product developments at NAEBRundown of products at recent NAEB Convention.

41 Broadcast EquipmentNew and significant products for broadcasters.

46 New LiteratureUseful reading materials.

56 EditorialNew Year's resolutions: Commitment to public responsibility.

CM/E MAGAZINE: For Cable Readers Only/Between pages 40 and 41

BRA BM/ E, BROADCAST MANAGEMENT/ENGINEERING, is published monthly by Broad-band Information Services, Inc. All notices pertaining to undeliverable mail or sub-scriptions should be addressed to 200 Madison Ave., New York, N.Y. 10016. BM/E

is circulated without charge to those responsible for station operation and for specifyingand authorizing the purchase of equipment used in broadcast facilities. These facilitiesinclude AM, FM, and TV broadcast stations; CATV systems; ETV stations; networks andstudios; audio and video recording studios; consultants, etc, Subscription prices to others:$15.00 one year, $25.00 two.Copyright J 1972 by Broadband Information Services, Inc., New York City.Controlled Circulation postage paid at East Stroudsburg, Penna.

4 JANUARY, 1972-BM/E

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Circle 102 on Reader Service CardJANUARY, 1972-BM/E 5

BROADCAST INDUSTRY

Spate of Cable StudiesReleased at Year EndA wonderful new world via cableTV is envisioned in three major re-ports released in December: "Onthe Cable, The Television ofAbundance" (report of the SloanCommission on Cable Communica-tions); "Urban Cable Systems" (pre-pared by the Mitre Corp. for theMarkle Foundation), and "Interac-tive Television: Prospects for Two-Way Services on Cable" (preparedby the Rand Corp. for the MarkleFoundation). These reports aregetting to the public via extensivepress and TV (NET) coverage.Public exposure is also being aidedby a new booklet, "A Short Courseon Cable," being distributed by theOffice of Communications of theUnited Church of Christ.

Interconnected cable TV systemsbringing in as many as 40 channelsto 40 to 60 percent of all homes bythe end of the decade was predictedby the Sloan Commission chairedby Edward Mason of the GraduateSchool Of Public Administration,Harvard University. Rapid develop-ment of cable TV is desirable, theCommission says, to bring in anera of television of abundance, andit urges that copyright and distantsignal issues be resolved quickly by

N. J. Public Broadcasting To Use NewColor System. Frank L. Marx (L),president, ABTO, Inc., demonstratessimple modifications of motion pic-ture camera to ABTO system whichuses standard black -and -white film, butprojects color. Dr. Lawrence T. Fry -mire (R), NJPBA executive director,and John T. Wilner, NJPBA engineer-ing director, observe.

Congress and the FCC.The report urges that cable get

wide access to programming. Di-verse programming and a healthyprogram producton industry is es-sential. Royalties should be paidfor program rights but exclusivityshould be severely limited in time.The Sloan group speaks for thepublic's benefit, it says, not vestedinterests. The Commission endorsespay TV including sports coverage.In news coverage, it would like tosee all -news channels fed by somenewly created news services. Theequal time rules for political broad-casts should not apply. Public ac-cess channels should be encouraged.For a 20 channel system, the Com-mission envisions six for networkand local stations, two for serviceusers, one for public access and onefor experimental education. Of theremaining ten, the cable operatorshould be obligated to lease eight,but could operate two for himself.

The Sloan Commission wouldprohibit network ownership ofcable, but would encourage broad-casters to seek franchises if theirfranchise area did not reach morethan ten percent of the homes, orif their aggregate media holdingsdid not reach more than 40 percentof all households.

The Urban Cable System reportfocuses on creating a model Wash-ington (D.C.) Cable TelevisionService System, described as anevolutionary one-way system. Cableis seen as able to reduce the costof new communication services andan analysis of these costs are in-cluded.

The Interactive Television report,by Walter Baer of Rand, looks atnew services and concludes that anextra cost of $150-$340 per sub-scriber is required for two-way serv-ices. This could be paid for by ad-ditional monthly revenue services ofbetween $4.50 and $13 per sub-scriber. The report sees no singleservice as an answer, but suspectsa mix of responsive services sup-ported by home subscribers, businessand government might work. (Moreon these reports will appear nextmonth.)

Business BriefsBroadcasters Promotion Associationgave awards for 1971's best stationpromotion to WFLD-TV, Chicago,in Category I (top ten markets,networks, reps) and to KCMG -TV,Kansas City, in Category II (allother markets). WFLD-Tv won witha brochure, "In Chicago, WFLD-TV is the Hottest One;" KCMO-TV won with a multi -media cam-paign on the station's local newsprograms . . . MSI Television ofSalt Lake City is the national salesagent for the Laird Telemedia Elec-tronic "Q" Board, which providesvisual and aural cueing informa-tion, including a large countdowndisplay, for videotape productions. . . Low Power Broadcast Co. ofFrazer, Pa., becomes LPB Inc., toreflect expansion of the company'sbroadcast equipment line into alllevels and areas of the industry. Thefirm also announced a doubling ofits plant space . . . KaTv-3, GreatFalls, Montana, will build a new tele-vision production center, includingan octagonal studio 60 feet fromwall to wall with a 180 -degree cy-clorama . . . American Cable an-nounced sale of its cable systems inWaco, Temple, and McGregor,Texas, to CableVision Properties, aDenver -based company . . . TheCanadian Association of Broadcast-ers has agreed on a Broadcast Codefor Advertising to Children, avoluntary self-control measureaimed at bringing broadcast practiceinto line with community feeling onthe subject . . . Dental DynamicSystems, of Hollywood, bought AltoFonic Programming, Inc., andchanged the name of the firm toAlto Communications, Inc. Altosupplies prerecorded programmingand music libraries to broadcast sta-tions . . . Cypress Communications,Los Angeles, agreed to buy fromCable Information Services, NewYork, cable systems in Crestviewand Niceville, Florida, with about2000 subscribers between them . . .

Fairchild Sound Equipment Corpo-ration has moved from Long IslandCity to the home plant of its new

(Continued on page 8)


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Going to remote your VHF transmitter soon? You will needtest signals, monitoring equipment and technical information,and we are ready to help you with all three - now. TEK-TRONIX Television Products are available now to providethe exact test signals required for insertion in the verticalinterval (FCC 73.676 [f ]). The required "suitable test sig-nals" are generated by the TEKTRONIX 147 NTSC Optioi 1and the 140 NTSC Test Signal Generators.

You will be required to delete signals or noise already exist-ing on lines 18 and 19 "prior to the insertion in the verticalinterval of locally generated test signals (FCC 73.676 [f5])".The 147 meets the requirements with automatic fail-safeprotection and automatic bypass capability.

"Off -the -air facilities must include a demodulator, a visualwaveform monitor, a picture monitor . . ." and "where anyportion of a station's transmissions are in color, a colormonitor and a vectorscope or other instrument . . . will berequired . . ." (FCC News #6712). The 650 Color PictureMonitor, the 529 Waveform Monitor and the 520 Vectorscopemore than fulfill the video monitoring requirement.

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JANUARY, 1972-BM/E


7

NEWS continued

corporate parent, Robins IndustriesCorp., College Point, N.Y. . . . Mag-navox Video Systems called re-sponse to its new color TVcameras, introduced at the NationalAssociation of Educational Broad-casters meeting at Miami Beach inOctober, "highly gratifying" . . . Atthe same convention, and at theconcurrent National Industrial Tele-vision meeting, International VideoCorporation received orders total-ling more than $1,100,000, ac-cording to an announcement by M.A. Moscarello, president . . . TheNational Broadcasting Companyhas ordered from Computer Optics,Bethel, Conn., more than $100,000worth of video display terminals . . .

FRP Productions, Inc. is the nameof the film production services com-pany recently announced by ArthurFlorman and Everett Rosenthal;the company, to be located at 460West 54th Street, New York City,will offer "total production ser-vices" covering every aspect of filmproduction for local, domestic, andforeign film makers . . . Quick -Set,Inc., maker of instrument position-ing equipment, has moved to anew, larger plant at 3650 Wood -head Drive, Northbrook, Illinois . . .

The Grass Valley Group, Inc., an-nounced a contract with WWL-TV,New Orleans, to supply $460,000worth of broadcasting equipmentand facilities . . . Dolby Laborato-ries signed license agreements withPioneer Electronic Corp. and Toshi-ba, in Japan, bringing to nearly 40the number of hardware manufac-turers who will use Dolby B -Systems in their products . . . KlieglBrothers, of 32-32 48th Avenue,Long Island City, New York, issponsoring a series of regional semi-nars on television lighting, coveringevery aspect of professional lightingtechnique. Seminar leader is Her-bert Greeley, for the past nine yearslight director of the Tonight Show. . . Landy Associates is the name ofa new rep firm formed by JamesLandy, and headquartered at 12Buxton Road, Cherry Hill, N.J. Mr.Landy has been active in the broad-cast industry since 1946, with ex-ecutive roles in Central DynamicsCorp., International Video Corp.,and Ward -Richmond Hill, amongothers.

Association NewsNAB-"Absurd" was the charac-terization the NAB gave to the FCCproposal that "minimum programpercentages" be used as a measure

of broadcast performance in licenserenewal proceedings. That wouldraise "the spectre of unlawful Com-mission interference with program-ming judgments exclusively dele-gated to the licensee," said theNAB. Moreover, the NAB com-ment went on, stations would tendto shoot for minimum compliance,with routine programs in news,public affairs, etc., to the detrimentof the public . . . NAB also op-posed, again, a plea from AdTelLtd., market research firm, that acable television system in Harris-burg, Pa., be allowed to substitutecommercials in programs taken offthe air, without consent of the origi-nating station. NAB said that the"monumental question" is whetherthe Commission will permit an out-side party to tamper with a televi-sion station's signal, possibly undo-ing the public respect and goodwillthe station has worked to build . . .

NCTA-A colorful NCTA bro-chure, "Let's Talk About CableTV," urges readers to find out whatcable will mean to their families andindustries by inviting an NCTAspeaker to address their conven-tions, seminars, and meetings.NCTA has initially mailed the bro-chure to chambers of commerce,trade associations, and governors ofthe 50 states. With the brochuregoes a companion booklet with bio-graphical sketches of the NCTAspeakers, who are 32 CATV indus-try leaders and members of thecommunications bar who havevolunteered their services.

SMPTE-The 111th SMPTE Con-ference is scheduled for April30 -May 5, 1972 at the New YorkHilton Hotel, with Calvin H.Hotchkiss, Eastman Kodak, NewYork, as program chairman andDonald R. Collins of Tele-Cine,Inc., Massapequa, New York, as ar-rangements chairman. The chair-man for the SMPTE Exhibit, with94 booths available, is John J. Bur-linson, Jr., National Screen Service,New York. Additional informationabout the convention and exhibit isavailable from SMPTE ConferenceCommittee, 9 East 41st St., NewYork 10017 . . . Meanwhile,SMPTE will also sponsor its SixthAnnual Winter Television Confer-ence, February 4 and 5, at the Sher-aton -Dallas Hotel, in Dallas. Themain thrust of the meeting will bethe production of color commercialson film and videotape. Leonard F.Coleman, Eastman Kodak, Dallas,is program chairman. Additional in-formation can be had from SMPTE

Winter Television Conference, 9East 41st St., New York 10017.

FCC Proposes New CableIdentification RuleViewers have complained that ca-ble operators use call signs easilyconfused with TV broadcast callsigns. So the FCC has proposedrules that require a cable operatorto identify originated programs asthe product of the CATV companyby name, and by the use of theexpression "Cable TV, Channel-,-, (location)." The Commissionsaid it did not propose four-lettercall signs for cable because of thegeneral shortage of such signs inthe "K" and "W" series. The newrules would put the identification atthe beginning and end of each ca-ble -cast program, both aurally andvisually.

Sony, Teletronics Team Upfor Cassette DuplicationFormation of a jointly -owned sub-sidiary, S -T Videocassette Duplicat-ing Corporation, was announcedby Sony Corp. of America andTeletronics International. The newjoint enterprise, based in NewYork, will duplicate video cassettesfor entertainment, educational, andindustrial applications. Format isthat of Sony's U-Matic video cas-sette equipment, with 3/4 -inch tape.

Sony, 3M Cross -License Tapeand Equipment PatentsAnother joint action significant forthe video cassette upswing is thetrading by Sony of manufacturingand selling rights on its U-Maticeauinment for similar rights to the3M Company's "High Energy" co-balt -energized magnetic tape. Sonywill make and sell the tape inJapan and elsewhere. 3M willmake and sell the U-Matic equip-ment through its Mincom Division,under the Wollensak brand name.

JVC Video Cassette SystemIs Compatible with Sony'sJVC Nivico (Victor Company ofJapan) swung into the internation-al video cassette battle -royal by in-troducing on the Japanese market arecording and playing system in thesame format as Sony's U-Matic.The equipment is supposed toreach the American market in mid-1972. Also compatible with Sonyand JVC is a system from Panason-ic, recently demonstrated but notyet in general distribution.


Why is Norelco the magicword in television?

Probably the single most important factor is the spectacu-larly successful performance of the most wanted, most used-and of course, most imitated-Norelco 3-Plumbicon*PC -70 color camera.

But beyond that, discerning TV practitioners have foundNorelco systems the direct route to excellence in an excitingvariety of applications. In schools and universities, Norelcosystems are extending the teacher's reach, with live andtaped instruction. Coupled with microscopes on the onehand and telescopes on the other, Norelco cameras areshowing us the invisible, and transporting us to the distant.

At the Fernbank Science Center Observatory, a tinyNorelco monochrome camera helped NBC show the Moon'ssurface to the world during a lunar landing.

In California, a midget Norelco camera provided continu-ous coverage of a front-page trial for overflow journalistsoutside the courtroom.

In dimly lit Mission Control, a Norelco color camera waseyes for the Earth's population, peering over the spaceteam's shoulders.

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Norelco cameras multiply men's senses by monitoringheavily trafficked highways, bridges and tunnels. They helpthe night nurse guard precious lives in the nursery and in-tensive care. They stand sentinel over doorways and corri-dors, stockrooms, warehouses and parking areas-even inutter darkness. They keep an eye on priceless paintings, andthey are the vital link in a great hospital's "tele-diagnosis"system.

The self -same monochrome camera that captures theMoon through a Fernbank telescope is showing a golfer theerror of his ways at the club. And the self -same color camerathat brings you Walter Cronkite is helping teach tomorrow'sdoctors and dentists at the University of Texas MedicalBranch.

Reliability-Performance-Professionalism.In television, the magic word is Norelco. The way we strive

to serve our customers is the best indicator of how dearlywe value our reputation.

And now, the Norelco PC -100A. Three one -inch anti -comet -tail Plumbicon* tubes that defeat contrast problems at thesource, not through optional add-orts; digitally controlled,with light triaxial cable that weighs and costs a tenth of con-ventional camera cable. Sleek and reliable. And of course-crisp, faithful Norelco color.

'Reg TM N V Philips of Holland

JANUARY, 1972-BM/ECircle 104 on Reader Service Card

9

INTERPRETING THE

FCC RULES &REGULATIONS

Renewal: Part IComparative HearingsWhile only a few station operators must actuallymeet competition at license renewal time, every op-erator faces the possibility of challenge. The Com-mission has struggled for many years with the prob-lems of relevant criteria and required performancein renewal applications. Currently, it is exploringpertinent standards for television broadcasters, whohave, increasingly, been challenged at renewal.

The Commission and the courts have playedhavoc with renewal standards. Once yielding an"insuperable advantage" in comparative hearings toan incumbent broadcaster, the Commission has,over the past few years, steadily elevated its per-formance requisites. The television broadcaster hasbeen an unwitting witness to these proceedings and,with the ensuing confusion, has been forced to exer-cise "guesswork" to determine exactly what per-formance is required of him.

1970 Policy StatementIn its 1970 "Policy Statement Concerning Com-

parative Hearings Involving Regular Renewal Ap-plicants," 1 the Commission stipulated a two-parthearing process which made it difficult for chal-lengers to gain "equal footing" with incumbents.The Statement said, in pertinent part, that a fullcomparative hearing which considers the merits ofboth incumbent and challenger would be granted if,and only if, the existing licensee could NOT demon-strate a past record of "substantial service withoutserious deficiencies." In other words, if the licenseedemonstrated a "substantial" past performance atthis initial hearing, the Commission would not pro-ceed to the second phase of the hearing but, rather,would grant the renewal application forthwith. TheCommission elaborated:

The renewal applicant would have a full opportunity toestablish that his operation was a "substantial" one,solidly meeting the needs and interests of his area, andnot otherwise characterized by serious deficiencies. Hecould, of course, call upon community leaders to corro-borate his position. On the other hand, the competingparty would have the same opportunity in the hearingprocess to demonstrate his allegation that the existinglicensee's operation has been a minimal one. And he,too, can call upon community leaders to testify to thiseffect if this is, indeed, the case. The programming per-formance of the licensee in all programming categories(including the licensee's response to his ascertainment ofcommunity needs and problems) is thus vital to the judg-ment to be made. Further, although the matter is nota comparative one but rather whether substantial servicehas been rendered, the efforts of like stations in the com-munity or elsewhere to supply substantial service is alsorelevant in this critical judgment area. There would, ofcourse, be the necessity of taking into account pertinentstandards which are evolved by the Commission in thisfield.

1971 Court DecisionSpurred by the U. S. Court of Appeals' decision

in Citizen Communications Center v. FCC.,2 the1. 22 FCC 2d 424 (1970).2. Case No. 24,471, decided June 11, 1971.

Commission has been called to reevaluate its "per-tinent standards." In effect, the Court is forcing theCommission to consider "superior" service as analternative test to "substantial" service in grantingrenewals. In addition, the Court admonished theCommission for utilizing its two -stage hearing pro-cess. Stating that the Commission's policy had a"deadening effect" upon renewal challenges, theCourt reversed this guideline and maintained that itviolated the mandates of 1) Section 309 (a) of theCommunications Act, and 2) Section 309 (e) of theAct, as interpreted in Ashbacker.3 The Court de-clared:

The Act says nothing about a presumption in favor ofincumbent licensees at renewal hearings. The Act pro-vides, inter alia, that no license shall be construed tocreate any rights beyond its terms, conditions and period,that an applicant waives any claim to a frequency be-cause of previous use, that a renewal license may begranted for a term not to exceed three years, and that alicense does not vest in the licensee any right in the useof the frequency beyond the license term. The Com-mission has in effect abolished the comparative hearingmandate by Section 309)(a) and (e) and converted thecomparative hearing into a petition to deny proceeding.The Court acknowledged the "greater burden"

the challenger must sustain in order to prevail overhis incumbent -opponent in a comparative hearing.Yet, the Court maintained this is a "substantive"burden and forbade the Commission from strewingthe challenger's path with "procedural" obstacles.The challenger must be given a chance to meet theincumbent on "equal ground;" he must be given afull, comparative hearing.

Performance RequiredFor the television broadcaster, what constitutes a

"substantial" or "superior" performance? What crit-eria will the Commission evaluate at renewal? Whatare "serious deficiencies?" How can a broadcasterassure favorable and expeditious treatment by theCommission at renewal? How does the Commissionbalance the need for stability in the industry withthe need for a competitive spur?

The Commission is currently wrestling with allthese problems. At hearing, the incumbent broad-caster is held to a performance test of "substantial"or "superior" service to the needs and interests ofhis area. The Commission and the Court of Appeals(Citizen case) are engaged in a battle of semanticsover just what these tests mean. The Commissionuses "substantial" in the sense of a solid or strongperformance as contrasted with a service only mini-mally meeting the needs and interests of the area.The Court uses "superior" in the sense of a per-formance surpassingly good or comparatively better.As confusing as this is to the broadcaster, he needonly heed the warning of this semantic battle: TheCourt is steadily forcing the Commission to grantlicenses at renewal to the group that would providethe "best possible" service. As the Court put it:

Only records which demonstrate "unusual attention to thepublic's needs and interests" are to be given favorableconsideration, since average performance is expected ofall licensees.However, in its "Further Notice of Inquiry"'

issued in August 1971, the Commission asserted4i.

. it did not intend to overturn the policy that 'aplus of major significance' should be awarded to arenewal applicant whose past record warrants it."3. Ashbacker Radio Corporation v. F.C.C., 326 U.S. 327 (1945).4. FCC 71-826, Docket No. 19154.

Continued on page 12

10 Circle 105 on Reader Service Card -4

As'

THE ABTO EQUATION:

O0

Black and white into color.Think what it means to you...Abtography. An accomplished miracle. A new color videosystem. You shoot with standard black and white film. Youprocess quickly, inexpensively, as with any black andwhite stock. You show in brilliant color.

See it in operation now. Color at half the cost. In lesstime. With greater operational flexibil.ty. That's what theAbto Equation means to you. A whole new horizon ... orshould we say rainbow... of possibilities in programming.

The Abto system is amazingly simple, inexpensiveto install. The more you use it, the more money you save.And if you wish to use black and white or conventionalcolor film, the Abto system handles them with no problem.Yes, Abtography even works with slides. Shoot in blackand white. Show in full color.

The only problem with the Abto Equation is that it'shard to believe. Seeing is still believing. Arrange a demon-stration. Come skeptical. Get the facts in black and white.You'll leave thinking color.

Demonstrations will be arranged in the order in whichrequests are received. We anticipate a deluge.

abto.1926 BROADWAY/NEW YORK, N.Y. 10023/(212) 787-5000

FCC continued

Hence, if the broadcaster renders full performancein the public interest and presents his past record atrenewal in an ample, solid fashion, he should war-rant such a "plus." "Full performance" means a con-scientious service throughout the three-year periodand not an upgrading of same during the third yearbecause of the imminence of possible challenge. TheCommission forbids such a "triennial flirtation" withthe public interest.

Insisting that it is impossible to delineate withmathematical precision what constitutes "substan-tial" service, the Commission, nevertheless, hasproposed such guidelines in two selected areas oftelevision programming: 1) local programming and2) informed electorate programming (i.e., Newsand Public Affairs).5 The proposed figures, as gen-eral guidelines constituting "substantial" service, areas follows.

1) With respect to local programming, a range of 10-15%of the broadcast effort (including 10-15% in the primetime period, 6-11 p.m., when the largest audience is avail-able to watch).2) The proposed figure for news is 8-10% for thenetwork affiliate, 5% for the independent VHF station(including a figure of 8-10% and 5%, respectively, in theprime time period).3) In the public affairs area, the tentative figure is3-5%, with, as stated, a 3% figure for the 6-11 p.m. timeperiod.

It should be noted that these figures are general,tentative, and not applicable to "unprofitable" sta-tions and independent UHFs. The burden is on theexisting licensee to show the inapplicability of theseguidelines. In addition, stations with "lesser revenuefigures" are not held to as strict a standard as pro-posed in these guidelines. Rather, each stationwould be bracketed according to revenues, rangingfrom stations (top 50 markets) with revenues 1)over $5,000,000, 2) between $5,000,000 and $1,-000,000 and 3) below $1,000,000. Standard of per-formance in local and informed electorate program-ming would be judged according to financial abilityto develop same.

The Commission recognizes the existance of aninfinite number of variables in proposing theseguidelines. It believes that only individual inspec-tion, perhaps in the hearing process, could defini-tively delineate whether substantial service wasbeing rendered by the broadcaster. Consistently,these guidelines would not be automatically defini-tive either for or against the renewal applicant. Ifthe applicant did not meet the guidelines, he couldargue that his service was "substantial" or "superi-or," citing, perhaps, "an exceptional qualitativeeffort." A showing of an "exceptional" dedication offunds, staff, and other resources would likely com-pensate for a lesser quantitative showing.

In sum, these percentage guidelines will likely beadopted by the Commission on the basis of its no-tice. For the television broadcaster, they will bemore relevant than the current quarrel as to whatconstitutes "substantial" or "superior" vervice. Mostsaliently, they would give a general indication ofwhat is called for, at least quantitatively, to meetpublic interest requirements in two critically impor-tant areas.

The Commission further holds that "serious defi-ciencies" in an incumbent's past performance consti-tute damaging, if not controlling, evidence against5. Notice of inquiry, FCC 71.159, Docket No. 19154.

his renewal case. Commission examples of "seriousdeficiencies" are: overcommercialization, fraudulentpractices as to advertisers, violation of racialdiscrimination rules. violations of"the Fairness Doc-trine, rigged quizzes,° plus numerous others. How-ever, precise standards being impossible to define inthis area, all matters relating to alleged "deficien-cies" in the incumbent's operations must be ex-plored in the hearing process.

In its Citizens decision, the Court also raised forthe Commission's consideration certain additionalcriteria for evaluating an incumbent's performance.These criteria include: 1) elimination of excessiveand loud advertising; 2) delivery of quality pro-grams; 3) the extent to which the incumbent hasreinvested the profit from his license to the serviceof the viewing and listening public; 4) diversifica-tion of ownership of mass media; and, 5) indepen-dence from government influence in promoting FirstAmendment objectives."' Indeed, the Court sug-gested that a "plus" in the overall weighing processbe accorded the incumbent meeting these criteria.

Suggestions:

The broadcaster is clearly caught in the middleby the prevailing uncertainty. The performancestandard he is required to meet is, at best, ephemer-al. Yet he would be wise, both as a matter ofconscience and skillful management, to practice,where economically practicable, the following:

1) Programming: Operators should develop sub-stantial local, public service programming designedto meet the particular tastes, needs, and interests ofthe community they are licensed to serve. Increas-ingly, the Commission is encouraging "localism" inthe areas of news and public affairs programming.A special effort to meet the "percentage guidelines"proposed by the Commission should be made. Al-though it has not ruled on the "profits reinvestment"issue, the Commission will give same greater consid-eration in renewal hearings in the future. Indeed,the operator who shows a substantial investment ofprofits into service may well nearly insure his licenseagainst challenge.

2) Advertising: Operators should refrain fromputting on an excessive number of commercials inthe broadcast day. In addition, loud and vexatiouscommercials should be eliminated. A balance be-tween sound economics and audience appreciationis advised. In any event, a wise operator will keepthorough records on the amount and nature of ad-vertising in order to justify his advertising practicesat renewal.

3) Diversification of control: Operators shouldbe aware that the Commission will consider diver-sification as "a factor to be properly weighed andbalanced with other important factors, including therenewal applicant's prior record at a renewal hear-ing." At this "inquiry" stage, the Commission seemsto be saying that multiple mass media ownershipwill have a demerit effect upon a renewal appli-cant's case, but it may be offset by showing a supe-rior operating performance or it may be "cured" bydivesting during the comparative hearing process.6. 22 FCC 2d at 426.7. Slip Opinion at 25, n. 35; at 26 n. 36; at 28.

Editorial Call: BM/E is interested in describingyour efforts in providing "substantial" local newsand public servicing programming. Write or call.


,i)101L.

If you want to know how good thenew TK-44-B is, get a flashlight.The new RCA TK-44-B can get fullvideo level at only five footcandles.That's a pretty weak flashlight.

We designed our camera this wayfor some very good reasons.

One reason is the trend to more,and more profitable, off air produc-tion by TV stations.

Advertisers and agencies are look-ing to the local broadcaster. And thatcan make a versatile camera a goodinvestment.

Another reason is the trend to morenatural lighting situations.

The key to it all is working in lowlight. Scenes can be made much morenatural with a camera that can shootat monochrome light levels or lesswithout objectionable smear andnoise.

It takes you away from that "ob-viously done in a studio" look thatmany clients object to.

Also, low light levels are easier tocontrol, easier to air condition around,and cheaper to work with. They saveyou money.

When you feed us information ontrends like this, we try to respondwith products that will help you.That makes sense, both for you, andfor us.

So, this trend was a major factor inbuilding our new color camera, theTK-44-B. It has the best signal/noiseratio ever.

We've built in other features, too.Like Bias Light to minimize lag inlow light. And RGB Coring to reduce

high frequency noise so you can getsuperior pictures at only five foot-candles.

Scene Contrast Compression helps,too. It stretches blacks without colorshift, so you get detail in shadow likenever before.

On top of all that, our customerstell us it's the easiest to set up andmost stable camera they've everworked with.

We're in business to help you getyour job done more easily, and withmore profits. And that's what ournew TK-44-B is des1 led to do. Evenwith a flashlight.

INCIDENT LIGHT

FOOTCANDLES

250

S/N APERTURE

db


f/2.

f / 2.8

f/4.

f"5 6

f /8.

Guide to ChartSensitivity and S/N for TK-44-B isspecified as follows:

When the camera is viewing a 60%reflectance Munsell under 125 foot-candles incident light of 3200K andthe iris aperture is f/4, output fromthe chain shall be 0.7V white andS/N ratio not less than 48dB, usingan applied gamma correction of 0.5,no aperture correction, no RGB cor-ing, chroma off, a typical set of PbOtubes and a bandwidth of 4.2 MHz.

Under normal conditions, justswing the line on the X axis. If videogain is increased so that 65 footcan-dles gives full level at f/4, then S/Nwill drop to 42dB.

It is quite apparent that the TK-44-B can operate satisfactorily atlight levels normally associated withmonochrome operation.


"Now that we've got it, there's no goingback: That's how they feel about"The Cart'The first TCR-100 video cartridgesystems went to WBAY-TV, GreenBay, Wisc.; WWL-TV, New Orleans,La.; WBRE-TV, Wilkes Barre, Pa.;KSLA-TV, Shreveport, La.; WAFB-TV, Baton Rouge, La.; KSTP-TV,Minneapolis, Minn.; WBAL-TV,Balt., Md.; and WUTV, Buffalo, N.Y.

Here's what some of the stationofficials say about it.

Chief Engineer Gary Cooper ofWUTV, the independent UHF sta-tion in Buffalo, N.Y. says, "It haseliminated mass confusion in our pro-duction room, cut 'make -goods' tre-mendously, eliminated black inter-vals, and given us a beautiful lookingproduct. And we have freed a manfor other duties."

In Louisiana, when 18 candidatesentered the Democratic Primary forGovernor, the flood of political an-nouncements was enormous. DonAllen, Vice President, Engineeringand Operations, of WAFB-TV inBaton Rouge said it would have beenimpossible to handle the campaignwith previous equipment. He alsosaid, "Now that we've had the TCR-100 for a while, we would not want tobe without it. There were certaintechnical problems, in 'the Cart'machine upon installation, but now,after a reasonable shakedown period,it's doing very well."

At KSLA-TV in Shreveport, La.,General Manager Winston Linamfeels that being able to handle an ini-tial surge of new business has gonea long way toward paying for theTCR-100. With the trend to cluster-ing of short commercials units, hesees "the Cart" as tomorrow's answer.KSLA was able to go from 2 to 4spots per break, with better quality,fewer errors, and better switchingspeed. Says Mr. Linam, "Now thatwe've got it, there's no going back."

RCA's Camden plant is workingon a backlog of orders for the car-tridge system and the second phaseof production has been stepped up tomeet customer demand.


RCA PRIME TIME

Workers on the line at RCA Camden have stepped up the second phase ofproduction, so more stations can use the TCR-100 Video Tape CartridgeRecorder to get good looking, efficient station breaks.

Earth Resources Satellitegets new RCA VideoRecorder.Video recorders have been deliveredby RCA's Government Communica-tions Systems, Camden, N. J., for anew NASA satellite which will testthe feasibility of acquiring informa-tion on crops, water supplies, mineralsources and other natural resourcesfrom outer space.

The recorders, which use a 2 -inchvideo tape, are designed to store in-formation picked up by the satellitewhen out of range of ground stations.They are expected to have a life inspace of 1,000 hours-about threetimes that possible with systems that

exist today.The system will store information

from return beam vidicon cameras(also built by RCA) through a rangeof DC to four megacycles as well as15 megabit/sec digital data from amulti -spectral scanner. Integratedcircuits and other advanced techni-cal features will be employed in therecorder to produce high capabilityin a compact design. Where previousrecorders required at least four reg-ulated power supplies, the RCA sys-tem will work off a single 24 -volt DCsource. Circle 136 on Reader Service Card


Answers to four big questions aboutremote control transmitters.

Q. Should I go to remote transmitteroperation?A. Obviously there is no universalanswer to this one. It depends onmany factors, among which are:... preference and operating proce-dure of the individual station... how distant (and accessible) isthe transmitter site... age and reliability of the presenttransmitter... demands on technical personnel.Q. How far should I go in remotecontrol?A. The range of requirements for re-mote control of transmitters runs thegamut from basic metering and con-

trol to complex systems with capa-bility for diagnostic measurementsand identification of component andcircuit failures. Since economics usu-ally dictate the extent of the remotecontrol operation, most broadcasterspresently prefer a basic system whichprovides the operating controls andmeter readings to meet FCC require-ments. Remote operation of tele-vision transmitters also requires acomplement of remote monitoringequipment, including an off -air vis-ual demodulator and aural modula-tion monitor, waveform monitor andvectorscope. Vertical interval testsignal generating equipment (VITS)must be installed at the transmitterfor monitoring its performance atthe remote control point. Many sta-tions add automatic logging equip-ment to relieve operating personnelof some of the routine manual tasksinvolved in remote operation.Q. Do we need a new transmitter togo to remote control-or can our pres-ent transmitter be adapted?A. All RCA current model VHF andklystron UHF transmitters includethe capability to be remote con-trolled. Generally, the age, reliabil-ity, maintenance cost and life expec-tancy of the present transmitterwould determine whether it wouldbe advantageous to make a furtherinvestment in remote control equip-ment and necessary modifications.

In planning for remote operation, a.new transmitting system should becarefully considered. The new gen-eration of parallel TV transmittersare designed for remote operation.With the parallel system, only once -a -week inspection is required at thetransmitter site, with resultant sav-ings in operating costs. Furthermore,since technology has progressed con-siderably in recent years, today'stransmitter specifications are far su-perior-in terms of reliability andperformance. New RCA transmit-ters, for example, show a 2:1 im-provement in virtually every criti-cal performance spec. This, plus theextra margin of safety afforded byparallel operation would make it de-sirable and economical in most casesto invest in a new parallel transmit-ting system when considering remotecontrol.Q. What would I save by going toremote control?A. Better utilization of personnel isthe obvious saving from remote oper-ation. With a parallel transmittingsystem, only a once -a -week inspec-tion and calibration visit is requiredat the transmitter site by FCC rules.New solid state transmitters nowavailable offer greater reliability, re-duced operating costs and easiermaintenance, resulting in additionaleconomies.


Unique switcher and chroma key helpWBAP-TV, Ft.Worth,win news award.WBAP-TV Fort Worth/Dallas cred-its its RCA TS -51 "super switcher"with helping it win a recent newsaward from the Texas AssociatedPress Broadcasters Assn. The judgeswrote, "The program was extremelywell produced with good use of visualmaterial, ;oarticularly the chromakey."

The switcher operates with 26 in-puts, excluding reentry, black anddownstream inputs. And almost allof them are used daily. There are 3

color cameras and 2 black -and -whitecameras in the studio, and 4 of the 6color cameras in WBAP's mobilecolor unit are also wired to theswitcher.

The TS -51 also has 3 chroma key-ers, 3 TA60/TE60 mix effects ampli-fiers and effects pattern selectors of6 mix rows and 2 key rows.

Working with the switchers isRCA's Corn Sync, a sync distributionstudio system which permits group-ing of signal sources, in complete

isolation from all other station oper-ations.

Rupert Bogan, Director of Engi-neering at WBAP, installed theswitcher because, "We needed to in-crease our switching capabilities. Thenews comes on 5 times a day, andmany times a newscast needs 11 sig-nal sources. On our old switcher, thatleft only 3 inputs that weren't tiedup in a simple news program."


RCA PRIME TIME


New approaches to product planning,service, and information created to fillyour needs faster.Recent changes in our marketing or-ganization should bring you notice-able improvements in three areas:equipment, service, and information.

by Neil R. Vander DussenDivision Vice PresidentBroadcast SystemsCommunications System Division

New approach to product plan- For off -hours, a machine will rec-ning leading to equipment advances. ord your message for fast action theProduct planning is now set up to following morning, and give you akeep in closer touch with operating further number to call if you preferrealities at your stations. We want to not to wait.know your needs better, so we can We want to be there when you needfulfill them better. It'll be good for us.both of us. Getting you the information you

Currently, we see a need for oper- need. As well as supplying you withating economies and increased versa- bound catalogues unique in the in-tility without sacrificing quality. So dustry, we're refining our cataloguewe're stressing cost-effective per- sheets to reflect applications bene-formance features. 'No aspects are fits more clearly.getting special attention-simplicity Broadcast News will keep bringingof operation and maintenance, and you detailed information.future compatibility with automa- And, with this issue begins a newtion techniques. service, RCA Prime Time, designed

Call TECH -ALERT for technical to bring you a digest of news everyservice. Now when you need emer- month, that's slanted to your needs.gency help on technical service, war- I hope you enjoy it.ranty questions, installation sched- New approaches to product plan-uling, or general product assistance, ning, TECH -ALERT, new channelscall TECH -ALERT, 609-963-8000. of information-these are examplesAsk for extension PC -3434. Special- of the ways we try to make your jobists are there to give you the answers easier.you need. After all, that's RCA's business.


Products in the news.Joystick control for RCA TK-44-Acolor spread lets one man operateiris and black -level on as many as sixcameras at once. Six joystick unitsmount in a single console housingcontaining all controls necessary foroperation during production.


TG -70 Chroma-Key Generatorgives you a color -derived keying sig-nal for use with Special Effects equip-ment. It accepts red, green and bluesignals from a color camera, selectsthe desired signal and generates asignal which is used to "key out" thatcolor -oriented portion of the picture.

16

Compact 1 kW AM Transmitter.The BTA-1S is a new design 1 kWAM transmitter featuring excellentsound and dependable performance.Partially transistorized, it combinesthe advantages of tubes and solidstate devices to achieve greater relia-bility and stability with simple cir-cuitry. Exciter and buffer stages aresolid state, while the high-level stagesemploy modern, easy -to -service tet-rodes that need no neutralization.Fully broadbanded, the BTA-1S re-quires only a single tuning control.Heavy-duty modulator componentspermit the transmitter to handlehigh modulation levels (115 to 120percent) reliably, with low distortion.

Slim and trim ( 26" wide, 30"

deep) , the BTA-1S fits almost any-where. Remote control provisionspermit unattended transmitter oper-ation. And, where power reduction atnight is required, a Power Cutbackoption can be added, reducing powerto either 500 or 250 Watts at the pressof a button.


RCA PRIME TIME

JANUARY, 1972-BM/E

Talk Is Big inNew YorkRadioThree of the top six stations (ARB) in NewYork City are all talk. The latest and mostmodern station to succeed with talk isWMCA-where listeners do most of it.It's engineered that way.

Some pundits say all -talk radio is on its way out.You could prove the opposite in New York City.The youth station, WABC, with rock, holds numberone in the latest fall ARB rating, but wcss and WINS,the all -news stations, are second and fourth respec-tively. WOR, which is heavily talk, was third (rightbehind wcss), and WNEW, heavy on personality andMOR music, was fifth. Holding sixth place, andcoming up strong from 16th a year ago (ninth on thepreceding ARB), was WMCA, which calls itself Dial -log Radio 57. It's a listener -participation talk for-mat for 24 -hours a day. WMCA just moved intobrand-new studios at 888 Seventh Avenue that havebeen specifically designed for listeners' participationby Bob Kanner, vice president for engineering.

There are numerous engineering features incor-porated in this modern facility such as a floatingstudio -within -a -room, raised pedestal floors with allwiring and cables underneath, and operating con-soles that control dc current only. In this reportwe'll look primarily at the feature that makes itideal for a listener -participation format. Integralto the design are back-up systems to assure theutmost reliability-which we will also have to dis-cuss because we can't get away from them.

Two big problems face any engineer who must de-sign for listener participation. The first is not losingthe caller who gets on the air and the other is cuttinghim momentarily, but instantly, if he uses profane,obscene, or libelous language. Kanner has solutionsto both these problems. To make life more com-plicated, he's designed a system that permits one ormore listeners to talk directly to one another viaon -air conference calls. Further, each guest on a mike, and announcer turret at WMCA.

Frontispiece: View of main news studiocontrol room with 44 channels (22 inputgain controls -16 lower bank and six upper bank).

Fig. 1. View of call director, speaker/phone unit,


panel show can talk to a listener. And, since newshas to be big at all -talk shows, WMCA has a citynews desk that gives the news director access toover 30 inputs. How it's done follows.

The multi -line call directorKanner worked closely with the telephone com-

pany to figure out a foolproof incoming call system.Heart of the system is a multi -line call director,Fig. 1, which can take and hold eight callers. Aprogram producer screens incoming calls and stacksup all callers that will eventually get on the air.

In case of a telephone line failure, there is a com-plete second set of call -in lines. If voice contactwith the caller is lost, the air personality gives thecaller a new private unlisted number to dial whichwill get them back on the air together again.

Although the producer screens incoming calls(which affords an opportunity to recognize and cutoff the habitual publicity seeker), a lot of controlmust be exercised by the talk host or air personality.

The announcer turret, Fig. 2, provides a goodportion of this control. A talkback switch, whichcuts in a cue circuit, signals the producer that as-sistance is needed. If what needs to be done is notobvious, the producer can speak to the talk host

Newsmakers Accountable to ListenersWhen WMCA bills itself as an all-out listener -participation station, it means just that-includingthe news shows. Listeners can question the news-makers, which may number six or eight per two-hour news wrap-up. WMCA differs from theall -news stations in that it doesn't continuouslyrepeat the news. It updates headlines every half-hour, but the "news" tends to be on -goingcommunity activities as a typical day fromWrap-up indicates:

Thursday, 11/18/71, on Wrap-up:4:10-Jerry Burbank, of the Forest Hills Residents'

Association, gives his views against pro-posed low-income project in Forest Hills.Simeon Golar, New York City HousingAuthority chairman, gives his views in favorof Forest Hills low-income housing.

4:35-Dr. Monroe Lefkow:tz of the New York StateMental Hygiene Dept.-research into effectof TV violence on children.

4:55-Tape of Sanitation Union Chief John DeLury,criticizing Deputy Sanitation CommissionerRobert DuVal for allegedly coercing sanit-men to buy tickets to Lindsay politicaldinner.

5:07-Sidney Asch, judge, and author of "TheSupreme Court and Its Great Justices."

5:22-New York Police Department Deputy Com-missioner William P. McCarthy-new effortsto curb police corruption.

5:38-Ericka Freeman, psychoanalyst, and authorof "Insights: Conversations with Theodor

-Reik."6:23-City Councilman Monroe Cohen (D-Brook-

lyn)-proposal to limit sales and dispensingof pills to cut illegal usage.

6:35-Sarah Lyddon Morrison, witch, and authorof "The Modern Witches' Spell Book."

on his earphone, privately. If necessary, the talkhost can cut the on -air mike so direct voice com-munication can take place between himself and theproducer. (This communication might be to panelguests in the studio while a listener is talking.) Theturret also has a mike short button which can bepressed if the host must cough, clear his throat, etc.(This mike button also shorts the input to thetelephone speaker -phone unit.)

The turret also has volume controls for settingthe studio monitoring speaker level (channel A orB) and earphone level (channel A or B). Thereare always two channels in Kanner's circuit back-upsystem. Cue buttons (A and B) can be pressedif the host or announcer wants to tune in on up-coming cue signals.

The actual telephone lines are handled by thetelephone call director and speaker -phone unit. Anyone of eight calls can be switched on the air at themoment the host presses a button. The caller hearsthe host, and vice versa, through the speaker -phonewhich is a standard telephone unit. The host couldtake two (or more) calls simultaneously and thenpress the corresponding conference button on hiscall director so callers can talk to each other. Ifseveral people are in the studio, each can hear andtalk via his own speaker -phone. Another importantbutton on the call director is a "kill" button whichis depressed before pressing other call buttons toeliminate key click.

It's a daily and regular occurance at WMCA onNews Call or Wrap-up to get a newsmaker on thephone and then switch listeners with questions tohim.

Thus, it's really party -line radio at WMCA, andthe only limitation is not more than eight callers atonce. About 20 get on for a given show segment.Tally indicators keep track of calls that can't be ac-cepted and they may run several hundred per pro-gram -1500 busy signals have been counted. Thismay sound discouraging to the disappointed caller,but nonetheless the WMCA format must be viewedas a paradigm of honest -to -goodness communityaccess. The quality of the phone line is enhanced bya McCurdy filter -equalizer, Fig. 3. If some pointof view on a controversial community issue doesn'tget on the air via direct dial -in, there's a great op-portunity for spokesmen of this -or -that cause to getinvited right into the studio on another day foranother go at it. Ken Fairchild, vice president ofprogramming, is proud of the station's service tocommunity groups.

Censoring callers, or keeping the airwaysclean and decent

One can't provide direct on -the -air access dayafter day without worrying about profanity, ob-scenity, or libelous language. Kanner has solvedthis with his seven -second program delay systemand "panic" button, Figs. 4 and 5.

If a no -no is uttered, the talk host, the producer,or board engineer, has seven seconds in which topress the panic button. This will switch in a tapecartridge message which says, "I'm sorry, we hadto cut that off the air." At the end of this time in -

e


terval-another seven seconds-the program willhave been picked up again, sans the offendingwords.

This is all possible through the incorporation ofa pair of endless loop tape transports, in which theplayback head is located behind the record head.

Operation can be visualized by looking at thesimplified schematic of the air chain, Fig. 6. Allprogram material is recorded on either delay trans-port, Dl or D2, which are periodically alternated.

Fig. 2. Closeup of announcer turret show-ing on -off mike switch, top row; attentionlight (from producer) between monitorspeaker volume controls A and B, secondrow; Talkback switch, Cue A button, Cue Bbutton and cough switch (concealed),third row; Earphone volume controls Aand B, bottom row.

Fig. 4. Bob Kanner in front of delay trans-ports. Seven second cart player is atbottom of rack.

(Switching back and forth assures that both trans-ports arc always operational.) If or when the panicbutton is pressed, the Cart Delay Relay is cut in andits message goes on the air. But, simultaneously, thistriggering causes the alternate delay transport to be-gin recording. This transport, which has been switch-ed out, is always running but not recording becauseof another set of contacts on Dl /D2 relay whichshorts its input (and output) when it is not on theair. Thus, the offending words are not on this loop.

Fig. 5. News announcer with hand on panic button. If the young ladypresses it, pre-recorded cartridge is cut into air.

TT'S

CARTS

MIC 'S

REM LINEPHONE

MON

PLAYBACK

STUDIOCONSOLESa RACKS

PGM 'A' I I

PGM I I

TAPES

LINE I IPGM MULTTO AIR DIST.SYSTEM

LINE FORRECORDING

TAPES ,1=1:I PLAYBACK f=.

I

1.

FROM ALLSTUDIOS

TAPE SWR14 It 14

Mc CURDYEQ 151EQUALIZER LFILTER

PROFANITYBUTTON

ANNOUNCERTURRET

TELCO TELCORECORDER SPKRPHONECONNECTOR ASSYa FILTER

TO 7 SEC-1-CART

PLAYER

I I

I I

I I

30REMOTEINPUTS

IIMASTERSTUDIO I I CONTROL

4

UNITS LOCATED IN ALLCTL

CONTROL RMS, EDIT RM a NEWS RM I I

ROUTING SWRCONTROL

VIIITO ALL STUDIOS,8 EDIT ROOMFOR RECORDING

ROUTING SWRSYSTEM

1

1 TO ALL STUDIOS,EDIT a NEWS RMREMOTE LINES

Fig. 3. Input and switching control diagram.


Fig. 7. Apollo -like control center news desk at WMCA.

Fig. 8. Kanner points out remote inputswitcher (located in every studio).

ST 'A'

CONSOLE

ST '8'

CONSOLE

ST C

CONSOLE

PGM MOLT

CH A

OFF IL,

CH '8'

CH A

OFF

CH 'B'

CH 'A'

OFF

CH 'B'CH 'A'

ST D OFFAL_,

CONSOLE tCH 'B'

BR IN 1 BR IN

DIDELAY

TRANSPORT

DBI

CODE:

DA - ISOLATION AMPDB - BOOSTER AMP

DI/ D%RELAY

D2DELAY

TRANSPORT

NORM -DELAYRELAY

PREAGCAMP

LINE 1TO XMTR

VUMTR

BR IN

.FROM PROFANITYPANIC BUTTON

CART-DI/02RELAY

LINE 2TO XMTR

Fig. 6. Simplified diagram of the air chain.

VUMTR

Then, at the end of the seven -second "I'm sorry . . ."message, a trip cue pulse on the cartridge tapeswitches this alternate delay transport onto the air.In the meantime, of course, the host reminds thecaller to watch his language. (In practice, the hostkeeps the panic button pressed until the cursing, orwhatever, ceases, so there is no chance of any offend-ing material getting on the air.)

The delay transports are modified Ampex 440's.Take-up reels and motors are replaced with fixedtape guides which form the path for the endless loop.The head assembly has been modified so that fromleft -to -right, the lineup is playback, erase, record.Scotch Tape 156 (lubricated) is used and the delaytransport does not degrade the signal in any way.A special splicing tape from 3M, 621, should beused.

Isolation amplifiers, DA, keep the delay recorderisolated from the line when operating NORM (Fig.6). Thus the recorder can be disconnected for main-tenance without clicks getting on the air.

Boost amplifiers, DB, appear at the output toincrease the level of the tape signal.

During switching of machines, momentary shortskeep clicks off the air. Tape loops can be changedwithout interference with the over -the -air signal.

(Loops are changed every 12 hours, but they couldrun for three days without signal degradation.)

Kanner has built in additional override switchesto interrupt the process just described if any one ofthe elements malfunction.

City news deskThe new WMCA newsroom is built around a spe-

cially designed "city desk layout" where the newseditor on duty will have access-literally at hisfingertips-to police and fire communications, plus30 monitoring sources, Fig. 7. Without ever havingto leave his position, the news editor has eye con-tact with the personality on the air and a clear viewof several teletype machines just beyond in a glass-partitioned room.

The 30 inputs can be obtained at the news desk,and at any of the four studio control rooms andthe tape editing room-simply by positioning sev-eral selector switches, Fig. 8. No patch panels areused. The routing switching system uses a com-pact cross -bar switcher imported from Telefunken,Germany.

The news desk looks like something from Hous-ton Space Control Center. In fact, Kanner ap-


20

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WHAT NEWS COSTSAT NBC By Alan Pearce

The money it takes to put a satisfactory measure of newsand sports programming on the air is one of the essentialcosts of any broadcasting operation, and in many casesit is only partly retrievable through advertising revenue.This article shows the actual figures for news and sportscosts of the National Broadcasting Company for 1970,a fairly typical recent year, and describes the budgetingprocedures. The total of $103 million is, of course, a verylong way beyond the necessities of any local station, butmost station managers can study the NBC budgetingphilosophy and procedures for new perspective ontheir own news operations.

NEWS AND SPORTS PROGRAMMING is very expen-sive. It is also an essential part of the broadcastingbusiness. Many in network broadcasting's top man-agement regard news as the cornerstone of every-thing they do. Sports programming is given toprovide a balanced schedule, and also because thenetwork affiliates demand it. NBC-the subject ofthis article-spends over $100 million every yearon news and sports programming for the Televi-sion Network, the Radio Network, and the ownedtelevision and radio stations. These news and sports

Roving TV cameras add to the cost of doing news.

22

program costs exclude what NBC calls "overheads"-that is, money spent on top executive salaries,plus the running costs of all the other departmentssuch as sales, corporate planning, research, businessaffairs, press and promotion, etc. In return for the$100 million or so investment in news and sportsprogramming, the NBC News Division fills 25 per-cent of the regular television network programmingschedule, between 75 and 80 percent of the radionetwork's programming, between 21 and 22 per-cent of local programming by the owned televisionstations, and 25 percent or more of total program-ming by the owned radio stations.

How the NBC news budget is made

Because the News Division is not operated as aprofit center, advertising revenue earned by newsand sports programming goes directly to the Tele-vision Network, the Owned Television Stations, orthe Radio Division, including its six ownedAM/FM stations. In return the Television Net-work, the Owned Stations, and the Radio Division,have to pay all of the News Division's costs. TheNBC Television Network pays approximately 75percent of the total costs of news and sports; theOwned Television Stations Division takes roughly18 percent; and the Radio Division provides 7percent of total costs. In fact, the Enterprise Divi-sion picks up a small proportion of costs (less thanone percent) because it receives income from salesof NBC news and sports material sold abroad.Although the costs of news and sports are shared,control of the capital budget is exercised throughthe Television Network Division in conjunctionwith the News Division, and not through the ownedstations or the Radio Division. The owned stationsand the Radio Division are treated like customers

Dr. Alan Pearce is a British economist who com-pleted last year a study of the organization andcosts of news and sports programming at NBC. Heis now a broadcast economist with the FCC inWashington.

JANUARY, 1972-BM/E

Almost $1.5 million was spent on Election Day to cover the 1970 midterm elections.See table on page 25.

of the News Division, whereas the relationship be-tween the News Division and the Television Net-work is much closer because the network pays thebulk of the bills; in return the network gets what-ever it can from advertising sales to offset its costsof news and sports.

The sum to be spent on news and sports in anygiven year is not chosen as an amount of money,to be followed by decisions on what the NewsDivision is going to do with it. The News Divisiondecides what it wants to do and then decides howmuch money it will cost. If the costs are too high,the News Division negotiates with top manage-ment, and the contributing divisions, and a com-promise is reached. On the whole, however, thebudget is a reflection of past experience.

Part of the budgeting process is like trying toforesee calamity. The president of the News Divi-sion is supposed to be a responsible journalist andalso a responsible officer of the company. In anemergency, he is allowed to rape the balancesheets of the three operating divisions that con-tribute to his overall budget, so long as he does itresponsibly.

In the fall of any given year, the News Divisiongoes to corporate management and tells them howmuch will be needed to cover news and sports inthe following year. There are certain known costslike labor, equipment, office rent, and the regular-ly scheduled program budgets. Then comes theunknown element-forecasting the calamities thatoccur regularly in world news. Officers of theNews Division do not look into a crystal ball andtry to determine what will happen, but they dothorough research as to what is likely to happenand there are usually a number of known events.

For example, in 1970 the News Division knewthat there would be a mid-term election in Novem-

ber, a couple of space shots were expected but onlyone actually took place in the year, and trouble isalways anticipated in the Middle East and SouthEast Asia. Consequently, a budget is built up bytrying to assess all the known costs and then sever-al million dollars are thrown in as an unschedulednews contingency. This contingency is based on theamount spent on unscheduled news over a periodof years. An average is worked out, something isadded for increasing costs, and a figure is put intothe budget.

Occasionally this contingency budget is hopeless-ly underestimated, as for example in 1968 whenthe assassinations of Dr. Martin Luther King andSenator Robert Kennedy were followed by cityriots and the demonstrations at the DemocraticParty Convention in Chicago. Generally speaking,however, the contingency is usually in the ball parkfinancially at the end of the year, thanks to manyyears of experience of covering news events ofmajor importance.

For 1970 NBC decided that the News Divisioncould spend $103 million on news and sports cov-erage in that year. This is a percentage breakdownof how the money was spent:

Sports programming 42.2Regularly scheduled news programming 37.1Other news programming 7.5*Departmental costs 13.2

*Percentage breakdown of other news:

Moonshots

Total 100.0%

Political programmingUnscheduled newsPlanned specials

.82.52.52.3

Total 7.5%

Source: NBC News Divisions Business Affairs.

JANUARY, 1972-BM E 23

From the above budget breakdown, it can beseen that there are two elements of cost-departmental and show costs. The show costs windup against a particular program and many of thesecosts will be examined in this article. Departmen-tal costs include the administrative overheads thatcannot be assigned to a particular program. but areassigned to the Division in general, the unhquidatedportion of the cost of the overseas bureaus, and anyother non -program costs that cannot be put into aparticular program budget.

The remainder of this article will be devoted tobreaking the costs of news and sports down intoparticular programs or types of programs. Thecosts of programming will be examined under theheadings of the separate divisions, beginning with

', Pwd

k,:h°111111111***

Equipment photos at NBC. Closeup of the TR-70 VTRand the complex master control room.

the Television Network, then going on to theOwned Television Stations, the Radio Division, andfinally taking a look at the costs of sports program-ming.

The cost of regularly scheduled newson the NBC Television Network

The most important regularly scheduled newsprograms aired by the NBC Television Networkare:The NBC Nightly News. A seven -day -a -week,year-round, half-hour, early -evening news program.The whole of NBC's News Division has been builtaround this program, which was formerly knownas The Huntley -Brinkley Report. The weekly bud-get in 1970 was $173,800. Total cost for the fullyear: $9,037,600.The Today Show. A five -day -a -week, year-round,early -morning, two-hour, news and general featuresprogram. The weekly budget in 1970 was $99,736.Total cost for the full year: $5,186,272.First Tuesday. A monthly, two-hour, news maga-zine. The monthly budget in 1970 was $264,145.Total cost for the full year (there were only elevenprograms because of the mid-term election pro-gram which came on the first Tuesday in Novem-ber): $2,905,595.Meet the Press. A weekly, half-hour, news inter-view program, aired on Sunday of each weekthroughout the year. The weekly budget in 1970for a show coming from Washington was $5407;for a show coming from New York it was $6844.Average weekly show cost was $6000. Total costfor the full year: $312,000.

The show budgets are prepared by the NewsDivision's business affairs office in conjunction withthe Television Network's business affairs office. Inorder to keep track of the weekly, monthly, andannual expenditures, a business manager, or unitmanager, is assigned to each program; in somecases two business managers are assigned. Themain function of the business or unit manager is toact as a cost controller. He attempts to administerthe budget as efficiently as possible. He keeps trackof all the money that is being spent and constantlyprojects where the show is going financially. Ifthings begin to get out of hand financially, and theshow looks as though it is going to be far overbudget, the business manager has to report this totop management. But in normal circumstances theresponsibility for keeping within the budget is heldby the executive producer or the producer of theparticular show.

A second function of the business manager is totake care of the physical elements that are re-quired to put the show together. He organizes andorders equipment, manpower, facilities, outlinesschedules, arranges transportation and hotels, etc.So the business or unit managers have both pro-duction and business responsibilities.

One of the most important tasks of the businessmanager is to prepare a weekly actual and esti-mated cost report summary. This is a statement thatcompares the actual money spent with the estimate

)4 JANUARY, 1972-BM/E

Midterm election returns costs.

Projection and analysisNational Election Service pool

Budget$

541,890385,000

Actual Under (Over)$ $

478,910 62,000365.000 20,000

Production costs 456.125 449,655 6.470Remotes 110,000 128,500 (18.500)Commercial fees 65.000 52,000 13,000Contingency 50,000 - 50,000

Under 132,970

m the budget. The A&E's, as they are known, formthe basis of NBC News Division's and the Net-work's budgeting procedure. The A&E's help inbudget re-evaluation and are an important factorin cost control. These weekly A&E's provide anexcellent historical background to costs of pro-gramming over the years, and have helped improvethe budgeting procedure because they report regu-larly on what is actually spent on every programproduced by NBC.

Non -regular news programming

As we have seen, there were in 1970 four mainelements of programming in this category: moon-shots, political programming, unscheduled news,and planned specials.1) Moonshots. There was, of course, only onemoonshot in 1970, the Apollo 13, which developeda fault and could not land on the moon. NBCcarried special Apollo 13 programming from April11 to April 21. The total cost was $831,000.Moonshot budgets have been reduced recently dueto greater pool coverage; that is, greater co-operation between the three networks who mightpool their resources, and also by presenting lessambitious coverage. The Apollo 11 shot, whichlanded the first men on the moon in July 1969, hadan amibitious programming budget totalling over$1.5 million.2) Political programming. The News Divisionbudgeted 2.5 percent of its total annual budget of$103 million for 1970 to political programmingbecause there was a midterm election. Most of thebudget money was spent on the election returnprogram broadcasts on November 3 and 4. Thesummary estimate and actual report is shown in thetable above.3) Unscheduled news. This accounted for only 1.9percent of the total News Division budget in 1970,but it is the most unpredictable category and it isin the area of unscheduled news that the budget ismost likely to be exceeded. Unscheduled news isthe most highly priced news, because: a) it isunlikely to attract any advertising, since it goes onthe air on an emergency basis; b) it displaces otherregularly scheduled programs; c) there is often aconsiderable advertising loss due to the pre-emption of other programming; d) very often theprograms do not lend themselves to advertising,for example, the assassinations of President John F.Kennedy, Dr. Martin Luther King, and SenatorRobert Kennedy, or a Presidential Press Confer-ence, or special war coverage in the Middle Eastor South East Asia.

As examples: On May 10, 1970, the NBC NewsDivision put on an unscheduled program entitled"Our House Divided." It cost $87,000 to make theprogram, but the pre-emption costs-the loss ofadvertising in the programs it replaced-amountedto $144,000. The News Division is not responsiblefor pre-emption costs, but they have to be borneby the Television Network. "A Conversation withthe President," broadcast on July 1, 1970, costNBC News only $12,000 in production costs be-cause it was pool coverage, but the Television Net-work lost $57,600 in pre-emptions.4) Planned specials. These represented 2.3 per-cent of the total news budget for 1970. They varyenormously in cost, ranging from only $29,000 fora show like "The Loyal Opposition," to $750,000for one like "From Here to the 70's," which was21/2 hours long. Sponsorship of planned specialsvaries. Usually the non -controversial ones like"The Everglades" or "The Great Barrier Reef"earn money, while documentaries on drugs like"Trip to Nowhere" lose heavily. In fact, one NBCdocumentary, "Migrant: An NBC White Paper,"shown on July 16, 1970, cost $168,190, and ledeventually to a great loss in advertising revenue.Coca-Cola, a company that was criticized in theprogram, eventually withdrew its advertising fromNBC and placed it with the other two networks.

Departmental costs of the television network

Departmental costs represent 13.2 percent ofthe total News Division budget at NBC and thelargest proportion of these costs are picked up bythe Television Network. Departmental costs con-sist of administrative overheads that cannot be as-signed to a particular program, the unliquidatedportion of the cost of overseas bureaus, and othernon -program costs that cannot be put into a par-ticular program budget.

News programming on owned television stations

The NBC Owned Television Stations Division isresponsible for 18 percent of the annual news andsports budget at NBC. In 1970 this amounted toroughly $19 million, $14 million for programmingand $5 million for operations and engineering.

WNBC in New York was responsible for 35 per-cent of the $19 million budget; KNBC in Los Ange-les was responsible for 25 percent; WMAQ in Chica-go picked up 20 percent; and WRC in Washington,D. C. and WKYC in Cleveland each had 10 percentof the total Owned Television Stations Divisionannual news budget.

As an example of a news program budget at the


owned station level, wmic's "Sixth Hour News,"since renamed "News 4 New York," cost a total of$3,366,000 in 1970.

News programming in the radio division

NBC Radio Division takes 7 percent of theNews Division's annual budget. This news is di-vided between the Radio Network, which broad-casts between 30 and 40 hours a week and be-tween 75 and 80 percent of that is news and sportsprogramming, and the six owned AM/FM radiostations-WMAQ in Chicago, WKYC in Cleveland,WNBC in New York, WJAS in Pittsburgh, KNBR inSan Francisco, and WRC in Washington, D. C.These stations vary the amount of news and publicaffairs programming used because some of themhave a mostly music format while others havemuch more news and sports and talk -show pro-gramming. At a very minimum, however, NBC -owned radio stations have 25 percent of news andsports programming content.

Radio news can, of course, be done much morecheaply than it can on television. Radio does notneed all the engineering and film crewing that tele-vision requires, nor does it need stagehands, make-up, production personnel, and complicated studio

Breakdown of some functionaland equipment costsHere are some of the important functional andequipment costs included in the totals for theNBC news and sports operation, as described inthe accompanying article:

Labor costs the News Division something like$22 million a year. AT&T land lines account foranother $10 million. Satellites have becomecheaper as more have been launched; in 1970NBC News spent $602,553 on satellites, downfrom $1,108,750 in 1969. NBC's stock andprocessing costs for news are currently around$3 million a year. Videotape for news comes toaround $610,000 a year, but costs are increasing.

Electronic camera costs vary widely; the Norelcocable -connected portable PCP 70 costs in theregion of $90,000, while the more sophisticatedPCP 90, which is cableless, costs roughly $125,000complete with transmitter. Most of NBC's studiocameras are RCA TK 44's, which cost around$80,000 complete with pedestal. A mobile unitcosts something like $4 million fully equippedand they are used mostly for news and sportsevents. VTR machines-Ampex or TR 70 C's-cost between $120,000 and $150,000 each. AnAmpex slow motion machine used for sportsevents costs $100,000. Film cameras range inprice and sophistication, and NBC News has manydifferent types. The Bell and Howell 16mm Filmocosts about $1000 and NBC News has over 130of them, along with 135 single -system soundcameras, which are generally converted AuriconCine Voice, selling at $5600 before conversion.In addition there are 30 Arriflex costing $7500 fora basic camera before conversion for news pur-poses, and six Arriflex BL's costing $12,000 each.Lighting equipment to go with these film camerasranges in price from $300 to $1100, and is as-sembled by NBC's newsfilm department.

facilities. Content and production is much simpleron radio, and this is reflected in the radio news pro-gramming budgets. The only factor of budgetingthat is just as costly is administration; it costs almostas much to administer the radio network and theowned stations as it does to administer the televisionnetwork.

The Radio Network's news operation cost al-most $5 million in 1970, and nearly $4 million wasspent on covering news for the owned stations.About 60 percent of radio's news costs were at-tributable directly to programming costs, and 40percent for supporting costs.

"News on the Hour" is NBC Radio Network'smost important news program. The direct oper-ating costs were $20,000 a week in 1970, making atotal for the year of $1,040,000. If an allocationwere made for supporting services, then the budgetwould be something in the order of $40,000 aweek, making a total for the year of $2,080,000.

Sports programming

Sports programming at NBC comes under theauthority of the News Division. Sports is probablythe highest priced programming on television; itrepresented 42.2 percent of the News Division'sbudget of $103 million in 1970 and provided onlyone-third of the Division's total network program-ming contribution.

The biggest slice of the sports programmingbudget goes to rights costs-these are the fees paidto the football, baseball and basketball leagues,and the money paid to golf, tennis, and othersports tournament organizers, for the privilege ofbroadcasting their events on a regular basis. Con-sequently rights cost NBC News Division 34 per-cent of the $103 million budget; the other 8.2percent goes to program costs.

In 1970 NBC paid $11 million for a limitedfootball season, excluding Super Bowl costs and theall-star game. In 1971, the same season will cost$12 million in rights. In addition NBC paid $2.5million rights costs for the Super Bowl.

NBC's contract with the baseball league is for$50 million rights payments over a three-year peri-od ending after the 1971 season. This means thatNBC pays between $16.5 and $17 million a yearfor baseball rights.

By comparison rights costs for college basket-ball, golf, tennis, and other sports are minor. Amajor golf tournament can cost as much as $250,-000 for rights, down to $50,000 for a minor tour-nament. NBC paid the NCAA $1.4 million overtwo years for college basketball. The rights forWimbledon Tennis from England in 1970 came to$60,000.

Although rights costs are very high due to theintense competition between the three networks,program costs for sports events are also quite highdue mainly to the type of sophisticated coveragethat the viewer demands. An average sports pick-up, that is the cost of sending a mobile unit tocover a ball game, costs $40,000. The Super Bowl,however, needs a $125,000 pick-up because itrequires more cameras. BM/E

26 JANUARY. 1972-BM/E

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Studio On WheelsHow a local AM station built its own mobile studioand gained the capacity for a very wide range of remotes,from news to sports, from panel shows to publicmeetings, with discs and carts right at hand.

Objectivesand PlanningBy C. K. Thompson, general manager,WGNY, Yonkers, N.Y.

BEFORE WE BOUGHT a single piece of equipment forour mobile unit we wanted to be sure that we hadconsidered all possible uses of the unit, and themethods for implementing those uses. Our main ob-jectives were:1) The ability to do a complete remote broadcast,news or special event, with personalities, recordings,commercials, guests;2) Remotes, either from the truck itself or from anin-store location;3) Operation both close to the station and faraway;4) Operation without ac power whenever desirableor necessary;5) P.A. from the truck, either in conjunction with abroadcast or for a non -broadcast record hop;6) Operation while in motion;7) Use of the unit as a "press box" at sports events,including replays of game highlights.

We decided early that such a mobile unit wouldhelp the station image significantly and create suffici-ent new billing to justify buying a new trucklarge enough for the whole job. We settled on theFord Super Van because it had enough floor spaceto match a plan that Red our needs.

The plan included a console with two turntables,a mixer, two cart machines, a record bin, and astorage cabinet for mikes, small tools, tape, wire,etc. We wanted shelf space for the transmitter andPA amplifier, space for a cart rack, a seat for guestsbeing interviewed, space for heavy-duty storage bat-teries, storage for a Yagi antenna and mike andpower cables. And, of course, the spare tire.

On the outside, we wanted to use a ring antennawhen close to the station, and a Yagi when faraway.

In sum, we wanted the unit to be a self-containedstudio -control room that could replace the perma-nent facilities in an emergency. The van did justthat when the ceiling in our control room fell in. Inanother case, we lent the van to a second station in

the area that had a studio fire. The reader can mea-sure the success of the van by this: our instructionsto staff in case of fire are to get out first, the book-keeper's records, then the mobile unit, and last,studio equipment!

How We BuiltOur Studioon WheelsBy I. Daniel Martin, chief engineer, WGNY

WHEN WE DECIDED to build a new mobile studio, Ichecked what I had that might be useful:One Bogen RTP-1 remote amplifier;Two Western Electric 22-A remote amplifiers (notused for years);Stromberg-Carlson PA amplifier;A few spare mikes;No spare turntables;No van.Strike a chord? I decided to start from scratch.

Selecting equipmentIn April '68, when we started the project, Ford

had just announced its small van with the engine infront and alongside the driver-the only van thenavailable with this arrangement. We decided theVW bus would be too small. We liked the Ford alsofor windows on all sides, full -roof header, six -cylinder engine, and inside base.

When I came to the station a year before, therehad been practically no catalog information onequipment. By circling reply card numbers in trademagazines, I soon had a pretty complete fi;'; ofmanufacturers' catalogs and could make an intelli-gent survey for the items we needed.

We chose the Marti M-30B/TPS transmitter andMR -30/150-170 receiver for van -station linkagebecause of recommendations from other users. Wechose 161.67 MHz after surveying area stations.

The control board had to be the center of oper-ations for the truck, which meant a five -channelboard, with two channels for microphones, two forturntables, and one for the two cart machines whichwould be wired in parallel. The Sparta A-15 metthese requirements, with pre -amps in the first four

30 JANUARY, 1972-BM E

channels and two Sparta TE-2 passive equalizers forpickup inputs.

The rest of the original equipment for the vanincluded the following:

A used Presto T-18 turntable; Rek-O-Kut B-12GH turntable; Two tone arms with cartridges; Two Shure Unisphere I 565 mikes; One Bogen CHS35 35 -watt amplifier; One Tapecaster 700-P cart machine to go in thestudio so the Spotmaster 700-P there could go inthe truck.

Physical layoutFig. 1 shows the physical layout that evolved

from interchange of ideas with the programmingdepartment. The turntable cabinet is separate fromthe control board and can be taken out of the van togo into a remote location when we need that. Alter-natively, the control desk alone can be moved outof the van for a special events broadcast.

I had never built cabinets before this assign-ment, but I waded in. By studying the cabinets inour studio, I came up with a screwing -and -gluingapproach that would give the cabinets the strengththey needed for frequent lifting, shoving, perhapseven dropping. The extra time I put into this phaseof the project has paid off-as this is written, threeyears later, not a single cabinet has burst a seam.

The control desk has a shelf on the right for theconnector and patch box which I wired into thecontrol board. The left side has a record drawer, with

a door that folds out like a drawbridge to supportthe pulled -out drawer. Below the record drawer Imounted a ten -inch monitor speaker that takes overfrom the Sparta speaker when plugged in. Heavy-duty drawer pulls were bolted to the underside ofeach side of the control desk. To hold the control unitfirmly to the floor of the van, seat belts are fastenedto the floor and run through these drawer pulls.

I had to move the spare tire from the right rearof the truck to make room for the turntable cabinet;the tire is now on the left side, as shown in Fig 1.Doors open to give access to storage under the turn-tables. When we travel, the pickups are taken out ofthe arms, the arms tied down, and the turntable plateslifted on plastic foam to keep them from bouncing onthe bearings, a prime cause of bearing flats.

The turntable cabinet, like the control cabinet, isheld in the truck by seat belts. This proved to be anexcellent way to hold the two cabinets down; we didhave a collision in which the truck was damaged,but the equipment came through unhurt, except forone cracked storage battery.

Wiring and installation of componentsI wired the electronic components together in

their cabinets before finishing the inside of thetruck, so we could use them as soon as possible.Each of the first four channels on the control boardhas a three -position input switch, two for live inputand one for off. That allows us to use four mikes,or two mikes and two turntables, without switching.With switching, we have eight positions and therehave been times when we needed all eight for mi-crophones (removing the pickup equalizers from the

Fig. 1. Layout of WGNY mobile van

1. Engine cover2. Passenger's seat3. Driver's seat4. Yagi antenna storage5. Communications

transceiver6. Guest bench and

battery storage7. Cartridge machines8. Sparta control board9. Microphone gooseneck

10. Console11. Turntables12. Tone arms13. Turntable and storage

cabinet14. Spare tire15. Clock radio16. Marti transmitter17. Public address

amplifier18. Cart rack19. Equipment shelf20. Record storage and

speaker21. Ring antenna mount22. Yagi antenna mount23. Communications

antenna mount24. Air conditioner

2

I

3

6

9O 8

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12

10

20

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MN111., 0111111.

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.11 AN.

Fig. 2. Rear view of Sparta console with protective coverremoved.

6-812 60D -C2

*- TOCRIVA/M16'

k ST/ei P

Fig. 3. Stancor A-7948 wired withvoice coil as input to take feed fromcassette's external speaker connection.

Fig. 4. Handy connector box. Inputs on sloped panel; outputs Fig. 5. Bridging pad for three differenton lower portion. inputs. See text.

605Alle 7 8

MIC

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Fig. 6. Signal flow diagram of inputs and outputs.

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two turntable channels). Panel discussions, impor-tant local public meetings, self remotes, are someexamples.

I rewired the Channel 1, position B (a Cannonmike connector), to Channel 2, position A, andthen wired the speaker muting circuit into thesechannels. These positions are used when broadcast-ing from inside the truck. Fanning strips were usedto wire the connector box to the A-15. I liked thesebetter than Jones plugs because they took lessspace, and not much more time for connect or dis-connect.

Channel 5 on the control board, the high-levelchannel, has a five -position switch on the B posi-tion. I put in a variety of connectors on all theChannel 5 positions: phone jacks, mini -phone jacks,phono jacks. Two of the inputs go through a StancorA-7948 voice -coil to line transformers, wired withthe voice -coil side to the jack so we could feed fromthe external speaker connections of most any cas-sette or other tape recorder, getting a high levelsignal into the board.

All the input connectors are on the slanted side ofthe connector box and all the outputs on the frontvertical side.

The output of the control box can be switchedany of three ways. In order to connect it to theMarti with normal mike cable, I put in a bridgingpad (Fig. 5) to line 1 with a male Cannon connec-tor (per the Marti manual).

Output 2 goes to a female Cannon connector,with barrier strip connectors in parallel so I canfeed a tape recorder or telephone line, when too faraway from the station for air linkage.

Line 3 from the console goes to phone jacks sowe can feed a variety of other equipment. Fig. 6 is

a simplified diagram of the wiring in the cabinets.

More woodwork

Before we could put the cabinets in the truck, wehad to cover the ribbed floor. We used pressedwood panels with carpeting over them, except forthe last 18 inches -4 ran out of carpet. But thatturned out to be a good idea-the uncarpeted areawas good for repairing faulty equipment.

To avoid carrying out the station's cart rackwhenever we had a remote, I built a duplicate cartrack for 168 cartridges. This rack is normally keptin the production room. Whenever we make a car-tridge for a commercial or announcement, we makea simultaneous dub which goes into the "re-mote" rack. That has proved to be far from a waste-ful procedure, more than paying for itself inrecovery of commercials misplaced or malfunction-ing in the main control room. When we schedule aremote we can see if we have all the carts: theduplicates should all be in the remote rack. We dovary from exact duplication when a sponsor requiresmany different cuts: we put only two or three cutson the dub cart. In addition to the regular carts, wealso have one with assorted PSA's, one with assort-ed station promos, one with a 1000 -Hz test tonefor setting levels in the van, and another announ-cing that WGNY will broadcast from that spot in a

Fig. 7. Completed interior of mobile unit.

.44

Itm

GNY News flpecial bents d_E

INFLUENCE IRA GROWING AREA

Fig. 8. Exterior view of van with various antenna mounts.Mount for yagi is on rear.

few moments. We put the last on the PA just beforeair time on remote.

I built a shelf into the left near the rear to holdthe Marti, the PA amplifier, and the digital clockradio. The clock has a switch so it can be stoppedand set on station time. We can also feed the airprogram to the PA system during news periods.

The cart rack goes under this shelf, with a coverheld to shelf and floor by toggle bolts to keep cartsfrom sliding out when the truck moves. The remov-able panel has a sign painted on it, "On the Air,"and changeable nameplates for the announcer's andengineer's names. We put the board on an easel, orin a store window, at a remote.

The top of the battery storage compartment (Fig.1) is upholstered to form a seat, done by a localauto upholsterer at nominal cost. This is our in -truck "interviewee seat."

I tried a low -BTU air -conditioner in one of thewindows, but this was one of the few mistakes we



In America,we call Fu_ ji Videotape

"Con'ape7 For more than fifty years, Fuji hasbeen the Far East's outstanding

manufacturer of communications products.For good reason. Quality.They started with film and photo products. Success and ex-

pansion brought them into magnetic recording materials. Andnaturally, a major part of that progress was in the development(about five years ago) of high band videotape that's as good asthe best made anywhere...east or west of the Golden Gate.

West of the GG, Fuji Videotape captured more than 75% ofthe market. They did it because of their competitive prices andsuperior performance with high SN ratio, low chromanoise, lowhead wear and low chroma flutter, just to name a few pluses.

Now, following our new arrangement to distribute this fineproduct in America (under the name "ColTape") we can pro-vide high band videotape to professionals who also appreciatethe best.

For further information including a 1 -page booklet ofspecifications, please contact: John Dale, Vice President andGeneral Manager, 711 Fifth Avenue, New York, New York 10022,(212) PL 1-4400. Or Robert Jones, Western Sales Representative,1438 North Gower Street, Holly-wood, Calif. 90028, (213) 462-3111.

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dgraphic arts

Vidifont is the completely automated televisiondisplay system that does all your titling instan-taneously. One typist can compose news flashesand other messages in real time that are graphi-cally superior. Because Vidifont features pro-portional letter spacing . . . a choice of typefonts and sizes . . . upper and lower case char-acters . . . word -by -word color . . . push-buttoncentering . . . three -speed flashing . . . built-inedging . . . and roll and crawl. Vidifont can pay

back your investment in less than one year . . .

while making your station the undisputed leaderin your market.

CBS LABORATORIESA Division of Columbia Broadcasting System, Inc.

227 High Ridoe Road, Stamford, Connecticut 06905

JANUARY, 1972-BM/E


35

Cartridge TapeSupermarket!Here's a one -stop shopping centerfor the most and best in broadcastquality cartridge tape equipment-a SPOTMASTER supermarket ofvariety and value.

Just check the boxes and sendus this advertisement with yourletterhead. We'll speed completeinformation to you by return mail.

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AUDIO ITU]:FOR BETTER IDEASFROM AUDIO ENGINEERS

"Compatibility" is a word, and anidea, that is getting almost rubbedout of shape by over -use. But, theseries of problems that "compatibili-ty" stands for are very real: some ofthem will be important in determin-ing the main directions that audio istaking. The broadcast station manresponsible for audio needs a graspof compatibility problems and solu-tions-some for day-to-day practicein getting out a good signal, somefor estimating the importance ofskirmishes and alarms during thisperiod of intra-industry audio war-fare.

Here are some brief comments onthree compatibility problems.

Phase error in stereo tapes. A dis-cussion of this problem and descrip-tion of one approach to solution ap-peared in BM/E, April 1971. Torecap, azimuth error produced bymisadjustment or tape skew in anystereo tape system (more prevalentin cartridges than in open -reelequipment) by shifting the phaserelation of the two channels, canseriously degrade the mono signalput out by the station, because thatoutput is produced by summing thetwo channels. A phase shift of 170degrees, for example, will heavilydepress the 5 to 8 kHz output inmono. Stereo listening will be effect-ed in more subtle and usually un-noticeable, or at least acceptable,ways. Since most FM listening isstill in mono, this is a serious matterfor any FM station using stereotapes.

One alleviation of the problemdescribed in the April 1971 BM/Earticle, is the development of stereocartridges with precisely -adjustabletape guidance (CBS -Marathon), al-lowing the operator to reduce oreliminate phase error from tapeskew. The Aristocart from IGM at-tacks the same problem with amodified fixed tape guidance sys-tem. Other tape manufacturers havetold us they will be announcing "so-lutions" shortly, but we are stillwaiting.

Implicit in all approaches, howev-er, is the necessity for the audioengineer to monitor in advance, inmono, all his stereo program materi-al. If a summed signal sounds good

in monitoring, it will sound good onthe air. Listening can be supple-mented, but not replaced, by a sim-ple phase -relation test, familiar toevery audio engineer, feeding onechannel to vertical and one to hori-zontal on a scope.

Careful azimuth adjustment is, ofcourse, a necessity in any case, set-ting the peak while watching asummed signal (recommended byEric Small, chief engineer ofWOR-FM, who is also responsi-ble for some of the other valuablesuggestions on this problem). Forthis purpose, a convenient and pre-cise azimuth adjustment system likethat on the Gates cart machine ishighly desirable.

A useful supplementary gambit isa phase reversal switch on one chan-nel; a 180 -degree switch brings theProblem under control in somecases. Along that line, the engineermay also want to put in a switchableall -pass 90 -degree phase shift net-work, which may be the prescrip-tion. Another approach sometimesused by Small is duplication in realtime, since high-speed duplicationseems to aggravate the problem.

Pickups for matrixed discs. Four -channel discs produced by one oranother matrix system are going tobe a larger and larger fact of life forevery stereo FM station. Columbiais releasing many records with its"SO" system, Vanguard is followingsuit, and other record companiesare, or soon will be, using that orother systems. The FM station thatwants to get into four -channelbroadcasting will necessarily, in thefuture, need matrixed discs to fill outits four -channel programming.

Some pickup promotion has im-plied that a stereo pickup needs spe-cial characteristics to play matrixeddiscs, and confusion is evident inquestions being received by pickupmanufacturers: Which of your pick-ups works on matrixed discs? Whenare you getting out a model for this?

But the whole virtue of matrix-ing stands on the fact that it usesexactly the same equipment as stan-dard two -channel stereo between theencoder, at the sending end, and thedecoder, at the playback end. Astandard two -channel stereo pickupplays matrixed discs exactly as wellas it plays two -channel discs. JohnJ. Bubbers, vice president for engi-neering of Pickering and Company,



DYNA-MOD IT... the first real improvementin modulators since the

DYNA-MOD

It's not easy to improve on a product like theDYNA-MOD, which has long been the standardof the industry . . . many manufacturers havetried and failed. But DYNA-MOD II is a stepforward; it reflects improvement over its pre-decessor in styling, operator convenience andperformance.

The basic DYNA-MOD II accepts separate audioand video inputs with which it generates abroadcast quality VHF television signal on anystandard channel; other frequencies are availableon special order. The new modulator is alsoavailable for use with inputs of video only,separate video and 4.5 -MHz aural, or com-bined video and 4.5 -MHz aural.

The DYNA-MOD II contains a sideband responsefilter and output amplifier which assure qualityperformance in adjacent -channel color systemswithout the addition of external filters. MaximumRF output is 500,000 microvolts with a secondoutput providing a 10-DB reduction. A switch -selectable attenuator allows attenuation of eitheroutput in 1 DB increments over a 10 DB range.A third RF output, which is 30 DB below the line

output, is also provided for monitoring purposes.The visual carrier frequency is crystal -controlled,

assuring frequency stability to 0.005 percent,with the aural carrier frequency referenced to thevisual carrier, effectively locking it 4.5 -MHzabove the visual carrier. Further output qualityis achieved by clamping the input video attips -of -sync, preventing variations in the R -Foutput due to the picture content of video inputsignals. Differential phase and gain are adjustable.

Operation has been simplified by the additionof a meter with which the aural and visual per-centages of modulation may be measured. Themeter also monitors the B+ and B- levels. Allsetup controls are located behind a convenientfront -panel -mounted access door.

Shouldn't your next modulator be a DYNA-MOD II? Write or call today for literature andprices.

DYNAIR ELECTRONICS, INC.6360 FEDERAL BOULEVARDSAN DIEGO, CALIFORNIA 92114TELEPHONE (714) 582-9211

JANUARY, 1972-BM/ECircle 114 on Reader Service Card

37

New ProductDevelopmentAt NAEBLast month major issues atthe 1971 NAEB Conventionwere reported. This reportcomes from the exhibit floor.

Behind the gathering isDynasciences' new VTR editor.

The NAEB exhibit area producedseveral firsts. Panasonic showeda 3/4 -inch format videocassette com-patible with Sony's previously -an-nounced 3/4 -inch unit. The com-pany hedged its bet by continu-ing to show a 1/2 -inch videocassetteversion demonstrated last year atNAEB. (At the same time thecompany vigorously reaffirmed itsintent to be strong in 1/2 -inch reel-to-reel equipment.) "Panasonic,"said Alvin Barshop, "will supplythose things the customer wants."The home video market is too vagueto call, he said.

Adding momentum to the 3/4 -

inch videocassette forces, was thejoint 3M/Sony announcement oncross licensing made at Miami.The agreement will permit Sony tomanufacture and sell the new 3MHigh Energy tape and 3M to manu-facture and sell new Sony 3/4 -inchU-matic videocassette equipment.

Sony's equipment was demon-strated at NAEB and will be in theU.S. market in early 1972. 3M'sversion will be manufactured andsold through its Mincom Divisionunder the Wollensak name. Thecompany had on display 3/4 -inchvideocassettes (not players).

Ampex's cartridge loading Insta-video recorder/camera was on dis-play at the Ampex booth.

Panasonic also showed high-speedvideotape printing systems. Sonyexhibited a tape duplicator whichdubs one -for -one, although severalslaves could be made from onemaster at the same time.

Although the progress toward astandard video mechanical formatwas welcomed, there was a brandnew exhibitor present, Telegen(4015 Fabian Way, Palo Alto,Calif.), that bore witness to the factthat a standard, even if adopted,does not solve all. Telegen had thetemerity to present to the USA theSECAM/60 as a realistic substi-tute for any NTSC equipment. TheTelegen people (Joe Roizen, pres-ident) found that the accuracy ofcolor rendition in NTSC is simplynot adequate for some programmaterial. The SECAM encoding ap-proach (sequential and memory)offers genuine stable color fidelity.Furthermore the system uses black -and -white recording and playbackequipment. The Telegen boothshowed a variety of monitors allshowing the same color-color thatcannot be misadjusted as the onlycontrols are brightness and con-trast. Monitors can be modified toshoot both NTSC and SECAM,Telegen said, and a Sony TV setmade for the French market han-dles both signals.

To go SECAM/60, the userneeds a special encoder and a com-patible monitor (which can be aUSA set modified). More detailswill be published in BM/E in thenear future.

A new moderate -cost editor -programmer drew crowds to Dy-nascienoes' booth. The unit provi-des control and memory to accur-ately program a "start insert" and"end insert" edit point on the rec-ord tape. Start transfer edit pointscan be stored on the playback tape.Both record and playback tapescan be previewed and the operatorcan visually see the end -productedit before the record tape is al-tered.

The edit point can be indepen-dently advanced or retarded anydesired number of frames to enablea smooth transition. The Editor -Programmer (Model 1000) canhandle either helical scan or quadrecords. It's priced under $4000.

Dynasciences also showed imageenhancers and video processing

amplifiers priced for the CCTVbudget. Image enhancers wereavailable in a variety of models in-cluding model 852 which providesenhancement taking contouring fromgreen.

A new manufacturer at NAEBwas Danscoll Ltd., from Montreal.This company showed a line ofproduction switchers which can becustomized.

TeleMation showed several newitems including a super 8 mm pro-jector feeding into a telecine and apilot model of a new digital NTSCcolor encoder which promises toupgrade the performance of yes-teryear's color cameras.

By using digital circuitry, setup isfast and accurate and operation isstable. Major features of the newencoder (which will be availablenext January) include a lumi-nance black stretch for gamma cor-rection (this brings out detail in apicture with poor scene illumina-tion), and a noise stripper circuit(which eliminates high frequencynoise prior to encoding), improvingS/N up to 10dB). A color bargenerator is included, and variousoptions are available.

New cameras were plentiful.Magnavox captured a lot of atten-tion because of its huge display ofsimple -to -operate inexpensive colorcameras (series 200 and 300).Commercial Electronics Inc. dis-played a new two -tube camerapriced at $17,900. Using one -inchlead -oxide tubes, the CEI 280 wasbilled as a broadcast qualitycamera with a high signal-to-noiseratio (better than 50 dB) and highresolution (600 lines).

In roughly the same price range($15-16,000) was the IVC-150color camera which used one silicondiode tube to improve red sensitivi-ty. IVC's motif was definitely satur-ated red.

Ampex unveiled a top -of -the -lineCCTV camera, the CC -500, whichuses three separate mesh vidiconpick-up tubes. It was priced at $12,-000 with a 10x1 zoom lens. Colorcameras were also on display byGBC, Panasonic, Shibaden andSony.

Cohu drew a lot of attention byvirtue of the outstandingly sharpand contrasting pictures eminatingfrom its new model 1500 telecine


38 Circle 115 on Reader Service Card

resenting the first broadcastcamera to see reds as they

really are -while dramaticallyreducing studio and remotelighting requirements

The IVC-500 Color Camera is casting teleproductions ina new light. The secret is the new one -inch silicon diodetube in the camera's red channel. It's the tube mostother cameras wish they had but don't (because theyare designed for the older 30 millimeter tubes). For thefirst time all the elusive shades of red can be captured.And we've kept Plumbicon* tubes where they performbest-in the green and blue channels. The super-sensitive silicon diode tube lets the IVC-500 operate in100 foot candle settings rather than the normal 200,producing beautiful pictures. Light and air conditioningbills drop while performers' comfort increases in thecooler environment. Strong on remotes, the IVC-500'soutdoor or arena colorimetry looks like studio qualityeven at 10 foot candles. It's compact and highlyportable. In comparative demos against more expensivebroadcast cameras, chief engineers invariably identifythe IVC-500 as having superior colorimetry. A truebroadcast camera at a price you can afford. Write or callto arrange for a demonstration.Trademark of N. V. Philips

the 500 from . . .

CO IVOInternationa Vudeo Corporation

e're bringing new thinkingabout color recording to

broadcast television (and morestations every month arehelping us prove our point)

It's happening in broadcast markets from the West Coastto New York. From Canada to Mexico. For the first timebroadcasters have a realistic alternative to high -costquadruplex color recording. It's the versatile IVC-900 SeriesBroadcast Color Videotape Recorder with Time BaseCorrector. A natural for network delay, sports programming(31/2 hour recording time), locally produced origination orcommercials, including both remote vans and studioproduction work (playback synchronously throughswitcher/fader, special effects generator)-even dub toquad if required. Initial investment far less than for quadmachines. Head replacement costs are reduced by a factorof five. Tape costs are one-third of quad in normal use.It all adds up!

rack mount

the 900 from . . .

International Video Corporation

IVC SALES AND SERVICE OFFICES690 North Broadway 35 Executive Park Dr., N.E. 1920 Waukegan Rd. 30 Baywood Rd. 675 Almanor Ave.White Plains, N.Y. 10603 Atlanta, Ga. 30329 Glenview, III. 60025 Rexdale, Ontario, Canada Sunnyvale, CA 94086(914) 761-7820 (404) 633-1462 (312) 729-5160 (416) 749-7539 (408) 738-3900Bob Henson Dennis Christensen Coyle Dillon Emil Adamyk Dick Reilly

BROADCAST

EQUIP741ENTFar more information,

circle boldfacednumbers on Reader

Service Card

Maintenance accessories for openreel, cartridge, and cassette tape re-corders and reproducers include pro-fessional items for cleaning, degauss-ing, erasing, splicing, head alignment.QM Series also has several dual-purpose products: they clean and de-magnetize, or clean head and capstan.NORTRONICS. 275

Four -Mixer monophonic audio con-sole has keys for selection of any of13 inputs. Studioette 80, successor tothe widely used Studioette, accommo-dates four microphones, three turn-tables, two open -reel and one cartridgemachine, network, remote, and threeutility inputs for special station needs.Outputs are one program, two mutedspeakers, one non -muted speaker, onecue bus for accessory amplifier/speaker. GATES. 276

Dual -channel audio console has eightmixing inputs, with push-button selec-tion of three external sources to eachmixer. Model B-803 normally assignsthree mixers to low level mike inputs;four to medium -level unbalanced in-puts, such as turntables and tape play-ers; and the eighth to medium -levelbalanced inputs, such as network linesor remote lines. MCMARTIN. 277

Character generator for TV is por-table, entirely self-contained. ModelD-2400 allows simultaneous presenta-tion of two displays, one on -the -air

MODEL D-2400

COMPACT4 -PAGE STORAGE2 -CHANNEL8 DISPLAY ROWSOPTIMUMx SIRECHARACTER

and the second being prepared,changed, previewed on the previewoutput. Characters are 32 scan -lineshigh; one -row horizontal crawl isavailable; up to 32 one -row titles canbe stored for sequential display. Con-nectable to teletype or computer forinstant display for election results, forexample. $4500. DATAVISION. 278

Low -light -level portable VTR is bat-tery -powered, has built-in electretcondenser microphone, zoom lens,and electronic viewfinder showing pic-ture as it will appear on TV screen."Total Darkness Porta Pack" canproduce clear pictures with one -thousandth of a foot-candle of face-plate illumination.

It is highly sensitive to infra -red,good for very dark conditions. Re-cording and playback time are 30 min-utes on 7.5 ips, 1/2 -in. tape, with bet-ter than 300 lines horizontal resolu-tion. GBC CCTV CORP. 279

Miniature ceramic reed filters have aconstant bandwidth independent offrequency, and can set adjacent sig-nals at intervals of 15 Hz and 30 Hz.Matsushita reed filters are small andlightweight, have high stability, resis-tance to vibration and shock, sharpselectivity. MATSUSHITA. 280

Solid-state microwave radio is forcommon -carrier applications in the10.7 to 11.7 GHz band. MA -12Ghas maximum output of 1.5 watt, istype accepted by the FCC for 1200message channels FDM, or 288 PCMchannels using VICOM PCMT car-rier multiplex. Frequency stability is.005%, crystal referenced; receivernoise figure 11 dB (7 dB with optionalTDA); video S/N is 70 dB. Optionsinclude: hot standby, space diversity(dual polarization for PCM), continu-ity pilot, service channel, fault alarm,up to 4 subcarriers for 15 -kHz audio.MICROWAVE ASSOCIATES. 281

Random selector for carousel systemis complete within itself, uses IC logiccircuits, no relays. Basic 50, designedfor APT -3 Broadcast AutomationSystem, allows a skip of any carousel

position. $645; double, 100 -selectorunit, $995. AITKEN COMMUNICATIONS.

282

Single -channel VHF amplifiers andband-pass filters are designed forMATV systems. Series 7400 am-plifiers include 12 models, one foreach channel, with 51 dB gain, AGC,back -matched input and output moni-tors. Series 7300 filters are high -Qband-pass with 5 -section helical coilresonator filters. CHANNEL MASTER.

283

Studio monitor stereo amplifier typi-cally supplies 100 watts continuouspower per channel into 8 ohms, 180watts per channel into 4 ohms. ModelD-150 is rated at less than 0.05% IMat 75 watts per channel, less than0.05% THD. Noise is 110 dB below75 watts output. Phase responseis ± 15 degrees, 20-20,000 Hz. $399without panel, $429 rack mount.CROWN INTERNATIONAL. 284

Automation programmer gives fullrandom access to up to 36 carouselsor other multiple cart units, plus upto 90 separate audio sources. ModelAR -2000 permits pre-programmingof, and access to, 1000 or more pro-gram events via an easy -to -use 10 -di-git keyboard. Greater memory can beadded. One panel display shows event

in progress, another shows any eventin the memory. Punched -tape pro-gramming, covering several days, isan option. BROADCAST PRODUCTS. 285

Electrostatic stereo headphones claimvirtually flat response over entire au-dio spectrum. Model PEP -77C haschoice of polarization self -energized orfrom 117/VAC power supply. Powersupply is in control console suppliedwith phones which accommodatestwo sets of phones and has phones -speaker selector switch. $99.00.SUPEREX. 286

Stereo mixer kit can be constructedinto a six -input stereo mixer, with anyinput switchable between microphoneor line sources. Prokit SM-6, in addi-tion, can be switched to supply



Ampex -rebuilt VTR Videomax-rebuilt VTRquad head. Good as new. quad head. Beater than new

Choose Videomax, and you get a refurbishing job so goodthat your head will actually perform better than it did whenyou bought it. We install a new drum with features the orig-inal one didn't have. We rebuild and test to tolerances ofmillionths of an inch. We treat your head like a patient,keeping detailed, 64 -parameter records that include even avideo-taped "headprint." We label your head to certify thatthe operation was a success-that all parameters have beenmet or exceeded. And our doctors are broadcast engineers-men with practical, first-hand experience in the design,manufacture and use of professional VTR equipment.

Ow field experience has so conclusively demonstrated thewearing qualities of heads rebuiltwith new, long -life Video -max tips that we've extended our warranty 20 per cent-from125 to 150 hours-at no increase in price. We're sureenough of our work to offer you, in addition, a money -backguarantee.

Don't worry, you won't be the first to try us. Networks use

us. Independent stations use us. Major teleproduction facil-ities use us. Since introducing our service a year ago we'vebuilt a list of customers* throughout the United States andLatin America. And more than 40 per cent of our currentactivity comes from repeat business. Because head re-building is our only work, we have to do it well.

Service? Ten working days or less-for all customers, bigand small.

So please call us or write for more information. Find cutnow why your new choice is your logical choice.

'Write us. and we'll gladly send you the complete list

videomaxA__k lX

J TM

Corporation154 San Lazaro Ave., Sunnyvale, Calif. 94086Phone: (408) 739-5391


For

Virlq,Ornr)Xservice

across thenation -call

TeleMationTeleMation systems/sales offices:Arizona

TELEMATION ARIZONA, INC.Phoenix /(602) 252-1746Arkansas* TELEMATION SOUTHWEST, INC.Liltle Rock / (501) 565-0956California

TELEMATION CALIFORNIA, INC.Burlingame / (415) 348-3322* TELEMATION CALIFORNIA, INC.Los Angeles /(213) 641-3755it TELEMATION CALIFORNIA, INC.San Diego / (714) 278-9680Colorado

TELEMATION COLORADO, INC.Denver / (303) 433-8603Connecticut* TELEMATION EAST, INC.Norwalk / (203) 847-7231Georgia* TELEMATION ATLANTA, INC.Doraville /(404) 451-1801Illinois* TELEMATION MIDWEST, INC.Glenview / (312) 729-5210Indiana* TELEMATION MIDWEST, INC.Indianapolis / (317) 353-8005Maryland

TELEMATION EAST, INC.Beltsville /(301) 937-8700Massachusetts

TELEMATION EAST, INC.Needham Heights / (617) 449-3322Missouri* TELEMATION MIDWEST, INC.St. Louis /(314) 962-5384Nevadasx TELEMATION SALES, INC.Las Vegas / (702) 384-4575New Mexico* TELEMATION NEW MEXICO, INC.Albuquerque / (505) 268-6016New York

TELEMATION EAST, INC.New York City / (212) 687-0370Oklahoma* TELEMATION SOUTHWEST, INC.Tulsa / (918) 836-6467Texas* TELEMATION TEXAS, INC.Dallas / (214) 247-9684

TELEMATION TEXAS, INC.Houston / (713) 681-7304Utah

TELEMATION SALES, INC.Salt Lake City/ (801) 487-5399Wisconsin

TELEMATION MIDWEST, INC.New Berlin /(414) 786-1280

1311TELEMATION

RIAA-equalized phono inputs on in-puts 5 and 6. Two or more of themixers can be stacked to go beyondsix inputs. Kit, $299; wired, $499.GATELY. 287

Electronic digital clock is 1/2 -in. thick,completely self contained, can bemounted on the outside of a panel.Model DC 1400 is all solid state, useslarge LED's for standard readout, hasBCD outputs for compatibility withcomputers and other instruments. Ithas complete selection of timeranges: 11:59:59, 11:59.99, 11.999,23:59:59, 23:59.99, 23.999, etc. Un-der $250. NATIONWIDE ELECTRONICSYSTEMS. 288

Another form of electronic digitalclock generates the characters as vi-deo signals for display on TV moni-tors. Video Digital Clock system canfeed any number of remote monitors,with a single 75 -ohm coaxial cable to"daisy chain" the monitors to the cen-tral clock. Characters are 11/2 -in. highon 9 -in. monitor screen, larger on

larger screens. Available are varioustime ranges, 60 -Hz line frequencytime base or internal oscillators, par-allel or serial BCD data outputs.$1910 and up. CHRONO-LOG CORP.

289

Digital multimeter has 25 ranges in-cluding ac and dc voltage ranges from100 millivolts to 1000 volts, currentfrom 100 microamps to 1 ampere andresistance from 1000 ohms to 10megohms. Model 8120A over -rangeson all ranges by 20%. All range selec-tions are by push button. $795. FLUKEMFG. CO. 290

Encoder and decoder for synthesizedfour -channel sound use "matrix" sys-tems. Quadrasizer I (encoder) putsthird channel equally and in phase onleft and right, fourth channel equallyand out of phase. Quadrasizer II (de-coder) recovers ambient sound fromany two -channel source, sends it torear speakers Encoder, $59.95; de-coder, $19.95. SOUND SYSTEMS IN-TERNATIONAL. 291

Mounting head for TV and moviecameras is balanced under load withlittle or no drag at any angle throughthe 45 -degree up or down tilt. "Tan-gent" head has constant equilibriumand stability at all angles, responds tofingertip pressure. It can be used in

tracking, laser, and microwave workalso. Load capacities from 25 to200 -plus pounds. HF PHOTO SYSTEMS.

292

Color video monitor is produced bymodifying Sony's solid state Trinitroncolor TV receiver. VACC Color TVMonitor has BNC looping input con-ne:tors, complete power line isola-tion. $495 in cabinet; $525 for rackmounting. VIDEO AIDS CORP. OF

COLORADO. 293

Tape recorder series supplies variedtape formats with plug-in head assem-blies. E200 also has plug-in cards togive preset bias and equalization for

each speed. Capstan units are inter-changeable, with two -speed motorscovering 3-3/4 and 7-1/2 , 15 and 30ips. Noise, unweighted, is 62 dB be-low peak level on full track at 15 ips,60 dB below peak on stereo. Wowand flutter over a bandwidth of 200Hz total 0.06% at 30 and 15 ips.LEEVERS - RICH EQUIPMENT LTD.(LONDON ) . 294

UHF broadband Yagi antenna coversfrequency range 450 to 470 MHz, or406 to 420 MHz. Model CA7-460 has10 dB gain, over dipole, VSWR ofless than 1.35, front -to -back ratio of15 dB. $85. SCALA. 295

Radiation -cooled transmitting tetrodehas low -temperature filament to ex-tend life. Model 4-400C has max-imum plate dissipation of 400 watts,is intended for use as amplifier, oscil-lator, or modulator. It is directly in-terchangeable with the earlier 4-400A.EIMAC DIVISION OF VARIAN. 296

Trunkline amplifier for CATV hasboth forward and reverse capability.Model XR-2 is an "all -push-pull" de-sign, covering 54 to 300 MHz for-ward with two pilot tones; reversecircuits cover 5 to 30 MHz with onepilot tone. KAISER CATV. 297

Bulletin alarm for news tickers countsbell signals, alerts personnel of incom-ing important information with an il-luminated display panel. Unit ignoresunimportant testing and office signal-ling. $195. BROADCAST AUTOMATIONASSOCIATES. 299

continued on page 44


DD3©

Puts a dark border aroundyour keyed -in lettering or artwork

Compare the top screen with TMI Borderline to the one below

Borderline makes lettering, logosand artwork stand out against thelightest background. Increasecontrast and readability. MakesTV viewing more enjoyable.Thousands of uses in sports,news reporting, commercialsand special events. Add dra-

matic impact to lettering even cnthe lightest background.

VIDEO DELAY LINESWide band fixed delay linesreplace bulky cables and pas-sive equalizers. Any incrementof delay from a few to hun-dreds of feet is available.Continuously variable delaylines allow you to easily handleproblem areas of changingsource delay. A single unitreplaces cable, equalizer andamplifier-up to 275 feet ofcable delay.

VIDEO DELAY MODULESBroad experience in producing delaylines ranging from a few nanoseconds tolarge ultrasonic quartz delay lines usedin video field storage systems have re-sulted In this advanced I -H module.Applications include zero delay ampli-fiers, comb filters, vertical aperture cor-rectors, drop -out compensators, videoinsert edging, video disc systems.

OP.- 1

For more information contact Dick McLean, (203) 242-0761.1111

LEI F71014-11 TELEVISION MICROTIME,INC.II I. .-,,,MEM M a subsidiary of

11111Aiiiii. ANDERSEN LABORATORIES, INC.1280 Blue Hills Avenue, Bloomfield, Conn. 06002 (203) 242-0761 TWX 710-425-2390


Title keyer/edgers generate titles andinsert them into program video. Mod-el 906 puts in title, also generates andedge on all transitions with a horizon-tal video component. Model 906-7has color in addition. Models 906Band 906-7B function the same, re-spectively, but put edges all aroundtitle. All are downstream devices.906, $1275; 906-7, $1490; 906B,3035; 906-7B, $3250. OMNIX. 298

One -kilowatt AM transmitter has asolid-state oscillator, and controlfeatures readily adapted to remotecontrol. Model BC -1H is completelyself-contained in a single six-foot highcabinet. A built-in dummy load is rat-ed for a full 100% modulation; im-proved antenna to dummy loadswitching eliminates the need for anytools. Overload protection recyclesthe transmitter up to three times, thenshuts it down if the overload is stillthere. Power reduction to 500 wattsor 250 watts is a screwdriver adjust-ment. The transmitter is FCC type-acepted. GATES 300

Video switcher/special effects gener-ator is self contained, provides thefunctions for vertical intervalswitching and all the most useful spe-cial effects. Model 610C (color ver-sion-Model 610-is monochrome)will produce lap dissolves from theswitcher fader; also, fades, super, hor-izontal, or vertical wipes with faderbar, corner inserts or wipes, splitscreens, and many others. CLEVELANDELECTRONICS. 301

Solid-state phase -locked oscillator forthe 12 GHz region, originally de-signed for CATV local distributionsystem, is also well -suited to CARS -band applications. CARS/CATV Sig-nal Source has a nominal 25 mil-liwatts output, delivered to a WR-75waveguide output flange. Oscillatorlocks to either external or internalreference, has free -running frequencystability of ± 0.02%. A 50 -mw ver-sion is available. MICROMEGA DIVI-SION/BUNKER RAMO. 302

Single -system portable 16mm camerahas a magnesium body and configura-tion aimed at comfortable hand -holding balance. CP-16 has a crystalmotor, control circuit, and NiCadbattery, all located within the camerabody. The camera was designed fortelevision news and the documentaryfilm maker. $3850 (lens and maga-zines additional). ALAN GORDON EN-TERPRISES. 303


COLOR MONITORING FOR UNDER $400...AND THE QUALITY SPEAKS FOR ITSELF!

Listen to what Otto Claus, Chief Engineer,WBAL-TV, Baltimore, says aboutgeneral purpose monitoring with RCA'S low-cost commercial color receiver:

"Our onlyregret is that

these unitswere notavailablesooner"

"Every oneof our 17 units

has operated perfectlyfrom original

turn on."

0300

r ---"The qualityof reproduction

of thesereceivers...is morethan adequate

for all butthe most--Li exacting monitoring

functions."

Unlike color sets intended for home use, this receiver is equipped to accept RFor bridged direct video and audio line feed without the need for costly adaptors.For under $400, you get every non-critical monitoring function you canask for - picture, sound, live or tape,color or monochrome. It's especiallysuitable for monitoring needs back-stage, for the band, for the audience,and similar applications.

For complete details, send the cou-pon. We'll show you cold cash reasonswhy RCA's commercial color TV isyour best answer.

RCA AccuColor0

T -RCA Service Company A-143A Division of RCACommercial Products Sales, Bldg. 203-3Camden, N. J. 08101

Please furnish further information aboutRCA commercial color sets for broadcastmonitoring purposes.

Name

Title

Station Phone

Address

City

iState Zip



WhatSan Francisco's

Channel 5 looks likefrom San Jose

Signals received using an RF amplifier Signals received by a TFT Model 701 TVfront end Monitor (no RF amplifier)

The test results shown here tell the story-no RF amplifier meansgreater accuracy. Both photos are unretouched and were made underidentical conditions with a HP 8555A Spectrum Analyzer: vert. = 10dB/div.; hor. = 5 MHz/div. The test: to monitor San Francisco's Chan-nel 5 from 40 miles away.

The photo on the left shows the result using a 20 dB RF amplifier.You not only get the channel you're after, you also get other stationsand intermodulation products.

The photo on the right shows the performance of a TFT Model701 (no RF amplifier). You pick up only what you want to measure-the visual and aural carriers, plus the color sub -carrier. And TFTmonitors-with advanced receiver design-are the only ones that giveyou this kind of off -the -air performance-on both UHF and VHF.

You can also get this kind of accuracy in an Aural Modulationonly unit: Model 702. It fits right in with existing frequency monitoringsystems.

So, if you want "3rd Generation" accuracy in TV monitoring,specify TFT. More than 40 stations have installed TFT instruments-for both local and remote monitoring-since introduction at the '71NAB. And the number's growing all the time. We'll be glad to sendyou a current list.

For full specifications and/or a demonstration on your frequency(it takes only 20 minutes), call or write TFT. Representatives through-

out the U.S. In Canada: Tele-Radio Systems. In Mexico andCentral and South America:Carvill International Corp.

The TFT Model 701 carriesFCC Approval No. 3-187; Model702 carries FCC Approval No.3-189. Both comply with all rel-evant FCC requirements for lo-

Automatic Logging Adapter and Digital Clock. cal and remote monitoring.Model 701 rack mounted with Model 705

TIME AND FREQUENCY TECHNOLOGY, INC.2950 SCOTT BLVD., SANTA CLARA, CA 95050 (408) 246-6365

NEW

LITFor copies of these literature offer-ings, circle numbers for appropriateitems on Reader Service Card.

Thin rotary thumbwheel switches arecovered in an 8 -page catalog, includ-ing mechanical and electrical specs,truth tables, mounting drawings. Elec-tronic Engineering of California. 200

Directory of FM Stations in U. S.and Canada lists them alphabeticallyby city and state, and also by assignedfrequency. 79 pages. Price, $1.95,from Sherwood dealers or SherwoodElectronic Laboratories Inc., 4300North California Avenue, Chicago,60618, directly.

How to use television character gen-erator is described in brochure, in-cluding production of TV captions,CCTV training material, betting oddsdisplays for racetracks, and manyothers. Datavision. 201

Hard copy messages from a mobileradio, using the Xerox mobile printer,is the subject of a booklet, showinghow to incorporate the unit into exist-ing communication networks. Xerox.

202

Detailed technical description of newnoise measuring unit-EGT, andmethods for precise wave analysis to500 MHz, are two main articles in"News 47," which also carries a num-ber of other equipment descriptionsand application notes. Rohde andSchwarz. 203

"Underground Systems for the '70's"is the title of a booklet showing manycombinations of equipment to handletrenching, direct -burial line -laying,horizontal boring, digging, backfilling,dozing. Davis Mfg. Co./Div. of J. I.Case. 204

Industrial receiving tubes, as well asthose for entertainment equipment,are covered in new receiving tubemanual, Technical Series RC -28,which has 784 pages and describesmore than 1600 tube types. Applica-tion notes have been updated sincethe previous edition. RCA. 205

Flat -bonded, round -conductor ribboncable is subject of a data sheet whichsupplies complete technical specifica-tions and ordering information onwide range of conductor numbers,gauges, colors, etc. A sample of thecable is attached to the data sheet.Bi-Tronics, Inc. 206

46


JANUARY, 1972-BM/E

to allrecording

andbroadcast

studios

THE SANSUI OSE-1 IS ALL YOU NEED TOENCODE 4 FULL -FIDELITY CHANNELS

-AND NOTHING ELSE.Just add it to your existing equipment for Instant

conversion and here's what you have going for you:(1) It yields accurate sound -source location In every

direction for startling live -sound ambience.(2) It's in broadcast and recording use today with

outstanding results.(3) A complete line of complementary Sansui home

hardware is available now. In fact, thousands of Sansuidecoders are in users' homes already.

(4) It's compatible with 2 -channel stereo and otherfour -channel matrix systems.To be more specific:

Its ingenious -±"J" phase shifters completely elim-inate the signal dropouts and shifts in sound -sourcelocation that plague other matrix systems. Its symmetri-cal treatment of all four channels can accurately pick upand relocate in reproduction any sound source over afull range of 360°-so there are no limits to total free -

POWERON

OFF

DECCIDERINPUT

DiRLCT

0

LEFT FRONT RICHT FRONT

IMOLEFT REAR RIGHT REAR

INPUT TESTPA

RE

LortRE

Li- -Lrta

USE 14+11*

BLEND'sus

FRONT RE AFIN IN

Jr T Out

SAFE rY TEST

ri .1. A The Symbol of Sansui 4Chonnel Sound.

Sansui Electronics Corp.

Sansul Electric Co., Ltd.

Sansul Audio Europe S.A.

Vernitron Ltd.

JANUARY, 1972-BM/E

New York

Los AngelesTokyo

Belgium

Germany, W.U.K.

dom and flexibility in using creative studio and psycho -acoustic techniques. And present standards of frequencyresponse, signal/noise ratio and dynamic range aremaintained.

It reproduces flawlessly on present two -channelstereo and monophonic equipment. And it will producefour -channel output not only through matching Sansuihardware, but through all other available decoders-andthere are 600,000 of them world-wide today.

Thousands of them are Sansui QS -1 Synthesizer/Decoders that will decode it flawlessly. So will any of thefull line of matching Sansui 4 -channel receivers and con-verters for existing two -channel systems-made by themost respected name in stereo today throughout theworld, and a recognized pioneer in four -channel sound.

Can you afford not to make this simple addition?Experiment with one right now. Learn what other re-cording and broadcast studios everywhere, now workingwith the QSE-1 Encoder, are finding out for themselves.Confirm their astonished conclusions.

Sansuie_For full details,contact your nearest Sansui office now.

SANSUI ELECTRONICS CORP.32-17, 61st Street, Woodside, N.Y. 11377. Tel.: (212) 721-4408. Cable: SANSUILEC NEW YORK.

Telex: 422633 SEC UI.333 West Alondra Blvd. Gardena, Calif. 90247. Tel.: (212) 532-7670.14-1, 2-chome, Izumi Suginami-ku, Tokyo 168, Japan. Tel.: (03) 323-1111. Cable: SANSUIELEC.Telex: 232-2076.Diacem Building Vestingstraat 53-55. 2000 Antwerp. Tel.: 315663-5. Cable: SANSUIEURO ANTWERP.Telex: ANTWERP 33538.6 Frankfurt am Main, Reuterweg 93. Tel.: 33538.Thornhill Southampton S09 50F. Southampton 44811. Cable: VERNITRON SOTON. Telex: 47138.

Circle 120 on Reader Service Card47

Replace

MercuryVapor

Tubes

Directlywith

"

Silicon RectifierStacks!Because...D Only non -encapsulated WILKIN-

SON Silicon Rectifiers can be re-paired in seconds with low-costreplacement diodes!

E Exclusive "GO, NO GO" indicatorautomatically warns when the re-verse leakage of any diode is inexcess of 50 microamps.

E Only WILKINSON Silicon Rectifi-ers are available in a completetube replacement range of from866 to 857B.

WILKINSON Silicon Rectifiersfunction in ambient temperaturesof from - 85 F to +158 F.

No more filament heat and conse-quent filament burnout ... lowerpower cost and reduced hum, too.

E No warm up time is necessary ...instantaneous operation!

E Just plug in WILKINSON SiliconRectifiers... no re -wiring isnecessary.

E Only WILKINSON Silicon Rectifi-ers are fully guaranteed and havea safety margin well in excess oftube rating.

For complete details write today to:

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1937 MAC DADE BLVD. WOODLYN, PA. 19094TELEPHONE 1215) 874-5236 874-5237


Audio file Continued from p. 36

recently emphasized this in a state-ment aimed at the confusion on thesubject. All Pickering cartridges aredesigned for use with all two- andfour -channel matrix -derived sys-tems," he said, and the same appliesto high -quality stereo pickups of ev-ery make.

Matrixing systems themselves. Amore basic kind of compatabilityproblem now weighing on the FMstation operator is that created bythe various matrix systems that areslugging it out for domination of thefour -channel stereo scene. The Elec-tro-Voice system has made a siz-able impression in broadcasting, butSansui, and later Columbia's SQ,have begun to fight for a place onthe map.

Electro-Voice has made a com-mendable response by announcing anew decoder (to be ready shortlyafter this sees print) that will workwith any of the prominent systems,including the Columbia. Aside fromformal announcement, however,BM/E's conversations with some ofthe principals (not yet publishable)give the strong impression that themajor contenders are working alongconverging lines. The theory ofmatrixing is getting an intensivegoing over; all the major makers areputting in steady improvements(whether announced or not); itseems likely that sometime in 1972we will have arrived at the strain -relieving situation, for the FMbroadcaster, that almost any system

Your best buyin a Professional10-1/2" StereoBroadcast Recorder

LAD 6

/IMIM INOM

INNERINM

IM211-1221

TEAC 7030 SLM Heavy duty hysteresis/synchronous

3 -motor transport 600 ohms, 0db output Available in rack -mount or console Separate Record/Play amplifiers may

be used for mono Now in -stock for immediate delivery

available only from$900

R.BROADCAST PRODUCTS, INC.j V WOO net Lone Rockville Mel

Phones C3013 4E4-4700


he adopts will be viable for alldecoder -equipped listeners, and at aconsiderably higher level of efficien-cy than in the past. This may be abit too optimistic, but the trend isreal; we should pray that it acceler-ates. -Robin Lather

NAEB Continued from p. 38

camera which incorporates automa-tic color correcting features.

Crowds also gathered at theGates exhibit to see compressed tel-evision (otherwise known as slow-scan TV). Gates transmitted pic-tures (one every seven seconds)over an FM SCA channel. Thebandwidth compressing equipmentwas made by Colorado Video, Inc.Telestrator showed several devicesthat would transmit graphics dataat audio frequencies.

Kliegl Bros. staged some interest-ing demos using its Q-File-a ran-dom-access memory control for TVstudio lighting. Aiming an array oflights at plastic sculpture, visitorssaw 73 scene changes take place in2-1/2 minutes.

Broadcast studio equipment was

noticeably absent, except for quadVTRs at the Ampex booth andIVC's broadcast -quality helical scanVTRs.

For more information on new productsat NAEB, circle the corresponding num-ber on the reader service card:-

Sony 3/4 -in. cassette VTR 400Panasonic 3/4 -in. cassette VTR 401Sony tape duplicator 402Telegen SECAM system 403Dynasciences tape editor 404Dynasciences video processor 405Dynasciences image enhancer 406Danscoll production switcher 407TeleMation super 8mm projector 408TeleMation NTSC color encoder 409Magnavox color cameras 410Commercial Electronics CEI 280 411IVC-150 color camera 412Ampex CC -500 camera 413Cohu automatic telecine chain 414Gates compressed TV 415Klieg! random-access lighting

control 416


ALTEC'SNEW

REAL TIMEAUDIO ANALYZER

A major price breakthrough at $3018!The same acoustical display thatyou get with instruments costingmany thousands of dollars more isyours with the new Altec model8050A Real Time Audio Analyzer.Altec quality, through and through,this fine precision instriment offersyou these important features.

Frequency range: 40 Hz to 16 kHz in 27 contiguous1/3 octave bands.Dynamic range: (3.16 mV to 3.16 V rms)Display range: 20 dB on self contained 1'/2" highby 2Y2" wide cathode ray tube screen.Continuously adjustable by means of a front panelcontrol.Detection Mode: RMS SLOW or RMS FASTThe dynamic characteristics are in accordancewith IEC 179.Detector accuracy: For tone burst signals withcrest factors of less than or equal to 3:±0.5 dB withrespect to the steady sine wave indication.For Gaussian random noise ±0.2 dB with respect

ALTECANING

To: Altec, Attention Don Davis

to steady sine wave indication.Input: Input impedance is 100 kilohms. For steadysine wave signals the preamplifier will acceptlevels up to 30 dB above full scale indication.Scanning: Internal scan covers the 27 channels inapprox. 30 ms.Dimensions: 163/4" wide, 5" high, 11" deep.Weight: 18.7 lbs.This instrument is available FOB your nearest AltecAcousta-Voicing Sound Contractor where you maysee it in action. Fill out the coupon and we'll sendyou his name and address and complete details.*Plus appropriate taxes.

name

1515 S. Manchester Ave., Anaheim, CA 92803 company affiliation

Please send me complete information-including a specification data sheet-on thenew Altec 8050A Real Time Audio Analyzer.

Also, send me the name of the nearest AltecAcousta-Voicing Sound Contractor where city

I can see the new 8050A in action.

address

state zip B1

The world's largest exclusive manufacturerof sound equipment: stereo components &speaker systems, complete public addresssystems, broadcast & recording equipment. musical entertainment equipment. telephone products, and intercomsystems.


JANUARY, 1972-BM/E49

Talk is big continued from page 20

pears to have been strongly influenced by the U.S.space program. The new WMCA broadcast centerhas a complete set of back-up systems for all tech-nical facilities, any of which can be activated byan engineer simply by flipping a switch. Every con-trol console is equipped with two channels per in-put, A and B. Additionally, every tape recorder inthe station can be switched to any studio. And, incase of failure of the routing switcher, a patch panelcould be used.

In addition to special lines provided by Con Edi-son, the station has its own emergency standby gen-erator to provide power for the entire studio areain event of a blackout. And, as mentioned, themulti -line call director is backed up in case of fail-ure with a complete set of call -in lines. Even theair conditioning has its own back-up system.

With all this redundancy, Kanner is positive he'llnever have to ask the mayor, or any other distin-guished guest, to relocate to another studio becauseof technical difficulties.

And, if Kanner does have a failure in one chan-nel, he's sure he can repair it quickly. The prin-cipal reason for using dc control on the consolewas to simplify the audio line routing and makeeverything more accessible. All audio signal cablesgo directly to the distribution rack which stands freein its control room so it can be gotten to readilyfrom the front or back. Most amplifier modules are

Keeping Callers Captivated

As described in the text, WMCA keeps its callers'language clean with a panic button which caninterrupt a delayed broadcast. Keeping callers'conversation sparkling is another matter. WMCArelies on top-flight air personalities to keep pro-grams fast -paced and far from boring.

There are pros like Bob Grant (10 a.m. to 1 p.m.)who followed in Joe Pyne's footsteps until he tookover for himself at KLAC before coming to WMCA.Fred Gale, whose style has been described asmellowed acid, creates an interplay with listenersbetween 1 and 4 p.m. that's never dull. JackSpector keeps a Sports Call hot every evening.Leon Lewis keeps night owls tuned -in with warm,easy-going conversations with many interestingguests.

The day starts off with Bill Scott on News Call,6-9 a.m., who spices things up with his own obser-vations. Callers take off on him at times. Dr. JoyceBrothers takes calls on sex, drugs, money, work-ing mothers, wandering husbands and disobedientchildren. There are daily celebrities (along withBarry Gray and his famous nightly Barry Grayshow). Other personalities appear on weekendshows. The Paul Harvey news show is also run.

interchangeable. All announcer turrets, describedearlier, are interchangeable. It's like that through-out the station. If there ever is any down -time atWMCA, it probably won't cost Kanner more thanone puff on his pipe. BM/E

a newmcmartin monitorfm frequency & modulation

1111==1111

TBM-3700 $1,350.00The new McMartin TBM-3700 combines FM frequency deviation andmodulation percentage monitoring in a single rack -mount unit. The twofunctions are independent of each other. Frequency measurement orcalibration adjustment has no effect on modulation monitoring or audiofeed to house monitoring systems.AM and FM signal-to-noise ratios may be read directly as well as theinherent internal noise level of the monitor. Automatic calibration of the100% modulation level is made internally.The TBM-3700 is compatible with the McMartin TBM-2200 andTBM-2000A for stereo and/or SCA monitoring.Long the leader in FCC Type -Approved monitoring equipment, McMartinexpands its "full -choice" line of broadcast products with the TBM-3700.For full details, contact: Broadcast Product Manager (402) 342-2753

McMartin605 north thirteenth street omaha. nebraska 68102


0 4.-"siv-epo242.--se-e-4-.

Compressor

Amplifier

(The Great

You can stop ridinga shouter and whisperersame talk show. TheCompressor -Limiterautomatically . . . instantaneouslyfor both AM and FM.permit symmetricalcal (AM) peak limiting;or flat response; compress/limit,press only, or compress/limitmatic gain controlnamic, and the compressionbetter than 10:1. Allmodular constructionfree reliability. Writetails.

BROADCAST ELECTRONICS,illmway

-Limiter

Leveler)gain now,

ModelAmplifier

Switchable(FM)

pre

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solidassuresfor

Company

Spring.

even whenare on theCLA 20/40

does it. .

controlsor asymmetri-

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off. Auto-is 40 dB dy-

ratio isstate, plug-in

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INC.A

8810 Brookville Rd., Silver Md. 20910

50JANUARY, 1972-BM/E

Shopping for lenses?Compare Canon !

Draw up a checklist that includesprice, specifications and image bril-liance, then start comparing cata-logues. You'll probably come up withthe Canon answer, like so many majorcamera producers-for broadcast 1"or 11/4" PLUMBICON® or CCTV 1"2/3" vidicon.

Stack these two Canon popularityfavorites against anything else on themarket and see what we mean.The Canon TV Zoom LensP17X30B2 has an impressive1:2.5 relative aperture atfocal length range (440-500mm), in spite of its17X zoom ratio. At 30-440mm it's a remarkable1:2.2, offering the same per-formance as our P10X20B,specially designed for maximum ver-satility with three different range

extenders.Both are ideal for a variety of situa-

tion, including dim lighting and openareas like field events.

Here are some other examples ofthe wide Canon line:

P10X2OB

Manual

Name Range of Focal Length Zoom Ratio Maximum Relative Aperture

11A"PLUMBICON P17 x 30B2

P10 x 20

30-500mm20-200mm

1 : 17

1 :10F 2.2

F 2.2

1" PLUMBICON PV17 x 24BPVIO x 16PV10 x 15B

24-400mm16-160mm15-150mm

1 : 171 : 101 : 10

F 1.8F 1.6F 2.0

1" Vidicon V10 x 15V6 x 16V5 x 20V4 x 25

15-150mm16.9- 95mm

20-100mm25-100mm

1 : 101 : 6

1 : 5

1 : 4

F 2.8F 2.0F 2.5F 1.8

%" Vidicon J10 x 13

.1 6 x 13I 5 x 15J 4 x 12

13-130mm13- 76mra15- 75mm

12.5- 50mra

1 : 101: 6

1: 5

1: 4

F 2.8F1.9F 2.1F 1.8

Servorized/Motorized

Name Range of Focal Length Zoom Ratio Maximum Relative Aperture

114"PLUMB1CON P10 x 20134 20-200mm 1 : 10 F 2.2

1" Vidicon V10 x 15R (DC)V6 x 16R (AC/DC)V4 x 25R (AC/DC,EE)

15-150mn16.9-95mn25-100m ri

1:101 : 6

1 : 4

F 2.8F 2.0F 2.5

N.V. Philips of Holland

CANON U.S.A., INC.: 10 Nevada Drive, Lake Success, Long Island, New York 11040, U.S.A. (Phone) 516.488.6700 CANON

U.S.A.. INC.: 457 Fullerton Ave., Elmhurst, Illinois 60126, U.S.A. (Phone) 312.833-3070 CANON OPTICS & BUSINESSMACHINES CO., INC.: 3113 Wilshire Blvd., Los Angeles, California 90005, U.S.A. CANON AMSTERDAM N.V.: Gebouw 70,Schiphol Oost, Holland CANON LATIN AMERICA, INC.: Apartado 7022, Panama 5. Panama CANON INC.: 9-9, Ginza

5-chome, Chuoku, Tokyo 104, Japan CanonCircle 125 on Reader Service Card


Studio on wheels continued from page 33

made. Since the truck is often parked in the sun, wereally need a high -capacity air conditioner for thefullest comfort.

Fig. 7 shows the interior of the complete truck.

Platform on top

For our top platform, we mounted two pairs of-roof luggage carriers, and put on them eight -by -sixfeet of all-weather plywood, with a one -by -eightpiece on each side for stiffening. Rubber suctioncups went under the platform to help support it. Wehave had four people on the roof at once with nosigns of overload.

The antennas can be seen in Fig. 8. Theheavy pole on the back takes the Yagi; the ringantenna is mounted a little forward on the left.

Call letters and other identifying data are paintedon the sides of the truck. In addition, we put the callletters in reverse on the front of the truck, so theycan be read in the rear-view mirror of a car justahead of us!

During the three years we have used the van, wehave added a considerable number of other itemsthat turned out to be useful-among them:

Roll of single conductor wire 250 ft of ac cord and smaller extension cords 800 ft of microphone cable in assorted lengths

Six pocket transistor radios for portable monitors One good all -band transistor portable with head-phone outlet Wireless microphones Bogen RTP-1 remote amplifier Two Shure 565 microphones Two RCA lavalier mikes Various lengths of coax for antenna feed An extra ring antenna on a tripod A tripod for the Yagi Two storage batteries wired in parallel to operatethe Marti away from truck for long periods with-out running the truck engine Two-way radios from Department of Defensesurplus Two five -watt CB walkie-talkies and two smallerunits Patch cords and connectors to match almost anyequipment Spare phono styli Hand tools and soldering gun Compass for setting Yagi direction

The van, known here as the "Martinmobile," hasbeen an outstanding success. We can, indeed, go justabout anywhere and do just about anything wewant. If I had it to do again though, I would get atruck with a bigger, more powerful engine, with anon -slip rear end, and have the interior finished bythe manufacturer. Live and learn! BM/E

INN

... for your every broadcasting need, and with 100% financing!! It's faster, easier, and less costly for you to letSPARTA service your needs.A smooth and profitable operation is yours with SPARTA equipment because value is built in, in such a way thatdollar for dollar you can't find a better buy in quality broadcast products.Call or write us today and we'll send you colorful brochures detailing our complete product line.SPARTA HAS EVERYTHING!!!

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A DIVISION OF COMPUTER EOUIPMENT CORPORATION

Circle 126 on Reader Service Card52 JANUARY, 1972-BM/E

Without Exaggeration-The Most Authoritative &Useful Station Operating Handbook Ever Published!BRAND-NEW! An up-to-date comprehensive guide to broadcast station operation and management-

principally, how to operate a station as a profitable business and serve the public interest as well.

THE BUSINESS OF

RADIO BROADCASTING

Rout!

MORE THAN 350 PAGES, DEALING WITHHUNDREDS OF TOPICS including...The FCC-Guidelines, Philosophies, and Rules

The Station and the Federal GovernmentRelationship With Other Mass Media

Public Ownership of the AirwavesSelling the Station to Advertisers

Administrative ResponsibilitiesThe Station in the Community

Departmental OrganizationProgram Format Selection

V350 PAGES Financial ConsiderationsConduct Requirements

VAUTHORITATIVE Technical OperationsLiving With UnionsSalesV Managementphs

COMPREHENSIVE Sales PhilosophiesRecord Keeping

ONLY $9.95 PREPUBRate Structures

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CONTENTS: THE STATION IN THECOMMUNITY: Development of the PublicOwnership Concept; Knowing the Com-munity; The Station as a Public Forum;Community Oriented Promotions; TheStation as a Good Citizen; Relationship withOther Mass Media-SALES: SalesPhilosophy; Building the Sales Staff;Developing the Rate Structure; Mer-chandising and Sales Aids; Selling theStation to Advertisers; The National SalesRepresentative; Political Sales; SpecialRevenue Tactics; Sales Management; TheContinuing Sales Effort-PROGRAMING: Developing a ProgramPhilosophy; Department Organization;Staff Development and Maintenance; TheProduction Department; The NewsDepartment; Program DepartmentFacilities; Relationships Among Depart-ments-ADM I N ISTRAT ION: Ad-ministrative Responsibilities; Building theAdministrative Staff; Administrative Of-fice Quarters; Accounting Department;Record Keeping, General and Legal; OfficeEquipment; Administrative Policy;Unions; Station Policy Book; Ascertainingthe Value of a Radio Station-TECHNICALOPERATIONS:'TechnIcal Responsibilities;Practical Responsibilities; Building theTechnical Staff; Technical Paper Work;Technical Equipment; AM and FM Dif-ferences; Automation-REFERENCEMATERIAL FOR MANAGEMENT: FCCSummary; The FTC; Local Laws; TheFairness Doctrine; Section 315;Procurement of License; CriticalGuidelines and Rules; Reports to be Filedwith FCC; Penal Provisions-Index.

SAVE _$3.00on this SpecialPrepub Offer!

The Business of Radio BroadcastingBy Edd Routt, Assistant to the president, McLendon Stations;Instructor in Station Management, Southern Methodist University.Known throughout the industry as "The Old Scotchman " and recognized as an outstandinginnovator in radio broadcasting, Gordon McLendon says, "I believe we should deal with thisbook as the best living instrument on radio broadcasting...) wish I had written it." The truthis, in a way, he did write the book...through his leadership and his accomplishments. EddRoutt's magnificent contribution was to put together-in this one easy -to -understandhandbook-all the magic...all the knowledge gained in 20 years of broadcasting...thecomplete details which lead to successful station operation...based on the provenphilosophies of the McLendon organization.

The Business of Radio Broadcasting isthe first book which truly deals withbroadcast station operation from beginningto end. Directed toward helping and in-spiring those who hope to "make a mark" inthe industry, it clearly explains the moststrategic beginning positions, proventechniques to follow, and cautions to ob-serve. Such problems as keeping up withand adhering to FCC regulations, dealingwith labor unions, and handling personnelare discussed frankly and openly. Specificpolicies for stations in both major and minormarkets are thoroughly explored. Jobrequirements at all levels are covered ingreat detail. The problems, hazards, ac-complishments, and rewards of the businessare candidly evaluated.

The style of this long-awaitedpublication, although conversational andinformal (it reads as easy as a novel),teaches the terminology peculiar to thebroadcasting industry. Actual case studies,taken from the author's own experience,add realism and practical guidance.Destined perhaps to become the classic ofthe industry, this complete and com-

prehensi re text is a must for every personnow working in broadcasting, as well asstation libraries, broadcasting schools,teachers, and students.

Edd Routt ...broadcaster, educator, andadministrator...is a veteran of more thantwenty years in the business of radiobroadcasting. He has worked as a discjockey, newscaster, political reporter, newsdirector, salesman, assistant to thepresident of the McLendon chain of radiostations, and also as a general manager andowner. In addition to his current duties withMcLendon, Mr. Routt is an instructor inRadio Station Management at SouthernMethodist University.

"The Business of Radio Broadcasting" ispublished to sell at $12.95. But, if you ordernow, you can save $3.00. The SpecialPrepubhcation price of $9.95 prevailsthrough March 31, 1972.

Order today at our risk for FREEExamination. SEND NO MONEY! Simplyfill in and mail the handy NO -RISK couponbelow to receive your own copy of thisauthoritative and comprehensive volume.

Other Helpful Books On Broadcasting For Every Station!

HANDBOOK OF RADIO PUBLICITY PROMOTIONBRAND-NEW and up-to-date-geared to TODAY'S radioneeds! Here's the 372 -page,250,000 -word MUST book forstations wanting to attractmore listeners, boost ratings,increase sales and profits.Contains lust about all thesure-fire promotion and pub-licity ideas a radio stationmight ever need-over 1500 on -air promo themes; over 350

contests, stunts, station and personality promosthat can be profitably used by any station. Oneidea alone of the hundreds offered can be worthmany times the small cost of this indispensablesourcebook. Big 81/2" x 11" size in handsome 3 -ring binder.Order No. 213 ... only $29.95

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Put the information inthese books to workfor you for 10 days.If they don't prove

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VIDEO TAPE PRIOUCTION

COMMUIll'AlION

EE PIANO IE S

VIDEO TAPE PRODUCTION &COMMUNICATION TECHNIQUESBy Joel Efrain. A complete how-to -do -it handbook on video pro-duction, direction, and programcreation for broadcast, CATV,educational, and industrial ap-plications. Finally, here is ahandbook that covers videotape production techniques forthose who want to learn theart from scratch. The author hastaken a down-to-earth, how -to-

do -it approach to clearly explain every aspect ofthe subject. It is a practical text on techniques,with emphasis on production, beginning with thebasics, the rudiments of putting a program to-gether, and finally the direction of the corn-plete undertaking. 256 pps., 125 illus. Hardbound.Order No. 541 only $12.95

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TAB BOOKS, Blue Ridge Summit, Pa. 17214Please send me copies of "The Business of Radio Broadcasting" at theSpecial Prepublication price of only 59.95 (10% additional discount for 3 or morecopies).Also send me 213 ID 541

I encloses aPlease invoice on 10 -day FREE trial.

Name

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Address

City State ZipSAVE POSTAGE by remitting wcth order. B12



BMIE CLASSIFIED MARKETPLACECLASSIFIED ADVERTISING RATES

DISPLAY CLASSIFIED ADVERTISING: $22.50 per inch lx; $22.00 per inch 3x; $21.00 per inch 6x; $20.00per inch 12x. ALL OTHER CLASSIFIED ADVERTISING 250 per word; minimum $3.00. BLIND BOX NUMBER:No extra charge. Replies sent to address below will be forwarded to you. PAYABLE IN ADVANCE; sendcheck with order. CLOSING DATE: 5th of 2nd month preceding issue date.

BM/E, Monterey and Pinola Avenues, Blue Ridge Summit, Pa. 17214 Phone 717/794/2191

HELP WANTED

Tape RecorderField ServiceTechniciansOpenings now available forqualified field technicians witha major manufacturer of taperecording equipment. Back-ground in professional audiorecorders preferred. Extensivetravel may be required. Loca-tions in L.A., Nashville, Chi-cago, and Bridgeport (N.Y.area). Send resume to R. Ber-liner, Mgr. Engineering Serv-ices.

®ScullyScully Recording Instruments Co.A Division ofDictaphone Corp.480 Bunnell Street, Bridgeport,Connecticut 06607 (203) 335-5146

An equal opportunity employer

Help Wanted-Outside technicians wanted bylong established CATV company in Califor-nia. Duties will be to maintain existing plant.Only experienced CATV technicians please.All replies confidential. Send resume to Per-sonnel Department, P.O. Box 1651, Salinas,Calif. 93901, an equal opportunity employer.

POSITIONS WANTEDSoul and MOR DJ announcer, restricted ticketexperience with half-hour talk show. Familyman. Will relocate. West Indies included. Goodsmooth sound with great sales pitch. Try me.Ronnie Simmons, 51 Columbia Place, Apt. 4,Brooklyn, N.Y. 11200.ANNOUNCER desires progressive FM typemusic show with emphasis on audience partici-pation, and all around happiness; experienced.Third endorsed. Please reply: Box 172-1, BM/E,Blue Ridge Summit, Pa. 17214.Disc jockey: Young man wants a start in radio.Any format. Any location. Stanley Ouellette,18686 Cedar Circle, Fountain Valley, Cal.

EQUIPMENT FOR SALEColor television camera (MDL 270/S -Commer-cial Electronics, Inc.) incl. one set SEC cameratubes, filters, ./$2702 studio control panel exter-nal picture and waveform monitor selection,intercom jacks and level control, tally indicator,horizontal and vertical centering, for red andblue channels, master pedestal, focus and beam,Rank Taylor Hobson Varotal XX, 10:1 (25mm-250nun) zoom lens, 25 ft. cable, intercom am-plifier (2 channel audio), 2 head sets. List $35,-205.00. This new equipment was damaged intransit by air carrier. Cost to replace equipmentin reliable operating condition is established,along with engineer report. Contact Peter Mc -Breen & Associates, 141 W. Jackson Blvd., Chi-cago, Ill. 60604. Phone 312-427-1645 (Mr.He rsted ) .RCA 'IT 50AH television transmitter. Avail-able 2nd quarter 1972. Consists of RCA moni-tors and transmitter control console. Eighteenyears old, operating on Ch. 13. Well main-tained, clean inside and out, excellent condi-tion. Aural and visual final completely over-hauled six months ago. Excellent standby trans-mitter. Contact Welton M. Roy, Chief Engi-neer, WHBQ-TV, Box 11407, Memphis, Tennes-see 38111. Tel. 901-323-7661.

MOTORS FOR SPOTMASTERSNEW Papst hysteresis synchronous motor HSZ20.50-4-470D as used in series 400 and 500 ma-chines. Price $39.00 each prepaid, while theylast. 90 day warrantee. Terms: check withorder only, no COD's. Not recommended forTapecaster series 600 or 700.

TAPECASTER TCM, INC., Box 662Rockville, Maryland 20851

EQUIPMENT FOR SALE (cont'd)1 Continental stereo automation system pres-ently operational in Miami. System consists oftypewriter inout using photo cell sensing. 4(Stereo) carousel. 4 (Mono) Macarta cart ma-chines. 6 Stereo PB 14" machines. 71/2 IPS re-versible with tone or foil sensing. System is alllate model solid state, make offer to: WMYQ-FM Radio, 825-41 St., Miami Beach, Fla. 305-538-5321, Robert Blumenkranz, Chief Engineer.Ampex 3005 350, 352, 400, 450 users, for great-er S/N ratio, replace first playback stage 12SJ7with our plug-in transistor preamp. For speci-fication write VIF INTERNATIONAL, PO Box1555. Mtn. View. Ca. 94040.SCULLY TAPE RECORDERS: Mono, 2 4, 8,12, & 16 track models plus 270 automatic play-ers. Some models in stock now. W.A.L. customaudio control consoles & console modules.Solid state 120 Watt power Amps. We buy andrebuild Scully lathes. WIEGAND AUDIO LAB-ORATORIES, INC. R.D. 3, Middleburg, Pa.17842, 717-837-1444.SOLID-STATE AUDIO PLUG-IN OCTAL (1"Dia x 2" H) modules. Mic preamps. disc &tape preamp-equalizers, tape bias osc. & recordampl., power amps & power supplies. Send forfree catalog and audio applications. OpampLabs., 172 So. Alta Vista Blvd., Los Angeles,Cal. 90036.B&W portable production unit with 4 vidiconcameras (2 viewfinders). 3-11" monitors, 5channel mike mixer, 2/1 sync generator, 8channel switcher/fader with special effects gen-erator, 1" Ampex VTR and tape, intercomamp and headsets, mikes, lens, etc. All in A-1condition. $2900.00 Thomas Gilchrist, earlymorning and evenings, 316-722-5116.Ideal translator pre -amplifier, CADCO's patent-ed All American Sports Amplifier has ultralow noise, high gain and high rejection of adja-cent channels. New amplified bandpass filterconcept. Available kit. ($49.95) or wired andtested ($109.50). Write for free data sheet.CADCO SYSTEMS, Box 18904, OklahomaCity, Okla. 73118.FIELD STRENGTH METER. 540 KHz to5MHz, Ten microvolts to 10 volts per meter.New solid state design, long battery life. Stableaccurate calibration. Free literature. Solar Elec-tronics, 901 No. Highland Ave., Hollywood,Cal. 90038.AMERICA'S LARGEST STOCK AND CON-SIGNMENT LISTING of new and used broad-cast and recording equipment. We trade -sell andbuy. THE MAZE CORPORATION, P.O. Box6636. Birmingham, Ala. 35210.IGM automation. 2 Scully reel playbacks, cart-ridge playback, logger, 3 carousels, memorybank, comolete control system. Delivery, in-stallation, factory -trained technician. WOHI,216-385-1490.Microwave STL, RCA type TVM-1A withSound Diplexer, excellent condition, Two (2)comolete receive/transmit systems available,$2,000 each, Duane Weise, WQXI-TV, 1611W. Peachtree NE, Atlanta, Georgia.CARTRIDGE TAPE EQUIPMENT - Com-pletely rebuilt and reconditioned. Tapecasterand Spotmaster record playbacks $375.00. Play-backs $250.00. 30 day money -back guarantee.AUTODY NE, P.O. Box 1004, Rockville, Md.20850 (301) 762-7626.Cartridge Tape Equipment: KRS model SN6AP6 -deck playback unit and model SB6AR single -deck record/playback unit. Both in current use.Price: including 330 carts, $2500. WAMLRadio, Box 367, Laurel, Miss. 39440, ph. (601)428-5601.RCA TR-3 tape player. Low band. Mono. Lowhours, good condition. Dan Ward, 1904 OldFarm Road, Richmond, Va. 23235, 703-598-3246.

Used Zoomar Mark X -B remote controlledzoom lens, f/2.8, 15mm to 150mm. 2x extenderand Westinghouse control box included. $549.00.Thomas Gilchrist, 316-722-5116.Heliax-styroflex. Large stocks -bargain prices -tested and certified. Write for prices and stocklists. Sierra Western Electric, Box 23872, Oak-land, Calif. 94623. Phone (415) 832-3527.Remington Rand Unipro high speed film pro-cessor, 16mm to 70mm. Excellent. $1895 F.O.B.Miami. Robert Haskins, 5155 N.E. 2nd Court,Miami, Fla.The complete and reliable source for new andused broadcast equipment. Request our freelistings. Broadcast Equipment and Supply Co.,Box 3141, Bristol, Tennessee 37620.Our latest used equipment bulletin is out! Ifyou have not received your copy, write us. TheMaze Corporation, P.O. Box 6636, Birmingham,Alabama 35210.

EQUIPMENT FOR SALE (cont'd)Any type tower erection finance. Bill Angle,Tel. 919-752-3040. Box 55, Greenville, N.C.27834.

EQUIPMENT WANTEDGet more for your used equipment in tax de-ductions than in trading it in, by donating itto a non-profit organization in religious broad-casting and production. Tax receipts can befurnished! We need consoles, tape equipment,turntables, mikes, monitors, transmitters, etc.Contact: Rev. Raymond Franks, Evangel Tem-ple A/G, Drawer 14468, Albuquerque N.M.87111, Phone 505-296-2987.Wanted immediately, one good used 250 wattAM transmitter or operable 1,000/500/250 watttransmitter. Unit must be licenseable. Call RonTaylor, collect at WMOA Radio, Marietta,Ohio, (614) 373-1490.Need RCA TVM-1 7 GHz Microwave, com-plete, tripod mounted, and RCA 2 KW trans -miners TT2BL/H. Contact: Bruno Schwebel,Av. Chapultepec 18, Mexico 1, D.F. Phone:518-56-74.Wish to purchase one Cartridge Record/Play-back unit in good condition. WUNI Radio,Box 4614, Mobile, Ala. 36604.WANTED: BLONDER TONGUE AUDIOBATON. MUST BE IN WORKING ORDER.WRITE POSSUM RILEY, WEBR, 23 NORTHSTREET, BUFFALO, N.Y. 14202.

PROGRAM SERVICES

:Jill THE ChB STUDIOSSpecializing in Custom Services

3415 SERESFORD AVENUEBEIAIONT, CALIFORNIA 940024 1 5 / 5 9 2 - 6 1 4 9

TAPES FOR AUTOMATION

"Free" Catalog . . . Everything for the dee-jay! Comedy, books, airchecks, wild tracks, oldradio shows, and more! Write: Command. Box26348-A, San Francisco 94126.Pop charts. Our books are being used con-tinuously by dee jays at most of the country'sleading stations. You won't believe what wehave done to the charts! For information write:Convex Industries, Dept. 11, 4720 Cheyenne,Boulder, Colo. 80303.

TECHNICAL SERVICESCUSTOM CARTRIDGE RELOADING and re-furbishing. Fidelipac replacement parts andcartridges. Write us today for prices. PROFES-SIONAL AUDIO SERVICES, BOX 1953. FT.WORTH, TEX. 76101.

CONSULTANTS

JANSKY & BAILEYTelecommunications Consulting

DepartmentCATV & CCTV

Phone 202/296-64001812 K Street N.W.

Washington, D.C. 20006Atlantic Research

The Susquehanna Corporation

INSTRUCTIONSFCC FIRST CLASS RADIOTELEPHONE LI-CENSE IN SIX WEEKS. Classes in El Paso,Dallas, Atlanta, Chicago, Cincinnati, Denver,Ft. Worth, Hartford, Houston Memphis, MiamiBeach, Milwaukee, Minneapolis, Nashville, NewOrleans, Oklahoma City, St. Louis, San An-tonio, San Francisco, and Seattle. For informa-tion contact Elkins Institute, 2603 Inwood Road,Dallas, Texas 75235 (214)-357-4001.First phone through tape recorded lessons athome plus one week personal instruction inWashington, D.C., Atlanta, Boston, Detroit,New Orleans, Minneapolis, Seattle, Denver,Portland, Los Angeles. Proven results. Our 17thyear teaching FCC license courses. Bob JohnsonBroadcast License Training, 1060D Duncan,Manhattan Beach, Calif. 90266. 213-379-4461.ATTENTION VETERANS! First class licensein five weeks with complete theory and R.C.A.-equipped laboratory training. Approved forveterans. Tuition $333.00. Housing cost $16.00per week. American Institute of Radio, 2622Old Lebanon Road, Nashville, Tenn. 37214.615-889-0469.

PUBLICATIONS

BROADCASTING AND THE LAW

A publication for the entire station staff.Keeps you advised of FCC rule changes, courtdecisions, and Congressional actions affectingyou in a unique way. For further informa-tion and a sample copy write:

BROADCASTING AND THE LAWBox 8357

Knoxville, Tennessee 37916

PROFESSIONAL CARDS

COHEN & DIPPELLCONSULTING ENGINEERS

Formerly GEO. C. DAVIS527 Munsey Bldg.(202) 783-0111

Washington, D. C. 20004Member AFCCE

THE

LEADE

IN

C V

WERS,'Qualify-Service

and Price!"

Yes, quality, service and priceon CATV systems are the rea-sons for Fort Worth Tower's po-sition as the industry's leadingsupplier. Experience gained asa pioneer supplier of CATV en-ables Fort Worth Tower to pro-vide you with a quality productat a price that is reasonableand attractive.

Take advantage of our experi-ence. For assistance in systemsplanning, engineering and com-plete systems quotations

CALL OR WRITE TODAY

7oftt And 7oufetCOMPANY, INCORPORATED

P.O. Box 8597, Fort Worth, Texas(817) JE 6-5676

-Associated Companies-Tommy Moore, Inc.

Big State Engineering, Inc.Tower Construction Finance, Inc.

ADVERTISERS' INDEX

ABTO Inc. 11

Altec Lansing, A Div. of LTV Ling Altec 49

Amperex Electronic Corp. 27

Belar Electronics Laboratory, Inc. 3

Broadcast Electronics, Inc. 36, 50

Broadcast Products Co.. Inc. 48

CBS Laboratories, A Division ofColumbia Broadcasting System, Inc. 35

Canon, Inc. 51

Cascade Electronics Ltd. CM/E-16

Cerro Wire & Cable Co.,Div. of Cerro Corp. CM/E-9

Coltape, A Division of Columbia PicturesIndustries, Inc. 34

Dynair Electronics, Inc. 37

Dynasciences Corp. 29

Fort Worth Tower Co., Inc. 55

GTE Sylvania, Electronic Products ..CM/E-15

Gates Radio, A Division of HarrisIntertype 21

Grass Valley Group Inc., The 5

International Tapetronics Corp. 55

International Video Corp. 39, 40

Jerrold Electronics Corp. CM/E-2

McMartin Industries, Inc. 50

Magnavox Video Systems Cover 4

3M Company, Mincom Division Cover 3

Philips Broadcast Equipment Corp. 9

Potomac Instruments, Inc. 56

RCA 13, 14, 15, 16

RCA Service Company 44

Rapid Q 55

Sansul Electronics Corp. 47

Sparta Electronic Corp. 52

TAB Books 53

Tektronix 7

Teledyne Camera Systems Cover 2

TeleMation 28, 42, 43Television Microtime, Inc., a subsidiary

of Andersen Laboratories, Inc. 44Time & Frequency Technology, Inc. 46

U. S. Computer Systems CM/E-13Wilkinson Electronics Corp. 48

SALES OFFICES

Broadband Information Services, Inc.200 Madison Avenue

New York, New York 10016

Charles C. Lenz Jr.Advertising Director

EASTERN & MIDWESTERN STATES200 Madison AvenueNew York, New York 10016212-685-5320Charles C. Lenz Jr.

WESTERN STATES1111 Hearst BuildingSan Francisco, California 94130415-362-8547William J. Healey

16400 Ventura Blvd.Encino, California 91316213-981-4721Art Mandell

JAPANNippon Keisoku Inc.P.O. Box 410Central Tokyo, Japan536-6614Yoshi Yamamoto

check these

STANDARD features...V High speed cueing (RAPID -Q)

Heavy duty cast head -mounts

Reliable direct drive servo -capstanmothr

V 1000 and 150 Hz cues standard

V IC switching and IC audio-NO relays

V Automatic audio muting

V Compact size (31/2" height)

"RAPID -Q"1208A KIFER ROAD

SUNNYVALE CALIF. 94086(408) 736-8737


IMITATED BUT -

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SP SERIES REPRODUCERSS P- 0001 $625

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IIITER111:1T1011AL

TRPETRORICSCORPORFIT10112425 South Ma n StreetBloomington, Illinois 61701Telephone. 309-828-1381

Circle 128 on Reader Service CardJANUARY, 1972-BM/E

Circle 130 on Reader Service Card55

BROADCASTINGREQUIREMENTSHAVE CHANGED

IN 20 YEARS.. SO HAS

THE EQUIPMENT

1952

1972AM -19D DIGITAL ANTENNA MONITOR

1 8 0.0

E .

PMA-19 PRECISION MONITOR ADAPTER

.11

II IIII III

' IIIIP III

r;16_1!5 IAM -19 ANTENNA MONITOR

PM -112 PHASE MONITOR

L 180.0

Erral---

DDA-19 DIGITAL DISPLAY ADAPTER

O No modulation effects El Simpli-fied operation-no operator adjust-ments Resolution to 0.1% currentratio and 0.1° phase angle 1:1 Up to12 towers Remote readouts easilyadded

PIProducers of

N3131.6 WIC

Broadcast Equipment

POTOMAC INSTRUMENTS, inc.932 Philadelphia Ave.

Silver Spring, Md. 20910Phone: (301) 589-3125


FROM THE

EDITORRenewals: On Being

Responsive To Your Public

In this month's column, "Interpreting FCC Rules and Regula-tions," our FCC counsel tries to make clear the FCC's thinkingon renewals, particularly as it applies to TV broadcasting. Ourcounsel looks at the problem from a legalistic point of view-what you have to do to stay out of trouble. From our ivoryeditorial tower, we'll look at the situation from the perspective ofwhat -you -ought -to -want -to-do.

We won't go quite as far as the Court of Appeals (in theCitizen's case) where they ask for "unusual attention to the pub-lic's needs and interests." The FCC's guidelines-for profitablestations-of local programming 10-15% of the time; news,5-10%; and public affairs, 3-5%; with a corresponding propor-tion in prime time, seems reasonable enough.

We know broadcasters are mightily worked up aboutchallenges to renewals. Some view what's happening as somekind of an organized, concerted attack. We're inclined to believethat most challenges are simply part of the broad consumerismmovement. "Power to the people" sums it up. Roles have beentraded. Sensitive people, who have heretofore felt they weredisenfranchised, are now able to pressure communicators to recog-nize them. Although some individual broadcasters may feel theyare being extorted, it's more accurate to say they are being hitby a counter -reaction to industry practices. Earl Moore (counselfor the Office of Communications, United Church of Christ),says this reaction was brought on by an increasingly centralizedand unresponsive broadcast industry (there is no strictly -localownership of any station in the top -ten markets), and a steadydecrease in public service (as sponsored programs sought masstastes and good programming became occasional specials). Italso appears broadcasters place a growing emphasis on profits tothe exclusion of other values. While all of this has been develop-ing, the FCC remained ineffective as a regulator.

Challenges will continue, but it is the policy of both the FCCand Dr. Everett Parker (United Church of Christ), the initialinstigator of challenges, to have licensees meet with community -oriented groups and settle complaints. If broadcasters feel theyare being extorted, it is because they don't have a sufficientlygood past reputation to be able to trade on their good faith-popularity polls notwithstanding.

Chief Justice Burger has said, when a lower -court judge, abroadcast license is a public trust subject to termination forbreach of duty. Duty means being responsive to communityneeds of merit. Broadcasters are still free to interpret this need.The FCC guidelines don't say every station has to cover everyissue for every segment of the population. Hopefully, the FCCwill even try deregulating radio in markets where there is amplecompetition.

More important than any specific agreement reached betweencitizens and stations is that the process of discharging publicresponsibility must be refined and improved. Broadcasters shouldhelp inform the public how the process can be aided and abetted.

There are many dedicated broadcasters who are constantly atwork improving their service to their community. We hope topublish some of these stories in BM/E, along with full descrip-tions of the equipment that is used. We look forward to acontribution from you.

James A. Lippke, Editor


Look at the Difference

Unretouched photographs of 21" studio monitor. Photograpt.ic data: Rolleiflex C.3, CPS color negative film - ASA :00, 1/15 second at V5.6

...after 3M Color Dropout CompensationHere's what 3M's Color Dropout Compensator does for your VTRreproduction:

Look at this unretouched composite photograph of a studiomonitor. It shows, at the left, a videotape playback with 13 elec-tronically recorded -in dropouts. These dropouts were created bya special test generator which attenuates the RF level to therecord driver. On the right, these dropouts have been completelyrestored by the DOC.

The black dropouts shown on the left are followed by a com-plete loss of color -lock in the direct color recovery equipment.Since these dropouts include horizontal sync and color burst, theycause transient color flashing not ordinarily attributed to the drop-outs themselves. Even shallow dropouts can create a similarproblem due to loss of side -band information.

Only the 3M Color DOC corrects all these effects.After compensation, note the precise color match and complete

freedom from switching transients. Also, the dropout disturbanceto the time correction unit has been eliminated. Proc amp and

Mincom Division

servo stability are improved to such a degree that it is possibleto play this tape in full intersync or pixloc mode.

In the compensated half of the photo, compare the replacementmaterial with the original signal two scan lines above the dropoutdue to a complete frame being photographed. Try to find the 13switching transients.

The 3M Color Dropout Compensator is the only system avail-able that can provide proper color and luminance replacement.For details write for the booklet, "Compensating for Dropouts inColor Television Recording:'

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300 SOUTH LEWIS ROAD CAMARILLO. CALIFORNIA 93010


Who is introducingthe smallest,lowest cost,most versatileCOLOR cameras?MAGNAVOX-.WHO ELSE!

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The Magnavox Series 200 (Self -Contained) Color TV Camera.

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From the same company that gave you the exciting,innovative Magnavox Series 100 Color TV Camera.

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