Industry News

News from the connected car front: Entercom has announced the launch of its first native automotive application on certain General Motors vehicles.

“This initial launch will feature Radio.com as a native, in-dash application in nearly 7 million compatible Chevrolet, GMC, Buick, and Cadillac vehicles,” the company stated.

Radio.com, a broadcast and internet platform that was launched 10 years ago by CBS Radio and is now owned by Entercom, is the digital home for Entercom’s content across its portfolio of stations and affiliates.

“With this app, drivers with compatible vehicles can now seamlessly access the leading digital audio and content platform through embedded technology beginning on Sept.15,” it stated

The announcement was made by David Rosenbloom, VP of corporate business development for Entercom.

He said this will give drivers another way to connect with stations and talent, “regardless of the market they live in.”

The post Entercom Places Radio.com Native App in GM Vehicles appeared first on Radio World.

The Federal Communications Commission wants to hear from you on changes it proposes to make to the its application fee schedule, including common applications for FM and AM radio stations.

In a Notice of Proposed Rulemaking released in late August, the commission invited comment. The changes would affect a broad spectrum of filings processed by the commission: applications, modifications/renewals of wireless, television and satellite licenses, applications to participate in auctions, formal complaints and certain petitions.

The actions are designed to simplify and streamline what the FCC calls an overly complex fee schedule.

“This rulemaking provides an opportunity to bring this set of fees into the 21st century by lowering fees to account for processing efficiencies where appropriate, adding new fees for applications that were implemented after the original fee schedule was adopted, and eliminating fees for applications that no longer exist,” the commission said in its notice.

Among the changes, the commission is proposing to streamline its list of application fees by consolidating eight separate categories into these five: Wireless Licensing Fees, Media Licensing Fees, Equipment Approval Fees, Domestic Service Fees and International Service Fees. The commission also proposes to reduce the total number of application fees from 450 to 167 while also including some new fees.

Broadcasters may be pleasantly surprised to learn that the FCC is proposing to reduce a number of application fees for the AM and FM radio service. For each category, the commission offers an explanation of the reasons for the increase of decrease, such as the need for significant legal analysis or substantial engineering review. By estimating the actual direct labor needed to process a typical application, fees will be more closely tied to the actual effort of processing of applications, the FCC said.

For commercial FM stations, the category with the largest drop is the new construction permit, which the commission is proposing to decrease from $3,975 to $3,295 (a drop of $680). Applications with an increase include the FM radio minor modification application (from $1,110 to a proposed fee of $1,265) and the FM license renewal application (from $200 to $325).

The commission plans to outright remove the main studio request application for AM and FM radio. For AM radio, it is also proposing to eliminate the AM remote control application.

The notice of proposed rulemaking also offers changes to the FM translators and boosters application fee, including a proposed reduction in the fee for processing an FM translator new construction permit from $835 to  $705. The translator/booster applications with the biggest proposed change include both the FM translator license assignment and the FM translator transfer of control application, both of which the FCC is proposing to raise significantly — from $160 to $290 — due to legal analysis and significant attorney review and supervision.

The notice proposes to continue to exempt the noncommercial educational broadcast service from having to submit these types of application fees.

Among fees for commercial AM radio, the FCC wants to reduce four, raise eight and remove two outright.

The one with the largest drop in commercial AM is — ironically — an application with the highest level of complexity; but it also one the FCC doesn’t see much: an application for a new construction permit. The FCC is proposing to drop that from the current rate of $4,415 to $3,980.

The highest proposed increase in commercial AM is the minor modification application. The FCC is proposing to raise that from $1,110 to $1,625. Other significant jumps include the AM radio directional antenna application, which would increase from $835 to  $1,260. Another  jump: the short-form AM radio license assignment from $160 to a proposed fee of $425.

Applications with a planned decrease include the long-form AM radio transfer of control application (from $1,110 to  $1,005) and an AM radio new license application (from $725 to $645).

In addition to seeking comment on the newly proposed cost-based fees, the FCC wants to hear whether it should further consolidate and streamline proposed fees to ease the burden of administration and simplify compliance.

Comments will be due 30 days after the notice is published in the Federal Register using the FCC’s ECFS database using Docket Number 20-270.

The post FCC Proposes to Significantly Revamp Its Application Fees appeared first on Radio World.

The recent swell of debate and social tension about race in the United States has brought additional focus on the experiences of Black radio engineers employed in the industry.

When news stories discuss the percentages of minorities in radio jobs, their focus is usually on ownership or radio business management. But the Black population is definitely underrepresented in U.S. radio broadcast engineering, most technology observers agree. Why that is, and what should be done about it, are less clear.

Radio World reached out to a number of African-American technical professionals who hold positions in radio or associated businesses to ask about their experiences in broadcast engineering. Some told us that Black engineers are sometimes reluctant to speak about their obviously low numbers in the field. Several engineers we contacted declined to be quoted.

“Treated me with respect”

David Antoine is project engineer and support engineer for Lawo Inc., which designs and manufactures advanced networking audio controls. 

He said his experience in broadcast has been mostly positive.

“My peers in the industry have treated me with respect. I enjoy a good name and reputation at this point in my career. I am on a first-name basis with many of the movers and shakers in the industry,” Antoine said.

Antoine said there have been some job opportunities for which he wasn’t considered, though he felt qualified. 

“However, I’m not one to play the race card. It may have simply been that they found a better, more qualified candidate. I do believe that it has been up to me set my course and get what I need to position myself for the right opportunity when it comes along,” he said.

One incident in particular left Antoine questioning the sincerity of a potential employer. 

“There is a small radio group owner here in the tri-state area [of New York]. I applied for the chief engineer position when it was posted. I went in for an interview that turned into a three-hour get-to-know-you discussion. A few days later I received a letter from the GM thanking me for the time and the discussion, and that he was looking forward to us working together. As you can imagine I was very excited.

“I waited, one week, two weeks and three weeks. I put in a call to the station and was told ‘the GM was very busy, did not remember talking to me and that the position was filled.’ Needless to say, I was a bit stunned. I’ve had similar instances happen afterwards with other broadcasters. Same outcome,” Antoine said. 

A lack of inner-city curriculums teaching science, technology, engineering and mathematics — STEM — could be a reason for the ongoing lack of diversity in radio engineering, Antoine said. 

“In experience from years in the industry, my honest observation is there are not enough interested qualified candidates for the career field of broadcasting,” Antoine said. “Broadcasting and AV does not pay as well as IT, web development, programming and related computer-centric fields. 

“I have found it is hard to convince young people in general to look into the career paths on the ‘cable side’ of the microphone or camera. I find this to be true in broad sense where race or ethnicity of candidates is concerned.”

But Antoine, whose experience in the broadcast industry began in the 1970s, said it’s time for further discussion of the state of race relations in this country. 

“It is a shame that it took the video of George Floyd being suffocated to bring the conversation to the forefront and for some of the masses to realize that the discussion needs to be had,” he said. 

“Disbelief as to who I was”

Ben Hill, chief engineer for Entercom Communications station WIP(FM) in Philadelphia, said current social discussions leave him “hopeful and optimistic, but at times cautious and weary, hoping America will live up to its promises” when it comes to acceptance of all races. 

“I have been on a number of Zoom meetings on race relations and church meetings discussing race and policing in America. I am suspicious of anyone who says ‘all lives matter’ so nonchalantly. The ongoing discussion along with action is very important,” Hill said.

Hill, who has served 43 years in a variety of roles as an engineer, chief engineer and tech manager, said he has been in uncomfortable situations because of his race throughout his long career. 

“I have gone to conventions and seminars and station tours, and it was surprising to many because I was the only black engineer they had ever seen. ‘Who is the engineer?’ they would ask, looking right past me, only to realize that the guy with his hand up was the engineer. This has happened on job interviews, at sports stadiums and at businesses and nightclubs where we were remote broadcasting. 

“I make sure I have a station shirt or jacket and have my business cards ready to show with my ID. I have been stopped and questioned as to who I was at events and why I was there. I don’t really remember many colleagues being grilled this way. Disbelief as to who I was an issue,” Hill said.

He said at times over the years he has “felt prejudiced by some White colleagues,” though he describes his experience working at CBS and Entercom as “excellent.”

“I have been mentored by a number of great engineers and station managers over the years. In some situations I have felt I needed to be the very best and strive harder to be on par with their knowledge and expertise of the equipment,” Hill said.

“That’s why I always felt like I had something more to prove. Pressure to succeed in a White world is an issue for us of color.”

“We still have a lot of work to do”

Tobias Poole is another longtime veteran of the radio engineering ranks; he is operating director for noncommercial WRTI(FM) in Philadelphia. He manages all aspects of the technical operations of the station, including the installations of transmitters and repeaters across the Delaware Valley, including New Jersey, Harrisburg, Mt. Pocono, Pa. and Delaware.

Poole said while it is true radio engineering is predominantly White, he feels the industry is slowly changing. 

“It is not like it used to be. Things have changed. Radio and TV now offer better opportunities for more minorities to enter the field; but we still have a lot of work to do,” he said. “The best advice I can give is to pick the road you want to travel, make a pathway, and go for it.”

Poole says current discussions including the Black Lives Matter movement are long overdue, both in broadcast circles and across the country. It helps to “open up dialogue that leads to change and opportunity for underrepresented minorities to achieve and succeed in the communications industry,” he said.

Poole believes that the number of African-Americans in technical positions such as IT, production and studio engineering continues to rise, while the number of radio engineers has not.

“I wish I had a good answer for this, but it really could encompass a number of things. Business culture, unions, politics, race, lack of mentors, opportunity and beliefs could all play a role. I’ve heard stories about it over the years,” he said. “Since the beginning of radio, minorities have been excluded, discriminated against, and encouraged not to get involved because the hiring belief was that broadcast engineering was not for them. 

“Like so many industries, hiring minorities would have meant there would have to be an internal industry shift in how minorities were perceived, especially as it impacted their seeming proficiency in comparison to their White counterparts. In radio, this could trickle down easily and explain why there are so few minorities hired,” he said.

Poole, who holds a bachelor of science degree in communication from Ohio University, wonders if more career doors would have opened for him if he were White, but also notes an overall “ceiling effect” in his chosen field. 

“On a different pathway, who knows? Perhaps I could say yes (to more opportunities). I had to train my mindset to overcome roadblocks like anyone else,” he said. 

Poole, who plans to retire at the end of this year after 33 years at WRTI, said his experience at the Temple University-based station has provided an excellent opportunity “to really share, teach and mentor individuals from all diversities who might not have otherwise been given the opportunity to go into the broadcast business.”

Next issue: What employers and industry organizations told us about diversity in engineering.

Comment on this or any story, including your own experiences regarding race in the radio industry. Email radioworld@futurenet.com with “Letter to the Editor” in the subject line.

The post Blacks Are Few in U.S. Radio Engineering  appeared first on Radio World.

The author of this commentary is a consultant and co-chair of the Audio Engineering Society’s Technical Committee for Broadcast and Online Delivery.

Loudness normalization has been a “go to” complaint for many critics of media. The problem was attacked early in this century when Congress introduced the Commercial Advertisement Loudness Mitigation Act — the CALM Act — to try to normalize television audio and ads inserted by the cable providers (I realize this is an oversimplified description).

The Advanced Television Systems Committee led the way in writing the loudness rules. The Audio Engineering Society introduced Recommended Loudness Practices for Audio Streaming (TD-1004) and Over the Top Television (OTT) (TD-1005 and TD-1006).

TD-1005 and TD-1006 led to a standard called AES71 (which is for content delivery and distribution). Then the Consumer Electronics Association aligned with that standard to create ANSI/CTA-2075 to cover playback on devices.

Yes, much has been done for the topic of loudness.

But wait; now there’s more.

As reported by Radio World’s sister site nexttv.com, Rep. Anna Eshoo (D-Calif.) is now saying that there should be a CALM Act for OTT and streaming services.

The advantage of an act over a standard is easy: An act is an enforceable law, standards are not!

If Congress and most listeners do not like commercials being 3 dB or more louder than the content, why do it? Why not create a more enjoyable experience?

Currently the Audio Engineering Society’s Broadcast and Online Delivery Technical Committee is in the process of revising TD-1004 and also plans to introduce a Loudness Education Website.

Why is loudness important? Easy: You do not want to invite a listener to adjust the volume knob when different sources are played. You also do not want audio levels to differ, upsetting the enjoyment for the listener.

How do you quantify loudness? With a loudness meter. This meter will be read in LUFS or LKFS. There is no difference between LKFS and LUFS.

What levels are acceptable? For video streaming (and OTT), –24 LUFS is the accepted level. For audio-only streaming, –19 LUFS is the current accepted level.

With the introduction of a metadata-controlled loudness level, this will most likely be brought “in line” with video.

Come on, stream providers, do the right thing! Congress has much more important matters to take care of, especially when we can police ourselves. Hopefully the industry can do so before another CALM Act is created.

Comment on this or any story. Email radioworld@futurenet.com with “Letter to the Editor” in the subject line.

The post Come on, Stream Providers, Do the Right Thing!   appeared first on Radio World.

Radio engineer Gary Blau has died.

According to his friend and colleague Hal Kneller, Blau died Sunday morning at a hospice facility in Sebring, Fla. after a three-year fight with cancer.

In 1999 Blau became director of engineering for Jefferson Pilot stations in Miami, which later were sold to Lincoln Financial and subsequently to Entercom.

He led the engineering for WMXJ, WLYF, WSFS and WAXY until last year when he was obliged to retire because of his health.

“Even during his retirement, while going for treatments, he kept his HAM station W3AM active until as recently as last Sunday Aug. 23,” Kneller wrote to Radio World in an email.

Before Miami Blau worked in Phoenix, New York, Washington, D.C. and Los Angeles in both radio and television engineering. During his early years in the business, he was a partner in the ownership of an FM station in Pennsylvania.

He was a regular on the amateur radio “Broadcast Net” and the SBE Net. In addition to his hobby of amateur radio and his career in broadcast engineering, Blau enjoyed building things from scratch, designing circuits and even making his own printed circuit boards, Kneller said.

He is survived by his wife Diana.

Radio World welcomes anecdotes about Gary Blau as well as photos of him to share on this page; email radioworld@futurenet.com.

A post on Blau’s W3AM website about how to find AM on the amateur radio bands provides a sample of his personality and his sense of humor:

“While I use SSB, NBFM and other low-fi modes, I have a particularly warm fondness for the superior sound quality and relaxed and courteous operating style that is unique to AM (Angel Music),” he wrote.

“The organic experience of using vintage equipment with those curious glass objects inside that get so darned hot and smell so, well, electronic, flows naturally into the ultimate tranquility and zen-like oneness with the ether you’ll feel when operating AM. So come on, pour yourself a highball, fire up that old Viking, and become a vessel empty of yourself!

“And, the chicks really dig it.”

The post Gary Blau, Silent Key appeared first on Radio World.

The National Association of Broadcasters announced the launch of the Broadcast Resource Hub, a repository for tools, resources and information on relevant issues impacting local radio and television stations.

The site is operated in partnership with the NAB Leadership Foundation, an affiliated operation of the NAB, that provides professional training, technology apprenticeship programs and other leadership insights to broadcasters.

For radio broadcasters, the site offers several portals to help broadcast stations as they navigate unique challenges — from reporting while in a dangerous situation to covering stories that involve sensitive topics.

[Read: NAB Foundation Launches Diversity Resource]

For radio broadcasters, for example, the Election Toolkit portal within the hub gives stations guidance on how to best engage Americans voters during the 2020 electoral process. The toolkit offers guidelines on how to train staff to better distinguish between accurate and inaccurate information online, offers a list of resources like polling place finders and suggestions for encouraging the youth vote, and includes free broadcast-ready radio spots in both Spanish and English.

Other courses and toolkits include a portal on cyber awareness, a toolkit on reporting during the coronavirus pandemic, and a resource called the Spot Center that offers free broadcast-quality public service announcements for radio.

“NAB has created a variety of new and evergreen resources to assist radio and television broadcasters in various aspects of their businesses from education and training to advocacy and innovation,” said NAB President and CEO Gordon Smith.

Another portal within the hub highlights key regulatory issues, including a current the NAB’s lobbying efforts asking Congress to provide relief to broadcast stations struggling to survive the COVID-19 crisis.

Also available through the Broadcast Resource Hub is the Diversity, Equity and Inclusion Resource, a website launched in August by the Leadership Foundation that features resources to help media companies and industry professionals create and sustain a diverse and inclusive workplace.

The post NAB Opens New Broadcast Resource Hub appeared first on Radio World.

The author is teacher, coach, CEO and founder of Jacket Radio.

KEMP, Texas — Jacket Radio is Kemp Independent School District’s official radio station. Kemp is a small rural town about 45 minutes southeast of Dallas.

I’ve been a history teacher and coach at the school for many years. About three years ago, I came up with the idea to start a radio program for our students. When I proposed the plan to the school’s principal, he loved it and we got the project off the ground in no time. We named it Jacket Radio and began streaming through business management courses. From day one our students ran the station and led the classes.

The goal through this initiative was to provide the kids with a real-life business setting where they would work in the station’s different departments (marketing, programming, engineering, etc.) and learn how to collaborate with each other.

Trustworthy

The station was almost immediately successful, but with a tight budget and little experience in this domain, it was a challenge for us to meet audience expectation. All the attention meant we had to keep growing in order to maintain relevancy. That’s not an easy task when you’re learning as you go. But we managed to add to our program offerings and began covering some of the sporting events for our high school and junior high teams.

As luck would have it, that year our teams started to do really well and made it to the football semifinals and the basketball regional finals — a big deal for rural Texas. That’s when others, not only students, began tuning in. I mean we were pulling in some 40,000 listeners per game. That’s huge for a tiny town like us.

We also started the Jacket Radio Podcast Network and introduced the Jacket Radio app so listeners can tune in through the app or directly online. As we grew it became clear that we needed to invest in dependable transport technology, and that’s where Barix came into play.

Since we weren’t well versed in the world of radio and audio, when shopping for a solution we were adamant about doing our research well. The more we studied how to move audio  efficiently and reliably, the more the signs pointed us to Barix.

Today we have a live 24/7 broadcast with a mix of music, prerecorded segments and school sports, in addition to our podcasts. We use the Barix Instreamer encoder to help us ensure we deliver quality content in (AAC format) to our app and online.

Simple and Effective

Before transitioning to the Instreamer, we used a laptop computer with an Icecast or Shoutcast program to send the audio to http://radio.co from the remote sports events. When covering away games, we never knew what the opponent’s facility would offer, for example whether it had internet or a room to set up equipment. There have even been times we’ve had to broadcast from the bleachers — a real hassle with more complicated equipment.

The Barix Instreamer has changed that for us. Getting our remote sports broadcasts and events to air is now very simple. All we have to do is plug it in and power it up, and it connects to http://radio.co without further technical requirements. What’s more, it frees up the laptop for other projects.

Barix was responsive from our first contact. They configured the box for us, and with the help of their partner radio.co, we were provided a video tutorial and the Instreamer worked seamlessly from the start.

Jacket Radio’s audio quality has improved enormously. There is no choppy signal to worry about with drop-ins and dropouts. Instead we now have this flexible yet dependable and simple setup where we plug the Instreamer into the laptop, and use a mixer and mics. We usually have three people in a booth, and recently experimented using a sideline reporter with the remote mic and monitor.

The Instreamer gives us more freedom. Now that we’re up to speed using it for sports, and because we are so community-involved, we’d like to also start broadcasting from street fairs and festivals.

Our in-depth research paid off from an investment perspective. There are other units out there with various price tags, but when we factored in quality vs. cost, Barix won hands down. The Barix Instreamer is not only affordable but it’s dependable, which ultimately is key for the long-term success of Jacket Radio.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

For information, contact Will Schmidt at Barix at 1-866-815-0866. For international information, contact Reto Brader in Germany at 41-43-433-22-11 or visit www.barix.com.

The post User Report: Barix Brings Jacket Radio to Texas Community appeared first on Radio World.

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

The Center for Community Media at the Craig Newmark School of Journalism at the City University of New York recently issued an extensive study on the role of Spanish-language media. Even if your organization is not serving the monolingual-Spanish or Spanish-dominant listener, what researchers noted may give your radio station clues as to potential service opportunities.

The new report is available here. It’s in Spanish, but if you’re limited to English as your own language, never fear. Tools such as Google Translate will help you navigate any barriers you encounter — at least as far as any machine translation can at this stage.

Community Broadcaster: Correct the Record

Journalists who led the investigation into how Spanish-language media is reporting the news tracked thousands of stories since 2016, following Donald Trump’s election. What were the biggest trends they observed? What was left out? Did politics enter the fray? Their findings may surprise you.

What was most striking was that conventional wisdom might tell you Spanish-language media would become either more dogged in their approach around, or would simply more closely follow, the matters polls suggest are on everyone’s minds, including immigration, policing and Congress. You might think the early-term press room clash between Pres. Trump and prominent Univision journalist Jorge Ramos was a precursor to regular reporting on how new policies are impacting various communities. One might also reasonably assume the detention center issue that engulfed media for a time would inform a lot of journalism.

Your guesses would be incorrect, though.

The Center for Community Media researchers found news as a whole declined significantly over the last four years. That is, journalism focused on national issues, the White House and more disappeared. Instead, Spanish-language outlets — like more English-language media, frankly — pivoted to covering celebrities and social media.

There are many complicated reasons for this editorial decision. For English-language radio stations hoping to appeal to new audiences, however, these results point to potential directions.

One path suggests your station could follow what’s happening now and inject popular themes into your programming. You might also consider how your organization can fill gaps in an audience’s media diet.

Clearly, though, English-language media finding Spanish-language audiences is far more involved than “build it and they will come.” There is trust to be fostered. Community outreach, meeting with leaders, and hiring and volunteer opportunities that reflect the community you wish to attract are all part of the formula. Your radio station would also have to plan, in concert with area stakeholders, what issues are more relevant. Audience surveys of how they consume media and what’s interesting may also be illuminating.

While those passionate about the role of journalism may find the new report alarming, community media advocates might see this as a chance to expand, to serve our communities, and to fulfill our purpose of education for all the people.

The post Community Broadcaster: Tuned Out appeared first on Radio World.

Electronics Research Inc. posted this cool photo on LinkedIn. It shows part of a new master FM antenna that will be installed on the TV Hill Tower in Baltimore.

“The final configuration will include two levels of three-panel elements, each for WIYY, WLIF, WJZ-FM, and WWMX,” the company wrote. The FM channel combiner system is also designed and built by ERI.

The new system was purchased by Hearst and Entercom, and will replace an existing master.

ERI’s Bill Harland said the project is related to the FCC repack, which is driving modifications to towers around the United States and has had a domino effect on many radio stations.

The post Prepping a New Master Antenna for Charm City appeared first on Radio World.

There is at least one small upside to COVID-19, which is that we have more time to catch up on things around the station or workshop. Empty studios give the engineer free reign for both cleaning and maintenance. Funny how there’s still so much to do!

Professional Engineer (P. E.) Buc Fitch has come up with a great cable test kit for the entry-level engineer, intern or assistant to build. It’s fun for more seasoned engineers too. After all, why should the new guy or gal have all the fun?

Buc’s “kit” is, as he puts it, is an “uber-simple XLR-3 cable tester.” Its purpose is to test XLR-connectorized cables for proper wiring and polarity. We’ve simplified the circuit description; hand the rest of this article to your intern and let them figure it out.

First, let’s talk about XLR polarity. It’s important!

A few years ago, I was visiting a customer who was having problems wiring up a mic cable. The internet said Pin 1 was hot! The internet is a great tool only when it’s used properly. Standard mic wiring, at least in the United States, is Pin 2 hot or +, Pin 3 i negative or – , and Pin 1 is ground. As with any tool, it must be used properly. So double-check what you read on the internet by visiting several sites or asking a fellow broadcast engineer.

Buc’s cable tester will avoid this wiring problem, permitting you to verify all your XLR cables. You may be surprised to see how some cables, especially in your remote kit, are wired!

This project can be assembled with junk box parts; nothing is really critical. Buc’s schematic sketch shows power via battery or wall wart, your choice.

In the center of the schematic are the chassis-mounted XLR male and female connectors. One thing to remind the intern is that the pins flip or “reverse” from one connector (female) to the other connector (male). Be sure to check the pin numbers on each connector before soldering.

The three pushbutton switches are simple N.O. (normally open) chassis mount switches. The LEDs are not critical; Buc chose red, green and blue. LED current is limited by either the 100 ohm or 47 ohm half-watt resistors, depending on the power supply used.

As for the power supply, the simplest is shown to the left: two AA batteries mounted in a simple two-battery holder.

AA batteries provide 1.5 VDC each, and since they are wired in series, the total voltage is _____?

For the wall wart supply, the approximately 6 VDC wall wart plugs into a jack on the side of the chassis box, and feeds a 5 VDC three-pin regulator. Its output connects to a 1N4004 diode in parallel with an optional 2.1V Zener diode. Again, watch the polarity!

A nice feature that Buc added to this box is the 3.6 Volt NiCad battery, which is rechargeable and permits operation without the unit being connected to an AC power source. The NiCad will be charged when the wall wart is plugged in.

By the way, the longer horizontal line on the battery symbol is the “positive” side of the battery.

Construction is not critical and any small chassis box will work. Buc’s finished product is shown in Fig. 2. If you build one of these, send in a high-resolution picture to johnpbisset@gmail.com.

(Two 1.5V batteries connected in series gives you 3 Volts, did you get it right?)

Stick These Somewhere

Eventually many of us will return to our radio stations and offices. New York Printing Solutions is providing a variety of large-format printed floor stickers and wall decals that you can use to remind employees about social distancing, wearing masks and other customized messages.

These are full-color vinyl indoor/outdoor, scuff-resistant decals. They are removable and leave no residue. They can be customized with your station logo.

You know that I like to see engineers work with other department heads; well, here’s an idea: Print a bunch of these up with your station logo and distribute to advertisers that serve the general public.

The company prints everything from business cards to foam-core posters, and finding the COVID-19 stickers took a little navigation. Visit www.nyprintingsolutions.com/floorstickers/.

Honey, Where’s the Shower Curtain?

I’ve had several email discussions with Todd Callahan at KUT Radio in Austin, Texas. Todd was looking for some kind of cover to protect his AoIP surfaces from both dust and dirt, as well as cleaning compounds that may be used to disinfect studios.

A natural choice is a custom-made furniture slip-cover.  A great idea, but when he started pricing them … whoa, expensive!

Here’s a better choice: A clear plastic shower curtain can be trimmed to fit pretty much any size console or surface. The edges can be held in place with strips of ScotchBlue Original Multi-Surface Painters Tape. The tape will keep the edges secure for up to two weeks and can be removed without leaving residue.

John Bisset has spent over 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award. Email tips to johnpbisset@gmail.com.

The post Workbench: Build This XLR Cable Tester appeared first on Radio World.