Industry News

Recriminations and speculation are two words of the day as we in the radio trades, as well as the nation’s media at large, get our minds around the scale of iHeartMedia’s “transformation” this month.

Cleveland.com has a lengthy article that captures many of the gut-wrenched reactions that people in radio have had. The iHeart announcement “felt different” to industry observers, “like a seismic shift, raising an alarm that perhaps, this time, radio as we know has passed the point of no return,” it reported.

The author of that article believes the number of layoffs was about 1,500; other estimates have been around 1,000. There’s been no confirmed total reported by the company; various counts make it clear there have been at least many hundred people put out of work. (Many reported cuts have been on the programming side; among the unanswered questions are how many engineers and technical positions were affected.)

Cleveland.com lists the familiar challenges to radio including the popularity of streaming and the habits of younger listeners, but also comments on radio’s resiliency over time and its ongoing large overall number of listeners. It notes that Sen. Sherrod Brown has written to iHeart questioning the layoffs in the face of large compensation packages to company executives.

[Read about the technology strategy underpinning iHeart’s “transformation”]

The article summarizes fears that iHeart will use automation and artificial intelligence to run its operations as “a radio station in a closet.” This is a longtime worry of supporters of localism who saw elimination of the main studio rule as removing a regulatory bulwark, allowing operation by “only a few people on the ground and a room full of hard drives,” or even just a tiny sales office with a sign on the door in a community. Cleveland.com quotes longtime radio observer and industry critic Jerry Del Colliano speculating: “You go into a Cleveland radio station, there won’t be any studios. They could be at a WeWork location.”

The company pushed back in a statement to Cleveland.com: “The most important responsibility we have is to the communities we serve. We will continue to serve every local community in which we operate just as we always have.”

But that article ends with speculation that where iHeart goes, others will follow. Del Colliano gloomily said, “This is the end of local radio as we know it.”

A NECESSARY PIVOT?

The Washington Post followed with a writeup of its own with a headline that iHeart “said its mass ‘employee dislocation’ was necessary as it pivoted to AI. But others say it’s the company’s human leaders who deserve the blame.”

This article focused in part on the human impact but summarizes the business rationale this way: “The dominant player in U.S. radio, which owns the online music service iHeartRadio and more than 850 local stations across the United States, has called AI the muscle it needs to fend off rivals, recapture listeners and emerge from bankruptcy. The company, which now uses software to schedule music, analyze research and mix songs, plans to consolidate offices around what executives call ‘AI-enabled Centers of Excellence,” the Post reported. “The company’s shift seems in line with a corporate America that is increasingly embracing automation, using technological advances to take over tasks once done by people, boosting profits and cutting costs. The workplace transformation is typically reduced to a symbol: a robot stealing a human’s job.”

The Post quoted iHeartRadio spokeswoman Wendy Goldberg saying the cuts showed how iHeartMedia was shifting “jobs to the future from the past,” adding data analysts, podcast staff and other digital teams to help transform the company into a “multiplatform” creator and “America’s #1 audio company.” She told the Post: “We do not intend to be one of those companies that stayed in the past, and the world passed it by. Change is painful and change is hard — but consciously choosing not to change is not an option for a company that is going to continue to grow and compete.”

Radio World has renewed its request to iHeartMedia for interviews with company executives about its announcement and will report any outcomes. The company declined to comment to RW earlier.

Also worthy of a fresh read is this 2018 interview with iHeart’s Chris Williams, which touched on the themes of artificial intelligence and what iHeart was planning to do with it.

The post iHeart Defends Painful Change appeared first on Radio World.

WHERE’S THE DIGITAL?

 

Good article about a good radio (“C. Crane Offers Up a Premium Portable,” Dec. 18, 2019 issue). But why doesn’t the new CCRadio-EP receive HD channels? The good journalists at Radio World should have at least asked “Why not HD?”

I realize station managers and sales reps see no profit in HD Radio, but that is the same thing they said about FM in the 1950s. Some even tried to kill FM because they didn’t think people would buy it. Smart stations persisted in marketing FM. Those that stuck with FM eventually had the last word.

It is a “chicken or egg” thing with HD Radio and receivers. People aren’t interested in HD because stations don’t promote it and receivers are not available. I would have been a lot more excited about this new radio if it was future-proofed and promoted HD Radio.

Kevin Ruppert
Madison, Wis.

 

CORRECTING A DISTORTION

I found Mark Persons’ article “Find Your Modulation Sweet Spot” (RW, Oct. 9, 2019 issue) very informative and helpful. Distortion is a turn-off. And I had never considered the distortion inherent in the garden-variety AM envelope detector in the home receiver. Shame on me. Hopefully, this will lead to better-sounding AM.

One nit to pick: The peak power for a 100% modulated AM signal is four times carrier power, not 1.5 times as stated in the article.

James K. Thorusen
Chief Engineer
Central Coast Electronics
Lincoln City, Ore.

Mark Persons replies: Average power is what I was thinking of when writing the article. Mr. Thorusen is correct in saying that peak power is four times unmodulated power.

 

EAS HOSTAGE?

Once again we have a great example of how unreliably the EAS system is implemented. At least one major supplier of equipment recently sent out emails requiring all stations to upgrade software within a week or be unable to run the system. On top of that, in what feels like an extortion scheme, they required each station, including LPFMs and small markets that are barely getting by, to just find $350 from somewhere.

The units cost a considerable amount, and I think it is obscene to hold the users of this product hostage for software upgrades, I thought that was the reason it cost so much to buy.

I still maintain that if we want a truly functional emergency system we need to revisit the entire system in light of technology developments over the past years since the EAS was designed, and replace EAS with a more robust system that has hardware and software supplied and managed by the FCC.

This kind of haphazard process amplifies the obvious failings of EAS, it is unworkable, and cannot be made workable.

Michael Baldauf

 

LONG LIVE RADIO

I respectfully disagree with the person who wrote that radio is dead.

Having spent much of my career in electronic media, I fully understand how radio, TV, satellites, the internet, etc. all fit together to give us a remarkably flexible means of disseminating information.

Sitting here in my home office at my computer, I can “dial up” radio stations from all over the country (and the world). For example, I can listen to a station 900 miles away in my hometown. Five or ten minutes listening on my computer gets me up to speed on the late-breaking news from “back” home. If there is something really interesting, I can pick up the telephone on my desk and “connect” with someone involved in the story. If I am away from home, I can do the same thing on my laptop.

If the story is really “hot” I can pick up my cellphone and get connected to a real live human being who is involved in the story, regardless of where I am.

Long live radio! The “sound” medium.

Lewis D. Collins
Peabody, Mass.

The post Reader Letters on C. Crane, Modulation, EAS Costs appeared first on Radio World.

In what areas are virtualization affecting radio as we move into 2020? How might these trends change the future infrastructure model for radio in the U.S. and elsewhere?

The newest Radio World ebook explores the topic. In this ebook, brought to you by Wheatstone, ENCO and RCS, veteran engineer Doug Irwin asks technology suppliers and others about virtualization in audio management, production and playout, processing and more, with an emphasis on developments of the past 12-18 months.

To what extent is a cloud-based infrastructure the model of the future for radio media companies? Does the elimination of the main studio rule mean that studios will go away?

What are the technical issues and concerns that are raised by the idea of cloud-based infrastructure? Can the cloud approach be “extended” to a location of the broadcasters’ choosing? What else should broadcasters know today about where these technologies are headed, to be prepared?

Read the new ebook here.

The post Trends in Virtualization & the Cloud appeared first on Radio World.

Among the technical tools apparently being used by iHeartMedia in its dramatic organizational restructure is a music-mixing A.I. system built by Super Hi-Fi.

It’s being reported on today by the Washington Post and was described in some detail in an earlier Radio World interview with iHeart’s chief product officer. It’s not clear the extent to which Super Hi-Fi is at the core of iHeart’s AI, given that company officials are declining to talk about such specifics, but it seems likely to be a central component given that Super Hi-Fi was being tried out in its streaming platform.

The Post reports: “The system can transition in real time between songs by layering in music, sound effects, voice-over snippets and ads, delivering the style of smooth, seamless playback that has long been the human DJ’s trade. The Los Angeles-based Super Hi-Fi, whose clients also include the streaming fitness service Peloton, says its ‘computational music presentation’ AI can help erase the seconds-long gaps between songs that can lead to ‘a loss of energy, lack of continuity and disquieting sterility’.”

The Post described patents that it says “reduce the art of mixing music to a diagram of algorithmic tasks,” including a system called MagicStitch that assesses songs’ technical characteristics, blends songs and interjects other elements. The reporter describes a demo given by the company and points out a comment by iHeart’s chief product officer, Chris Williams, in an interview by Radio World that “virtual DJs” that could seamlessly interweave chatter, music and ads were “absolutely” coming, and “something we are always thinking about.”

“PERFECT TRANSITIONS”

This caused us to take a fresh look at that 2018 Radio World interview.

Super Hi-Fi describes itself as a company “dedicated to the creation of powerful artificial intelligence tools to help digital music services deliver amazing listening experiences.” In the earlier story, Williams described how Super Hi-Fi would add “perfect transitions,” “sonic leveling” and “gapless playback.”

Williams described the technology at the time as applied to iHeartRadio streams rather than over-the-air broadcasts, but the conversation presaged the impact on the latter.

[Read the 2018 interview with Chris Williams.]

“We’re eliminating the periods of silence that users currently experience within streaming music to create an experience that mimics the polished production of live radio,” Williams told RW at the time. “We’ve audited the user experience across all the major services and the average gap is 4-6 seconds between the end of one song and the start of another.”

He said the perception of the gap can be even longer across songs with really long, quiet fades or silence at the end. “This new A.I. takes all this into consideration to create the perfect song transitions just as a seasoned radio programmer or DJ would do.”

The technology also levels the volume across songs from different decades, he said at the time.

“This is important because music plays a role in setting a mood and amplifying an experience. Silence between every song and jarring changes in volume breaks the spell and takes a user out of the flow of their experience. It’s an unwelcome disruption that we can eliminate so that the music does what we intend it to do — enhance the moment.”

Williams said in the 2018 interview that these are not cross fade or segue tones, traditional methods the industry uses to solve a transition problem. “Our solution considers every transition discretely, analyzing the song ending as well as the song playing next,” he told RW. “The transition point for a single song is going to vary depending on what track is following, it is dynamic for each unique transition. Our transitions factor in energy, tempo, instrumentation, vocals, processing, volume, production values and hundreds of other attributes for one transition on the fly.

[Related: “Is Artificial Intelligence Friend or Foe to Radio?” Sept. 2018]

“Each time a new song is ingested, the A.I. learns the characteristics of that track and how to best transition it with every other song in the library, similar to the masterful capabilities of our on-air programmers.”

Williams said there are two parts of programming that affect the user experience and have to be considered: curation and presentation. “The curation, or song selection, is still based on our custom algorithm, which is influenced by the curation expertise of our world-class radio programmers. The presentation, or how the songs are stitched together, is what’s being enhanced using the Super Hi-Fi A.I.”

But asked how “artificial intelligence” could be used in a radio operation, he replied: “For a streaming music service, it allows us to scale this concept across millions of songs and billions of unique transitions in a way that isn’t possible if it had to be done by hand,” Williams said. For radio, “We would have to resort to one of the static solutions versus the dynamic approach that we have adopted.”

Notably, Radio World asked Williams, “Do you envision a day when iHeartRadio streams will have virtual DJs, complete with Casey Kasem/Gary Owens voices delivering chatter, tidbits about the song/artist or even local weather before the song plays?”

He answered, “Absolutely. Being able to add in personality, branding, artist messages and weave them all together with the music in a way that is seamless and respects the music is something we are always thinking about.”

CENTERS OF EXCELLENCE

This week’s Washington Post article quotes the co-founder of Super Hi-Fi, Zack Zalon, saying its system won’t trigger massive job cuts and could lead to new opportunities, but also said he expects that, in a few years, computer-generated voices could read off news, serve interviews and introduce songs.

We note, too, that Super Hi-Fi was not mentioned by name in the recent iHeart announcement, which described “technology- and AI-enabled Centers of Excellence” that consolidate functional areas of expertise “in specific locations to deliver the highest quality products and services.” It did mention “the hundreds of millions of dollars in investment [iHeart] has made in building out the company’s core infrastructure, in addition to strategic technology and platform acquisitions like Jelli, RadioJar and Stuff Media.”

Meanwhile, iHeart spokeswoman Wendy Goldberg was quoted by the Post this week saying that its technical solutions allow the company to free up programming people for more creative pursuits, “embedding our radio stations into the communities and lives of our listeners better and deeper than they have been before.”

The post iHeart’s Tech Strategy Puts Spotlight on “Super Hi-Fi” appeared first on Radio World.

AudioScience Iyo Dante

Audio interface developer AudioScience has announced that its Iyo Dante line of interfaces now supports the Livewire+ AES67 audio over IP protocol.

Most Livewire+ AES67 devices can stream audio to and from an Iyo Dante interface including Axia Livewire+-enabled consoles and mix engines using the Livewire low-latency streaming format.

Because it supports the Livewire+ AES67 discovery and routing protocols the Iyo Dante and its Livewire+ AES67-compatible streams can be discovered and connected using Telos Pathfinder Core Pro VM/appliance or the legacy PathfinderPro software.

[What is AES67? Andreas Hillebrand explains.]

AudioScience President Richard Gross said, “The Iyo Dante Livewire+ endpoints have been developed as a direct response to increased Axia compatibility requests from AudioScience’s long-standing radio station audio card user base. The combination of the Telos/Axia open architecture platform with AudioScience’s technical expertise has helped us provide both a cost-effective and superior density solution in a 1RU.”

AudioScience has prepared instructions for making the best of the new feature.

Info: www.audioscience.com

The post AudioScience Adds Livewire+ AES67 to Iyo Dante appeared first on Radio World.

Pilot, NAB’s technology innovation initiative, announced the winners of its fourth annual Pilot Innovation Challenge. The program will provide support to the winners to develop an AI prototype for Pilot in order to enhance broadcasters’ audience engagement.

Individuals, teams, companies, academic institutions and nonprofit organizations submitted concepts to address the challenge prompt to “build an AI character that can have conversations with individual viewers, listeners or consumers.”

This year’s winners are:

• DeepTalk: A Conversational Agent for Broadcasters — Michigan State University: NextGen Media Innovation Lab, College of Communication Arts and Sciences; i-PRoBe Lab, Department of Computer Science and Engineering; WKAR Public Media. DeepTalk is a conversational agent, like Siri, that can be trained through deep learning to deliver news in the voice of a local broadcaster.
• Jukebot — University of Minnesota: Department of Computer Science and Engineering. Jukebot is a chatbot API capable of answering simple questions and getting feedback from users for music stations.

Pilot is allocating a total of $150,000 between the two winners. Winners will also receive relevant mentorship, feedback during development and a trip to the 2020 NAB Show to demonstrate their prototype.

Innovation Challenge finalists included:

• AI-Driven Interactive News on Mobile Devices — Embody Digital
• Leveraging Conversational AI to Grow Audience, Deepen Engagement and Shape Content Strategy — University of Georgia: Department of Statistics, Institute for Artificial Intelligence; Grady College of Journalism and Mass Communication New Media Institute
• Kuralt.AI: 3D Broadcast Avatar — University of North Carolina: Reese News Lab, Hussman School of Journalism and Media

Pilot Executive Director John Clark said NAB looks forward to working with the winners to develop their prototypes and ultimately provide broadcasters the ability to better serve their communities through AI.

 

The post Pilot Announces Winners of the 2020 Innovation Challenge appeared first on Radio World.

Dear Editor,

Scott Dorsey writes, “It is time for some weeding out, so that stations that can take advantage of the actual advantages of AM are able to do so.”

Dave Kolesar sees digital transmission as the salvation of the AM band (Dec. 4, 2019 issue), but AM problems are more social than technical. There are perhaps 20 times as many AM stations as there were in the 1950s, but far fewer listeners. Receivers haven’t improved; in fact on the whole they have got worse. Much of the problem is sheer overcrowding.

The one major benefit of AM, where AM shines over all other possible delivery methods, is long-distance reception over skip and the ability to deal with severe multipath on rugged terrain. Any digital system for AM broadcast that cannot contend with skip reception or degrades reception in mountainous areas is destroying the one advantage that AM has.

Yes, it’s possible that IBOC MA3 is a great improvement over MA1, in that MA1 not only was inaudible over skip but made adjacent-channel stations unlistenable. MA3 is much less likely to destroy reception of distant stations, but the digital carrier is still destroyed by Faraday rotation.

If your station is not audible on skip, and you’re not in a mountainous area where FM is problematic, you probably shouldn’t be on the AM band. I know a lot of AM stations realize this and would like to move to the FM band but cannot. The FM band is too crowded too.

But we need to sit down and face the real truth that there are too many stations on the AM band broadcasting junk programming that people are not actively listening to. It is time for some weeding out, so that stations that can take advantage of the actual advantages of AM are able to do so.

The NAB doesn’t want to talk about this. The FCC doesn’t want to talk about this. All anybody wants to do is promote technical solutions to the wrong problem.

I would be strongly in favor of digital systems that were able to cope with skip transmission, such as DRM. But there’s an easy way to dramatically improve listenability of the band, it’s just that nobody wants to talk about it.

Scott Dorsey
Kludge Audio
Williamsburg, Va.

The post AM in Digital? It’s a Tech Solution to the Wrong Problem appeared first on Radio World.

ANTWERP, Belgium — As a part of the Stadsfeestzaal events hall and shopping mall’s radio advertising campaign, Belgian broadcaster TOPradio hosted six hours of live radio on Friday, Nov 29 — “Black Friday.”

TOPradio broadcasts six hours live from a mobile studio. All photos are courtesy of Topradio.

“The organizers wanted to go beyond a traditional radio campaign and opted for a full Black Friday concept,” said Wouter De Vries, TOPradio DJ and producer. “So we set up the live broadcast alongside the commercial campaign and promoted it on the airwaves and on social media.”

De Vries added that, with TOPradio being awarded 15 FM frequencies in April 2018 the station now also has a dedicated frequency (104.2 MHz FM) for the greater Antwerp area.

“This was the perfect occasion to highlight TOPradio’s new FM frequency. We enjoy good reception and have gained many listeners,” he said.

“This Black Friday broadcast may mark the beginning of future collaboration with Stadsfeestzaal,” said Wouter De Vries, TOPradio DJ and producer.

“Although we also broadcast on DAB+, the majority of our audience still tunes into FM. And the Stadsfeestzaal is a beautiful venue, on the Meir, Antwerp’s prime shopping street.”

For the Black Friday show, Flexivent, a company specializing in mobile event solutions, supplied the FlexStudio mobile broadcast studio remote trailer, which has space for a presentation desk and all the needed technical equipment.

RadioStudio.be managed the technical integration of TOPradio’s broadcast bubble. “We put in place a Lawo ruby package with an eight-fader ruby mixing console,” said Tom Callebaut, manager of RadioStudio.be.

“For TOPradio’s Aeron playout system, a dump data PC, a copy of TOPradio’s music files databank, in the mobile studio provided the musical content. In addition, the Lawo Ember+ protocol ensured swift communication between the digital components in the studio.”

A huge billboard stage in Antwerp’s shopping street announced the TOPradio broadcast and the DJ sets.

[Read About Qmusic and Joe’s New Studios]

The station used two Neumann KMS 105 condenser microphones for presenters and guests. The Lawo ruby’s AES signal was encoded by a DEVA Broadcast 9000TX audio encoder and transmitted via 4G to TOPradio’s main on-air studio in Ghent.

The station aired between 2 and 8 p.m. with three presenters and a social media editor, providing pictures and stories for Facebook and Instagram.

Radiostudio.be managed the installation of the studio.

There was also a DJ station in the Stadsfeestzaal venue so DJs and media personalities could perform in front of an audience.

“The Black Friday mobile broadcast was a huge success, both for the organizers and TOPradio,” concluded De Vries. “This may be the start of future collaboration.

The post TOPradio Hosts Live Broadcast for Black Friday appeared first on Radio World.

We already knew that Geoffrey Starks believes “America’s broadcasters should look like America.” But on Monday the FCC commissioner took that message in person directly to the NAB Joint Board of Directors.

The commissioner spoke to members of the NAB board during its meeting in Miami. According to a copy of the remarks released by his office, Starks addressed topics of public interest, media diversity and the future of broadcast.

Starks, one of the two commissioners in the Democratic minority on the FCC, said that the proliferation of information options available to consumers does not make it less important for broadcasters to focus on what it means to serve the public interest.

[Related: Read what Geoffrey Starks told the Media Institute Free Speech Gala in November.]

“Not at all. In fact, I think this is your competitive advantage.” He cited data that most Americans still get their local news from local TV stations, and that most of the news consumed online is originated by traditional sources like broadcasters or newspapers.

He also said, “We must find effective ways to move the needle on ownership diversity.” He made note of three House bills. One would reinstate the tax certificate program, which Starks strongly supports, to incentivize sales of stations to women and minorities and encourage investment of capital. Another would improve broadcast ownership data collection and direct the FCC to complete its EEO rulemaking. The third would require consideration of market entry barriers for “socially disadvantaged individuals” being excluded from media ownership.

Starks also complimented the NAB for its Broadcast Leadership Training program and hoped the association can build on it.

[Related: “Pai Lists His Accomplishments of Three Years”]

On EEO, he was critical of the FCC for “failing to make good on its statutory mandate to collect workforce diversity data from broadcasters. It is still not clear to me how, for nearly 20 years, the FCC ignored Congress’s will by not collecting this information,” and said he’d work to re-open the issue. “Until we can adequately quantify the problem, we cannot adequately address it.” He rejected arguments that collecting EEO data or adopting policies to promote diversity would be unconstitutional.

And Starks asked the TV industry to take data privacy and security issues into account as it deploys ATSC 3.0.

“All those features rely on consumer data that will be collected by broadcasters and device manufacturers. How will that data be kept secure? How will it be stored, anonymized or sold? How will consumers be fully aware of what data are being collected and how it is being used? What about the algorithms and machine learning that will be employed to manipulate consumer data to produce targeted ads, viewing suggestions, and the like?”

He advised TV broadcasters to “widen your aperture to be aware of and conscientiously think through complex issues involving data and privacy that are going to dominate our shared future.”

Read the full speech.

 

The post Commissioner Starks Takes Diversity Message to the NAB Board appeared first on Radio World.

SAN FRANCISCO — KQED(FM) recently began a project to remodel and expand our studios in San Francisco. The plan is two-phase. The first was to move the station’s operations to a temporary facility, followed by a transition back to our newly remodeled original complex.

Caroline Smith, producer, Forum, uses the Telos VSet 12 handset and Broadcast Bionics’ XScreen (her left screen) at the KQED temporary studios.

I created an initial plan so that the system could be configured well in advance of our move. Then the team at the Telos Alliance took my plan, checked that it made sense from a technical standpoint and added a few important modifications to achieve a modern and highly reliable on-air telephone system, one befitting a 24-hour news and information operation that is often the number one station in the San Francisco market.

Good hardware with a good plan is still lacking without good implementation. To this end, we also opted for on-site configuration and training by Telos Alliance Support, and the experience that we received from team member Shaun Dolan was above and beyond helpful. Many configuration pieces of the VXE system had to be worked out on-site, such as the network configuration using non-Cisco switches for the phones and programming the Asterisk server and VXE for the new SIP trunk.

The new SIP trunk provided by TPx had a few temporary numbers — actual KQED numbers would not be available until the studio moved. With Shaun’s help we were able to preprogram all of the numbers we would eventually be using. At cutover time, the training I received came in handy. I set up a VSet-12 phone at my workbench and pre-programmed multiple “shows” to include all of the numbers expected in the SIP trunk. As TPx moved the numbers one at a time, I was able to test them immediately. Some of the numbers didn’t work, and thanks to my training I knew where to look for problems and make the necessary corrections to a few typos that I had made during the process. All the talk show lines, including the toll-free number, worked as expected. I believe the SIP trunk provider, TPx, was pleasantly surprised at how quickly the KQED cutover went.

Programming the VXe system phones to work with the many studios and shows is a breeze. The lines are displayed clearly on the phones, and the users easily can understand which lines are available for different purposes. We set up the VXe system to flash a light in the control rooms instead of using the ringer. This ensures that the studio engineers never miss a call due to the ringer being turned off.

Our talk show people learned how to operate the new phones much more quickly than I expected. They are happy with the new phones operation and information filled displays, as well as the overall quality of the VSets. They were used to the old Telos producer/talent software, but quickly came to like the Broadcast Bionics xScreen software. They especially like that, through xScreen, they can see how many times someone has called into the show. They know the show is really popular when the regular callers are crowded out by a bunch of new callers. Broadcast Bionics worked with KQED to optimize xScreen for our needs. We really appreciated their willingness to listen to our suggestions for their product and improve it for our needs. The transition to the new studio was so smooth, our listeners and callers were unaware that anything had changed.

People are now used to the new equipment and work flows at our new studio location. But of course, this new location is only temporary while the old studio complex facility is being fully remodeled and expanded.

Early 2020 we start the planning for reconstructing the newly rebuilt facility. For the move back I expect we will get another new VXe and Asterisk phone system and make the one we are using today a backup in a fully redundant system. After our last experience, I’m sure we will get Telos back out for another configuration.

For information, contact Cam Eicher at The Telos Alliance in Ohio at 1-216-241-7225 or visit www.telosalliance.com.

The post User Report: Telos Supports Smooth Transitions in San Francisco appeared first on Radio World.