1988 Excellence engineering Awards - americanradiohistory.com · blueprint. Then Studer engineers went to work. The result . . .a true 2nd gener-ation professional CD Player, with

JANUARY 1938 $3.00

1988Excellence

engineeringAwards

The A727 Professional Compact Disc Player"The only true 2nd generation Pro CD Player"

The Studer A727 is exactly whatyou need in a truly professional CDplayer. It's that way by design.

Broadcast and production professionals from all over the world told uswhat they needed. That became ourblueprint. Then Studer engineers wentto work. The result . . .a true 2nd gener-ation professional CD Player, with along list of advantages over thecompetition.

Listen to the Studer -engineeredA727 . . .What you hear comes fromseparate I6 -bit D/A converters, 4 -timesoversampling, and proprietary Studerdigital and analog filtering. In otherwords, what you hear is legendaryStuder sonic quality.

Use the features that professionalsdemanded and Studer engineered intothe A727:

very quick direct access totracks and indexes; Auto Cue (aka, "cue tomusic") to find exact start ofprogram material; Auto Stop to pause at endof any track; Start Review & End Reviewto allow quick checks of "in"and "out" cues; parallel remote with statustallies and fader start; bright self -illuminating dis-play shows elapsed andremaining time for both trackand disc;

Studer modular full function parallel remote control with display

. 'VOA

provision for RS 422 serial interface; rugged die-cast aluminum CD driveassembly with quiet CD drawer; I/O configurations. Analog-stereobalanced XLR, 2 sets of stereounbalanced RCA (fixed level and vari-able level), and mono. Digital-balanced XLR, unbalanced RCA.Clock-input for vari-speed, output forsynchronization.

If the Studer A727 seems to beeverything you need in a professionalCD player, it's no accident. It was builtthat way. By design.

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At JVC, we know what FINALLY! THE UNIVERSAL FORMAT Plus, by combining theit's like to be in your THAT TAKES YOU FROM ACTION

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"whole lot easier. It's the first truly universal

recording/playback time in VHS sized 1/2

format that answers the needs of people incassettes. All without worrying about format

the field, in the studio and in production -switches or losing quality during editing -

while delivering broadcast quality results.even several generations down the line.

And MII delivers these results in half thespace and with less than half the weight of1" C systems.

merit and format changes.

As you might expect, ournew MII component videorecording systems more thanlive up to the JVCreputation for value.In fact, to pack anymore value orfeatures into oureconomical MII unitswould probably take a shoehorn.

For example, you'll find features to choosefrom like four audio tracks, a time base

corrector, an integral longitudinal andvertical time code, time/date generator

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noise reduction... to namejust a few.

Most importantly, only JVC gives youa choice. This means you can

select a less sophisticatedMil system, say for ENG/EFP, and a more advanced- Mil system for studiowork. Also, since each unit

is completely compatiblewith each other, you canvirtually build your own

system, feature for feature.And upgrade at any time.

JVC's MTh Theaffordable, univer-sal format you'veMM.

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' -Ina lip For literature orw111411. demonstration, calltoll free: 1-800-JVC-5825.

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JVCALWAYS A STEP AHEAD...TO KEEP YOU A STEP AHEAD.

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Telex, a broadcast headsein perfect balance.

NETWORKAUDIO

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Telex satisfies the comfort needsof network sports announcerswhile meeting high networkaudio standards. For years Telex has worked diligentlwith network audio engineers and network talent-searching for theideal combination of sound and comfort. The PH -24 and PH -25lightweight Sportscaster headsets offer the perfect balance of bothneeds. Two of the three major networks have already adopted it astheir standard for all sports events where excessive crowd noise isnot prevalent.Ideal for golf, tennis, baseball and football in most stadiums, these pro-fessional headsets deliver the ultimate in sound and comfort. The samemicrophone quality is available in the PH -91 and PH -92 full ear -

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i ism ElBROADCAST MANAGEMENT ENGINE E HIND

EDITOR -IN -CHIEF

Robert birds

EDITOR

Tim Wetmore

SENIOR EDITOR

liva J. Blinder

ASSOCIATE EDITOR

Steven Schwartz

PRODUCTION EDITOR

Michael D. !spindle

ART DIRECTOR

Andra Deuelas

ASSOCIATE ART DIRECTOR

Raymond Wang

PRODUCTION DIRECTOR

Nick Tartuillia

PRODUCTION ASSISTANT

Barbara Mendelsohn

FCC COUNSEL

Bechtel & Cole

GROUP PUBLISHER

Kevin J. Condon

ASSOCIATE PUBLISHER

Patrick J. Moloney

MARKETING SERVICES DIRECTOR

Alene M. Peters

MARKETING ASSOCIATE

Joseph M. Declbus

CONTROLLER

Joseph M. Pannone

ASSISTANT TO CONTROLLER

Jesse Moro

EXECUTIVE ASSISTANT

Sharon Porous

OFFICE MANAGER

Donald Cooke

RECEPTIONIST

Sharon Cureton

Broadband PublicationsCHAIRMAN

Paul David SchaefferPRESIDENT

Charles C. Lenz, Jr.EXECUTIVE VICE PRESIDENT

Kevin J. CondonSENIOR VICE PRESIDENT.

CORPORATE DEVELOPMENT 8. PLANNING

Martha LortnlVICE PRESIDENT.

FINANCE K ADMINISTRATION

Broome A. Butler

Bro Publications295 Madison Ave., New York, NY 10017(212) 685-5320, Telex 64-4001Also publishers of:BM/E's World Bro t NewsE-rril Educational -Industrial Television

BNMEE/ERIBNZDA0DsCsANST MANAGEMENT5-3201ispubEisNhGedl-/RPVBnA monthly by NBB Acquisitions, Inc. BM/Erri is circulated without charge to those re-

sponsible for station operation and for specifying and au-thorizing the purchase of equipment used in broadcast facil-ities in the U.S. and Canada. These facilities include AM,FM and TV broadcast stations. CATV systems, EN sta-tions, networks and studios, audio and video recording stu-dios, teleproduction facilities, consultants, etc. Subscriptionprices to others $36.00 one year, $50.00 two years. Foreign$50.00 one year, $75.00 two years. Air Mail rates on re-quest. Copyright 1988 by NBB Acquisitions, Inc., New YorkCity. Second class postage paid New York, N.Y. and addi-tional mailing offices.POSTMASTER: send address changes to BM/E BroadcastManagement/Engineering, P.O. Box 6056, Duluth, MN55806.

Circle 102 on Reader Service Card4 BM/E JANUARY 1988

ON THE HEELS OF THECURRENT BUDGET CRUNCH,

JVC VALUE HELPS POLISHYOUR IMAGE WITHOUT

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%NCRALWAYS A STEP AHEAD...TO KEEP YOU A STEP AHEAD.Circle 103 on Reader Service Card

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./6.,6\_THE GRASS VALLEY GROUP INC.P.O. Box 1114 , Grass Valley, CA 95945 USATelephone (916) 478-3000TRT: 160432OFFICES: New York (201) 845-7988; District of Columbia(301) 622-6313; Atlanta (404) 493-1255; Chimo (219)264-0931; Minneapolis (612) 483-2593; Dallas/FortWorth(817) 483.7447; Los Angeles (818) 999-2303; San Francisco(415) 968-6680; GVG International Ltd. (UK)+ 44-962-843939;Grass Valley Group Asia (HK) +852-3-7396632

Model 100 circle 104, Model 200 circle 105, 300 series circle 106, 1680 series circle 107

JANUARY 1988 VOLUME 24/NUMBER 1

Features

Departments

Cover:Shot at Studio 26 by Bruce

Weintraub, BM/E's excellence inengineering award graces

this month's cover.Special section starts p. 27.

IIMEBROADCAST MANAGEMENT

/ENGINEERING

I67 /3

BM/E's First Annual Excellence in EngineeringIssue 27In this issue, BM/E inagurates the first annual Excellence inEngineering Awards. In this special forum, we recognize con-tributions that have benefitted the industry:CNN CenterYves FaroudjaCharlexRay DolbyWDUV/WBRD

The NRSCWQEX-TV

Sarnoff Research CenterKNX-AM

WSYT-TV

D -Day in the Format Wars 63The advent of the D-2 (digital composite) VTR format raisesnew questions in the digital recording dilemma... by RobertRivlin, Editor -in -Chief

Digital Audio Steals the Show 68Numerous hardware and software introductions for digital au-dio production finds SMPTE is all ears... by Steven Schwartz,Associate Editor

10 Editorial 75 New EquipmentA Letter from the Editor

12 Industry NewsNAB seeks research grantproposals 73 Business Briefs

18 PCs in EngineeringA new column concerningthe interaction of engineer-ing management with per-sonal computers 80 Advertisers Index

AT JVC, YOU HAVEA CHOICE OF

STEPPING INTO THE3 HOTTEST FORMATS

IN TOWN...

into a format andcommit yourself - those nagging questionsstart popping up. So where do youturn to for answers?

The same place you'vealways turned to for valueand performance, JVC,of course. Today, whenbudgets are decreasingand demands onbroadcasters areincreasing - JVCgives you themost importantoption ofof choice.

Only JVC can giveyou total systemsupport in allthree formats.Which meanswhen youcome to us

we can giveyou straight answers

not a tap dance. Inshort, we don't have to

"sell" you on a particular format -just the one that's right for you.

At JVC, we know 3/4", S -VHS, MII. For example, whilewhat it's like to be WHATEVER THE BUDGET, WHATEVER

some manufacturersin your shoes. Just a towhen you're about to THE HEED, JVC CAN HELP YOU GET walk awayplant your feet firmly A LEG UP ON YOUR COMPETITION. technology, we

keep bringing outnew products to support our 3/4" customers.

Then, of course, there's MU. It's trulya universal format that allows youto handle a variety of assignments

from the field, to editing, to over -the -air - without having to switch

equipment or formats.

Last but not least isS -VHS - the very afford-

able high resolutionformat that makes surecustomers with smaller

budgets can still havebigger -than -life picture quality.

Add it all up and you'll see thefirst step to take

when you'rechoosing a

format is tocall JVC.

For literature ora demonstration,

call toll -free:1-800-JVC-5825.

JVC Professional ProductsCompany, 41 Slater Drive,

Elmwood Park, New Jersey 07407.

JIM®ALWAYS A STEP AHEAD...TO KEEP YOU A STEP AHEAD.


Letter from the EditorAt the beginning of this new year, we thought it appropriate to introduce you to some ofthe significant and exciting changes going on here at BMIE in order to address the chal-lenges facing technical and engineering management. The increasing use of computers,the need to engineer for major events such as conventions and elections, facility planningthat allows for constantly evolving recorder formats, digital equipment that must be in-tegrated into an analog environment-all are issues that require up-to-date,knowledgable decisions, based on the kind of information we take pride in presenting inBM/E.

As announced previously, BMIE was recently acquired by Act III Publishing, a unit ofNorman Lear's Act III Communications. Among the many strengths this provides is theability to focus our resources and energy on this most important segment of the broad-cast and teleproduction businesses: technical and engineering management. You will al-ready have noticed that the issue is devoted to recognizing the contributions made by en-gineering management in developing facilities and products that have impact on ourindustry. And this is just the beginning.

Impact. With new columns and new editorial programs, with a renewed dedication to ra-dio coverage, and with an eye towards what lies ahead for our industry, BMIE is provid-ing what the technical leadership in radio, television, and teleproduction is demandingand what, until now, it could not get.

Columns such as "PCs in Engineering" geared to the select, practical needs of today'senginereering manager, will allow our readers to make hands-on use of the materialthey find in each issue of BM/E. "Tech -Watch" will alert the leaders of engineering to'advanced technologies that will soon have direct affect on the video and audio environ-ment in which they work. And new columns and expanded features on leaders of our in-dustry and the technical minds that influence the way facilities operate and the way theindustry employs systems will be coming your way throughout the year.

Leadership. That's what we're after as we use our vision to see the changes in technologyand systems and how they interact with advanced engineering concepts to guide us onour course to tomorrow's world of audio and video realities.

New articles and columns, our program to recognize engineering excellence, our editorialapproach designed to satisfy the needs of technical and engineering management: werefuse to remain static and are continually evolving to keep pace with the industry's ownneed to grow. We believe that we have come up with the best formula for serving ourreadership, and we hope you will look closely and let us know how you feel both aboutthe exciting changes we have instituted with this issue and the changes still to come asthe year progresses.

10 BM/E JANUARY 1988

WHEN LOOKING FOR THE LATEST TECHNOLOGYIN UHF AND VHF TRANSMITTERS...

Comark's recent trackrecord of technologicalinnovations is unmatched byany other LS manufacturer.This impressive history ofrecognized advancementsdenonstrates our commitmentto the future. A commitmentbacked ty continuingsubstant al investments inresearch and productdevelopmeit activ ties.

Incorporating new technologyinto today's products is yourassJrance teat the Comarktransmitter purchased nowwill still be current in theyear 2003.

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1C9 on Reader Service Card

Industry News

NAB Seeks Proposals forResearch GrantsThe NAB is currently acceptingproposals for its 1988 Grants forResearch in Broadcasting. Now inits 22nd year, the program awardsfour to six grants of up to $5000 toselected individuals. The compe-tition is open to all academic per-sonnel, graduate students, and se-nior undergraduates.

"This program is aimed atstimulating interest in broadcastresearch, especially on economic,social, or policy issues importantto the U.S. broadcast industry,"says NAB Research Committeechairman Donald J. Newberg. "Italso makes high -quality academicresearch available to the industryas well as academics."

Proposals will be evaluated byan independent committee com-posed of broadcast industry pro-fessionals and academicians. Thecriteria used for judging each sub-mission will be problem concep-tualization, research technique,contribution to the field, clarity,and thoroughness. Proposalsdealing with instructional or pub-lic radio and TV are specificallyexcluded from the competition,while at least one award will begiven for research on the relation-ship of children and the broadcastmedia.

The deadline for submissions isFebruary 1, 1988; winners will beannounced at the 1988 BroadcastEducation Association Conven-tion in Las Vegas next April.

High -Tech Hospitality forSummitLast month's Reagan -Gorbachevsummit meeting in Washingtonwas marked by technological aswell as diplomatic breakthroughs.A hastily arranged agreement be-tween a New York -based satellitecommunications company andGosteleradio, the Soviet StateCommittee for Television & RadioBroadcasting, brought RussianTV programming to the U.S. em-ploying satellites that were neverbefore used for this purpose.

While the U.S. InformationAgency (USIA) had agreed to sup-

to,

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Yesterday and today...That odd -looking contraption you seepictured on the left happens to be the first transistor ever as-sembled. This historic device, which celebrated its 40th birthdaylast month, is known as a "point contact" transistor and wasdeveloped at AT&T Bell Laboratories in Murray Hill, NJ. Its namecomes from the fact that amplification occurred when the twopointed gold contacts were pressed onto the surface of awedge of "homegrown" germanium.

Designed as a replacement for the bulky, fragile vacuumtube, the invention quickly transformed the pace of technologyand won the 1956 Nobel Prize in Physics for the team of physi-cists-John Bardeen, Walter Brattain, and William Shockley-re-sponsible for its development.

On the right is its dimunitive progeny, AT&T's state-of-the-artcustom logic chip, a silicon -based integrated circuit in a 133 -pinceramic grid array containing the equivalent of 72,000 transis-tors. Or, a chip off the old block, you might say.

ply the Soviets with tapes of Mos-cow news programs, the agencynoted that there would be a delayof up to a day and half, resultingfrom the time of broadcast to thetime of the transmission by Mos-cow via the satellite monitored bythe USIA in Washington. Thenews came as a disappointment tothe Soviets, who wanted to keepclose tabs on the reports of thesummit being broadcast at home.

Upon hearing about the prob-lem, Ken Schaffer, president ofNew York's Orbita TechnologiesCorp., a company that special-izes in arranging Soviet -Ameri-can broadcast exchanges, con-

tacted Gosteleradio co-chairmanHenrikas Yushkiavitchus threedays before the Soviet delegation'sarrival in the U.S. to request thatMoscow redirect its programmingto four of the older Molniya satel-lites, which had never before car-ried the city's programming.Gosteleradio consented, allowingOrbita to downlink the program-ming in New York and to providethe Russians with SECAMNHS-format tapes of Vremya, the Mos-cow evening news program, hoursafter it was broadcast in the So-viet Union. It further providedseveral U.S. universities-includ-ing Columbia, Ohio State, and the


THE ABOVESTANDARDINDUSTRYSTANDIn Canada, Australia and Brazil, C-QUAM ® has been

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You'll notice little details that make the Delta systemfit for the long haul. Things like a ruggedly constructed

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You'll also notice that we used common sense when wedesigned the Delta system. It's easy to install thanks to theextra RF and logic level outputs we've included. For furtherflexibility there's a day/night or main/auxiliary audio equal-ization board available at no extra charge. Factory authorizedsystem installation is also included. And every system isbacked by over 25 years of dedication to AM broadcastingand customer satisfaction.

To find out more about the Delta C-QUAM® AM StereoSystem and attractive package pricing, give us a call at(703) 354-3350. Or write Delta Electronics, 5730 GeneralWashington Drive, Alexandria, VA 22312.

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Industry News

University of Michigan-with theopportunity to view Soviet cover-age of the summit as it was beingbroadcast in Moscow.

U.S. Teleport MarketBoomingThe teleport market in the U.S. isalive and extremely well accord-ing to a new 325 -page report onthe industry by the internationalmarket research group Frost &

Sullivan.The report charts an almost ex-

ponential growth rate in the mar-ketplace, which has blossomedfrom "about half a dozen" metro-politan cities with teleports in1984 to more than 20 teleport-supported cities today (with sev-eral cities having more than one).Noting that approximately 40teleports will be in operation na-tionwide by the end of 1987, the

Don't settle forthat colors

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The new lightweight Shure SM89 eliminates coloration up to 30°off -axis. Thanks to its new Accu-Portm design, the off -axis responseof the SM89 is smooth and natural, free of the peaks and dips causedby the comb -filter characteristic of most shotgun mics. So off -axissound is much easier to control and equalize.

The SM89 also features a newly designed condenser cartridgefor improved sensitivity. Plus a built-in rolloff filter that eliminateslow frequency noise problems, and controls proximity effect inclose-up work.

The durable aluminium design is 30-40% lighter than othermodels. The low noise amp also can be powered from 11 to 52 VDCphantom power and separates from the capsule for field repair.

For more information, write or call Shure Brothers Inc.,222 Hartrey Ave.' Evanston, IL. 60202-3696 (312) 866-2553.G.S.A. Approved.

a shotgun micoff -axis sound.

(c5411P=*AteikimgaruoMattz*daz avvt60,4*.

report forecasts that the numberwill grow to 55 in 1988, 100 by1991, and 200 by 1997.

Increased revenues are alsoanticipated in relation to a risingdemand for services. Although theaverage revenue per teleport in1987 and 1988 is expected to stayaround $2.3 million (for telecom-munications services only), thestudy predicts a jump to $3 mil-lion by 1991, and $5.3 million by1997. This translates to total in-dustry revenues of $91 million in1987 to $1 billion by 1997.

Technological advancementsare seen as well. While mostteleports got started in the busi-ness by providing uplinking anddownlinking services of anlogvideo signals for broadcast and ca-ble clients, the report notes therapid progress of digital technol-ogy in the field.

The report also points out thecomplexity involved in establish-ing a teleport, and cites the plan-ning and development efforts thatare required between the govern-ment and private sector. It goes onto point out that a number of ex-isting teleports-such as HBO'sShepley Center on Long Island-evolved from uplinks originallyinstalled by video programmersfor their own use. Meanwhile, thestudy shows that close to half ofthe nation's current teleport facil-ities began as entrepreneurialstart-ups, some of which estab-lished successful operations fol-lowing failed business/govern-ment efforts.

Changes in NAB Science& TechnologyDepartmentNAB President and CEO Edward0. Fritts announced last monththat Science and Technology headThomas B. Keller will leave thedepartment to be the NAB's chiefscientist at the orgnaization'sBroadcast Technology Center(BTC), which was formed to focuson the realization of a high defini-tion television system for U.S.broadcasters, in addition to otherresearch projects.

At the same time, Fritts namedMichael C. Rau as vice presidentand acting head of the depart -



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Industry News

ment. Rau was formerly directorof spectrum engineering and reg-ulatory affairs at Science andTechnology.

"Tom Keller is an outstandingscientist who will make vital con-tributions to the development ofhigh definition television," Frittssaid. "Mike Rau's experience andtalents equip him superbly tomanage the Science and Technol-ogy as Tom's successor."

Keller, who headed Science andTechnology since 1981, was chair-man of the special EIA committeeresponsible for selecting the MTSstandard.

Rau joined the NAB staff in1981 and was named the depart-ment's director of spectrum engi-neering and regulatory affairslast year. He was also instru-mental in establishing the NRSCAM improvement standard.

A video camera thatgrows with you.At Camera Mart.

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Program Announced forSMPTE TV ConferenceThe technical program for the22nd annual SMPTE TV confer-ence has been announced by pro-gram chairman J. WayneCaluger. "Technology in Transi-tion" will be the theme for thisyear's show, which will be held atthe Opryland Hotel in Nashvilleon January 29 and 30.

The meeting will bring togetherengineers, scientists, researchers,and other technicians from theU.S., England, Japan, West Ger-many, and other countries to as-sess the current state and futuredirection of TV technology. Theconference program will include28 technical papers, whichCaluger has divided up into fourhalf -day topic sessions.

Video Recording Formats is thetopic of the first session on Fridaymorning, January 29, which willfeature an examination of the var-ious VTR formats that have pro-liferated the marketplace in re-cent years.

Distribution and Processingwill be the topic in Friday's after-noon session, in which speakerswill analyze the electronic videosignal: how it is processed, distrib-uted, and transmitted.

The morning session on Satur-day will be devoted to the TV stu-dio, and will consist of presenta-tions on planning the physicallayout of a studio, design and im-plementation of equipment, andproper system maintenance. Post -production issues will dominatethe afternoon session on Satur-day. Topics will include edit deci-sion lists, integrating analog anddigital formats, mixing and syn-chronization, systems control, andother relevant subjects.

There will also be an equipmentexhibition displaying the televi-sion systems and devices dis-cussed by the authors in the tech-nical sessions. Other highlightsinclude an opening address by theSociety's editorial vice presidentHoward T. LaZare; and a lun-cheon with featured guestspeaker, Joseph A. Flaherty, vicepresident of the engineeringand development department atCBS.



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PCs in Engineering

Calculating FM FieldStrength on a ComputerBy R. F. Balonis, WILK-FM, Wilkes-Barre, PA

Docket 8090 will generatean enormous amount of"what -if" thinking and ac-

tivity. It has done, and will do, alot of things for a lot of people. Itspurpose was "to increase theavailability of FM broadcast as-signments," and the FM channelallotments it created will go along way to accomplishing whatthe FCC set out to do. But, themodifications it made to the 20-

year -old FM channel allocation(rules) scheme will do much morethan that.

In another time, it couldn'thave happened. This, however, isthe age of the computer. Most ev-eryone's got one or has used one.To many in the engineering andtechnical management ranks, thecomputer has become a constantcompanion, a useful tool to helpsolve the problems incurred in thenormal execution of one's job.

FM signal coverage andpropagation

In radio, signal coverage area isas important as anything for astation's success. This is the resultof a station's signal coverage areadefining the station's ultimate po-tential audience and advertisingcoverage areas. However, predict-ing signal coverage is a mean taskrequiring some obscure andrather occult technical skills.

That makes it a perfect what -ifkind of computer problem to solve.And that's what the program Ipresent here does: It allows FMsignal prediction on a PC. Givenvalues of ERP (Effective RadiatedPower), HAAT (Height Above Av-erage Terrain), and terrain rough-ness factors, it will calculate anapproximation of the F(50:50) sig-nal prediction to three contours:70dbu, 60dbu, and 34dbu. But

first some information about whatthe calculation involves.

FM signal propagation is a com-plex phenomenon. On its way to areceiver, the signal has manythings that can and do affect itspropagation. At FM frequencies(88 to 108Mhz), the primary modeof propagation is by the space -

wave; the groundwave doesn't govery far, and the skywave is aninfrequent, unreliable happening.So, this direct "line -of -sight" sig-nal, is generally the best unaf-fected FM signal that the receivercan get.

However, normal everyday re-ception seldom consists only of theunaffected space -wave. Usually,the received signal, in most partsof an FM coverage area, is a vectorsum of the direct space -wave,ground reflected wave(s), and amultitude of effects on them suchas reflection, refraction, diffrac-tion, absorption, scattering, graz-ing, and Fresnel zone clearance.

The theory of itsprediction

That's how it" is in the realworld. In FM radio wave propaga-tion theory, things are a littlesimpler. Propagation theory as-sumes the space -wave travelsover a flat earth. The FM signalthat reaches the receiver consistsof only two waves, a direct waveand a ground reflected one withits phase reversed. And, the sig-nal strength at a receiver is a vec-tor sum of both waves that varies(in a standing wave -like pattern)with distance between, and withthe heights of, the antennas.

The flat earth theory works upto about 40 miles-the optical"line -of -sight" horizon, and there,the flat earth assumption is aclose approximation to reality.

NEWCOLUMN

But at distances greater thanthat, the over -the -horizon -dis-tance effect on the direct and re-flected waves is to reduce the ef-fective heights of the antennas.That, in turn, changes the loca-tions and the amount of variationin the ideal field strength curve.

Ground imperfections, rough-ness, and deviations from an idealsmooth earth also affect the FMsignal's field strength by chang-ing the reflected wave's phaseshift and amplitude. And, the nor-mal earth constants (conductivityand dielectric) cause the reflectioncoefficient to be less than unityand the reflected wave's phaseshift to differ from 180 degrees, sothat the received field strength (avector sum of the direct and re-flected waves) has lower varia-tions in the signal strength as afunction of distance.

Even in the case where the dis-tance involved is less than line-of-sight-when it's an optical pathand the wave can pass directlyfrom the transmitting antenna tothe receiving antenna-there arethings that affect the signalstrength. The optimum opticalpath must extend, so that theground and all obstructions lieoutside it, to at least the firstFresnel zone. Fresnel zones areimaginary cylindrical surfacesthat surround the direct path andhave it as its axis. The first one isdefined as the point on this imagi-nary cylindrical surface where thedistance from the transmittingantenna to this point added to thedistance to the receiving antennais one half -wavelength greaterthan the direct path.

How the FCC does itThe customary way to predict

FM signal field strength is by the


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PCs in Engineering

FCC FM field strength charts,73.333. They take into account allthe fuzzy aspects of things affect-ing FM propagation and give sta-tistically qualified estimates. TheF(50,50) chart, gives an estimatedfield strength expected to be ex-ceeded at 50 percent of the poten-tial receiver locations for at least50 percent of the time at a receiv-ing antenna height of 9 meters(about 30 feet), and the F(50,10),

gives the same except for only 10percent of the receiver locations.

Determination by the charts,however, is not the only way theFCC has for computing FM fieldstrength. They also do it with aFortran program called CURVES.The program is based on an ear-lier one called TVFMFS, whichwas given in an FCC Report, FieldStrength Calculations for TV andFM Broadcasting, by Gary S.

0

5

1015202530

35405055606570758085

9095100110115120125130135140155160170175180185190195200205210215220225230235240245300400405410415420430440445450455470500510520530540550560

'FMFLD.BAS COMPUTE [50:50) FM FIELDRUN 20:' ---BY R.F. BALONIS 8/30/86--

'* BASED ON METHOD AND FORMULA OF *

'* ED WESTENHAVER/HARRIS CORP 1979 *TLEW ++ FM (50:50) Field Contours ++.HI=100:L0=.01:' KILOWATTS ERP

CLS:PRINT TLE$:PR1NT:K=4.3429INPUT 'ERP IN <KW/DBK> ';ERP$IF ERPS=" THEN STOPIF ERP$<>'KW' AND ERP$<>"DBK' THEN 0IF ERP$="DBK" THEN HI=20:L0=-20INPUT 'ERP <#1> ';ERPIF ERP<LO OR ERP>HI THEN 0PWR=INT(ERP*100)/100

INPUT 'HAAT IN <FT/M> ';HAAT$IF HAAT$<>*FT' AND HAAT$<>"M" THEN 0

INPUT 'HAAT <111> ';HAATIF HAAT=<0 THEN 0INPUT 'TERRAIN ROUGH (M) *;TRUFIF TRUF=0 THEN 135

INPUT "FM CHANNEL <MHZ> ';FMIF FM<92.1 OR FM>108 THEN 0

IF HAATS<>"FT" THEN 155DIST$=.MI":M=1:KM=1:GOTO 175

IF HAAT$<>"M" THEN 0DISTWKW:M=3.280833:KM=1.609344

IF ERP$='DBK. THEN ERP=EXP(ERP/K)LERP=K*LOG(ERP):XHAT=LOG(HAAT*M)IF TRUF=0 THEN 200TRUF=1.9-.03*TRUF*(1+FM/300)

CLS:PRINT TLES:PRINTPRINT'ERP :"PWR; ERP$PRINT'HAAT :'HAAT;HAAT$PRINT'70DBU (3.16MV)DBU=70:GOSUB 400:PRINT DIST;DIST$PRINT'60DBU (1.0 MV)DBU=60:GOSUB 400:PRINT DIST;DIST$

PRINT'34DBU (50 uv)DBU=34:GOSUB 400:PRINT DIST;DIST$;INPUT ' <ENTER>';X:RUN 0

'--USING ED WESTENHAVER'S FORMULA --'--COMPUTE DISTANCE FOR A CONTOUR--RESTORE:YDBU=DBU-LERP-TRUF:2=0FOR I=0 TO 4M=0:FOR J=0 TO 4

READ A:M=M+A*XHAT-JNEXT J

Z=Z+M*YDBU-INEXT I

DIST=INT(EXP(Z)*10*KM)/10:RETURN

'-CONSTANTS FOR THE CONTOUR FORMULADATA 3.68, 5.3680E -1,-9.4540E-2,DATA 1.1654, -7.2486E-1, 1.6038E-1,DATA -9.2989E-2, 5.5882E -2,-1.2486E-2,DATA 1.8513E -3,-1.1238E-3, 2.5306E-4,DATA -1.1158E-5, 6.8286E -6,-1.5485E-6,

END OF PROGRAM

Kalagian, No. RS 76-01, January1976.

The algorithmFor my uses, and for my kind of

small computer, the FCC methodis a very complex procedure. Moresuitable to my needs is themethod devised by EdWestenhaver and distributed, as atechnical report, by Harris Broad-cast Products as Coverage Predic-tions Using Programmable

+ FM [50:50] Field Countours +

ERP INERPHAAT INHAAT

<KW/DBK> ? DBK<##> ? 4.5<FT/M> ? FT<###> ? 150

TERRAIN ROUGH (M) ? 0


ERPHAAT70DBU (3.16MV)60DBU (1.0 MV)34DBU (50 uv)

: 4.5 DBK: 150 FT: 5.6 MI: 10.1 MI: 37.3 MI <ENTER>?


ERP INERPHAAT INHAATTERRAIN

<KW/DBK> ? KW<##> ? 27.5

<FT/M> ? M<###> ? 195

ROUGH (M) ? 0

FM [50:50] Field Countours +

ERPHAAT70DBU60DBU34DBU

(3.16MV)(1.0 MV)(50 uv)

: 27..5 KW: 195 M: 32.2 KM: 50.6 KM: 118.1 KM <ENTER>?

6.2570E-3, 0.0-1.5565E-2, 5.6445E-41.2408E -3,-4.6425E-5

-2.5340E-5, 9.5651E-71.5598E -7,-5.9243E-9

Figure 1: FMFLD.BAS field strength program with its demo screen.

Calculators.His method is to use a long

power series equation to calculatean approximation to the data onthe FCC field intensity charts.The formula was developed usingan extension of "least squares"curve -fitting techniques for math-ematical relationships betweentwo variables. In Figure 1-FMFLD.BAS-Ed Westenhaver's25 -term power series equation iscoded as two nested FOR NEXTloops (lines 400 to 455). The innerloop reads in the formula's coef-ficients, coded as data statements(lines 500 to 550), and the outerone sums the exponential series of


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PCs in Engineering

terms. The equation, coded as asubroutine, is called for each con-tour calculation but with differentvalues of DBK.

Coverage Predictions UsingProgrammable Calculators wasissued and distributed by HarrisBroadcast Products a few yearsago, circa 1980, and I don't know ifit's still available, but I'm surethey'll do their best to help any-one wanting to see it. The reportincludes a similar set of constantsfor the TV channels 7 to 13 and anextensive analysis on the accura-cies of the power series formula'scalculations compared to the ac-tual chart values. For the FM([50:50]) chart, the formula givesa mean error of 0.5 percent with astandard deviation of 1.9 percent,which, I think, is good enough forwhat -if applications.

How FMFLD.BAS worksEntry data for ERP, depending

on unit type (KW or DBK), is lim-ited in Line 75 to values set either

in Line 30 or 65. Selection of theHAAT units (FT/M) also deter-mines the distance units-milesor kilometers. For details on theterrain roughness factor, see theFCC rules Section 73.313 (i) and(j) and charts 73.333, Figure 4,"Definition of the Terrain Rough-ness Factor," and 73.333, Figure5, "Terrain Roughness Correc-tion." The FM field strengthcharts were developed assuming aterrain roughness factor of 50 me-ters, representing average terrainin the U. S. So for normal, or aver-age, propagation paths enter 0 atthe program's prompt for it.

The Demo Screen shows theprogram sequence:

1. ENTER KW or DBK to tell itthe units of ERP that you arethinking in (KW = kilowatts,DBK = decibel above one kilo-watt).2. ENTER ERP (Effective radi-ated power, -20 to 20 DBK or .01to 100 KW).

3. ENTER FT or M for the HAATunits (FT = feet, M = meters).4. ENTER HAAT (Height AboveAverage Terrain).5. ENTER TERRAIN ROUGH-NESS in meters.

Now wait 3 or 4 seconds for thecalculated distance to the 70dbu(3.16mv), 60dbu (1.0mv), and34dbu (50uv) contours to display.To do another calculation, just hitEnter at the last prompt.

Finally, the words of qualifica-tion: FMFLD.BAS is not intentedfor official FCC filings or to doaway with the need for a consul-tant. Its sole purpose and in-tended use is only for "unofficial"calculations.

The program is written in whatI call a "generic" PC Basic. And, toanyone needing help or havingtrouble with it, or wanting toknow more about it, I can bereached at WILK-FM, 88 N.Franklin St., Wilkes-Barre, PA18711; (717) 824-4666.

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BMIE's 1st AnnualExcellence In Engineering Awards

This is our first official recognition, in anissue dedicated to the purpose, of excel-lence in engineering. We have covered

the engineering efforts that have gone towardmaking our industry a vital and exciting en-tity in today's communications complex.But never before has there been, in aspec:al forum, a detailing of the con-tributions of individuals in thetechnical and engineeringmanagement ranks. And letus not forget those groups ofpeople and institutions de-voted :o the advancement oftechnology and systems thatserve as examples to membersof the broadcasting and produc-tion community.

The outstanding achievements rep-resented here are unique in manyways. Some of the honorees were cho-sen because of personal contribu-tions not just in the past, but todayES well. Yves Faroudja certainly hasdone more to sustain the life ofNTSC video than any other singleperson, and his efforts continue to-day. Much of the significant inroadsbeing made in extended definitiontelevision have received supportfrom Faroudja. His work has notgone unnoticed.

Perhaps of equal note, though inthe audio domain, is RayDolby's historical contribution.His innovative approach andunique impact on audio tech-nologies, not to mention hismembership in the seminalgroup of videotape recorderpioneers, remain unparalleledto :his day. Other engineer-ing feats of note combine in-dividual effort with a team, re-sulting in exceptonal facilities.Gene Wright's leadership in con-ceiving, designing and moving theCNN plant into new headquartersat the CNN Center shows the en-gineering manager interactingwith a solid team to produce trulyexceptional results.

In radio, WDUV/WBRD, anAM/FM, has demonstrated how astation of that type should be de-signed and upgraded in order to

compete in today's broadcast industry, doing it intel-ligently and with style. While on the west coast,

KNX-AM has demonstrated great vision with itsmix of computers, automation, and standard

operating equipment in a plant that shows astation looking toward the future.

Let us not forget the state-of-the-art:eleproduction facility, Charlex,

whose technical leadershipshowed how to solve problemsthat are universal among engi-neering management whether

they occur in a post house, pro-duction facility, or television sta-tion. At the oppcsite end of the

financial spectrum, though identi-cal in spirit is the small television sta-

tion from Pittsburgh, WQEX-TV, thatincorporated some advanced thinking

into its small budget and managed tocreate a sophisticated plant.

Invading new turf is often the signof pioneers, and WSYT-TV in Syra-cuse is the first independent to breakthat market, previously dominatedby affiliates. It was able to do thiswith some unusual problem solvingtechniques that engineering peoplewill find refreshing_

Perhaps one of the greatest giftsthe NRSC has giver_ the industry isits ability and willingness to make acourageous effort to improve AM

broadcasting. Nevertheless, be-yond this significant influ-ence, the committee's tech-nical pre-eminence wasestablished by its proposal ofan AM broadcast standardand its petitioning of the FCC.

And, to top off the list, theSarnoff Research Center,now a separate entity from

RCA and GE, has a history ofclever solutions to difficult prob-

S8 terns but has no: rested on previ-31 ous accomplishments. Its recent37 contribution to advanced defini-4.0 tion television and continuing ef-43 forts in devising extraordinary46 methods of technical problem48 solving speak well for its efforts,

Center 52 demanding that it be recognized55 among the engineering leader -60 ship of our age. A salute, then, to

Excellence in Engineering!

CNN CenterYves FaroudjaCharlexRay DolbyWDUV/WBRDNRSCWQEX-TVSarnoff ReasearchKNX-AMWSYT-TV

CNNCenter

is theWrightPlace

Atlanta, July 13, 1987.CNN and CNN HeadlineNews go on the air fromthe Omni Center in At-

lanta. Except now it's called theCNN Center. Ted Turner boughtit. And, like WTBS, CNN and al-most every other maverick projecthe has undertaken, this dramaticmove to a new facility attractedmuch attention. It attracted ourattention, however, not so muchbecause of Turner, but because ofthe magnitude of the engineeringhurdles involved and the finessewith which these problems wereapproached by Gene Wright andthe rest of the CNN team.

Moving from the Techwood fa-cility outside of the city, whereWTBS and the satellite antennafarm are still located, CNN ac-complished complete switchover,from concept to completion, in lessthan one year. And in the mean-time Gene Wright, vice presidentof engineering for Turner Broad-casting, and his staff managed toembrace much of the new technol-ogy available today. Completeconversion to half -inch Betacambecame the standard; upgradeand expansion of a Basys news-room computer system including280 devices became the center ofthe operation; and modular layoutphysically separating, yet main-taining relationships of the satel-lite, assignment, script, and airfunctions was achieved. In one

.....014,00014.0140.101061MUNNINONCm4,,_,

On the floor of the expansive CNN Newsroom, the Writers' Pod showsemployment of the new computer system.

plant sector after another, uniqueimplementations of hardware,software, and systems designwere employed.

The largest newsroom in theworld, the CNN Center now co-ordinates the activities of nine do-mestic bureaus, 12 foreign bu-reaus, and hundreds of other newssources throughout the world.Dedicated computer graphicssuites adjacent to the newsgather-ing desks and the studio incorpo-rate Aurora and Abekas systemsat the core of the creative plant.Occupying several floors of the 1.3million square foot shopping andoffice complex, the new CNN Cen-ter is the heart of the 24 -hournews operations for CNN, Head-line News, and CNN Radio, whichnow has over 150 affiliates.. Nextdoor to the center, later this year,will be the site of the DemocraticNational Convention.

More than 12 million dollarswas spent on new equipment forthe expanded facility. Yet, itwould be foolish to think thatWright and TBS are solving aproblem simply by throwing mon-ey at it. At the heart of the inno-vations are not necessarily the

glittering new jewels of equip-ment but the system concept andplanning for the future that war-rant attention. Besides, it is esti-mated that, while producing 24hours worth of news, CNN spendsless than half the money spent byany of the other networks, whichproduce far less programming.No, it is not necessarily the accu-mulation of advanced hardwarethat makes the facility excep-tional, but the embracing of newideas and technologies thatspeaks to the contribution madeby Wright and the CNN team.

Wright, who directed the amaz-ingly efficient transfer withoutmissing a beat in the program-ming, has been with Turner since1972 when he joined what wasthen known as WTCG as its chiefengineer. Subsequently namedWTBS, the station saw him rise todirector of engineering in 1979and become a major force behindthe facilities development of thefledgling Cable News Network.Prior to his years at TBS, Wrightspent seven years at WXIA-TV inAtlanta as an engineer. Startingout in radio, Wright saw duty asan engineer at WGST in Atlanta


Another area of the CNN Newsroom floor exhibits frantic organizationof satellite feeds.

and WTOC, an AMIFM/TV comboin Savannah, GA.

Also, Wright has not alwayshad the resources now at his dis-posal. In the beginning there wereonly two engineers at TBS, one inmaintenance and one in opera -

Gene Wright, VP Engineering; themastermind behind the move.

tions. So he grew into the situa-tion making equipment do muchmore than it was "supposed" to do,using innovative concepts to fillthe void in the budget. Although,this time around, the budget wasconsiderably larger, intelligentengineering solutions were no lessin demand.

One such example involvedlinking the studios with the life-line to the rest of the world. Leav-ing the satellite facilities at theTechwood plant provided the ob-stacle of how to get information infrom, and how to get the feed outto, the antennas. Rather than usevideo lines or microwave, Wrightrealized modern and future broad-casting required fiber optics tohandle the volume, speed, andquality signal to compete. So, heinstalled 54 video and 54 audiochannels with another 54 secondaudio channels available. The fi-ber is maintained under a stan-dard tariff with Southern Bell andterminates at Pirelli terminals inthe new TOC at Techwood.

Remote control for switchingfrom the CNN Center wasplanned in as well. Due toWright's requiring so many re-

dundant channels, microwavewas ruled out as not cost effectivefor the three-mile trek betweenfacilities. So the fiber was chosen.Still, not all the exciting develop-ments are in the switching andcontrol. Some 200 of the previ-ously mentioned Betacam unitshave been installed and, furtherreaching for the latest in techno-logical offerings, CNN has mixedin CCDs with its field cameras.

As for the computers, CNN hadthem when they first went on theair in June of 1980. Upon movingto the new building, they bought awhole new Basys system withgreater capability. The centerhouses three main computers tiedtogether with an Ethernet link,communicating to 214 terminals,280 devices, essentially doublingthe former capacity. Further, allCNN bureaus have newsroomcomputers hooked up to Atlanta.All TBS networks are on the samedatabase in the new facility, offer-ing shared access among CNN,Headline News, and the Europeanbureaus.

The new system also employs fi-ber optics to transmit computerinformation between the termi-nals and the main computers. It isbased on the AT&T informationsystems network and multiplex-ers and can handle 36 channels oneach routing. This was imple-mented, according to Fred Tasse,senior technical support at TBS,due to the great distance betweenthe computers and the terminalsin the newsroom.

Now, with the technical plantin place, and the news bureaushumming across the world,Wright can look out at the multi-million dollar, multimillionsquare foot facility and recall thedays when TBS was two engineersfrantically gluing things togetherto make them work on an almostnonexistent budget. Whathe now sees is perhapsthe most technologi-cally advanced newsnetwork producing thelargest volume of newsprogramming in theworld. Maybe this isAmerica's team.

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The glitz and glamor thatsurround the hard engi-neering work of advancedtelevision make it easy to

slight NTSC. Once the cuttingedge of television technology,NTSC today often plays the role of

Yves Faroudja's goal is an NTSC that approaches HDTV in subjectivequality.

the shabby stepchild, surroundedby such favored siblings as compo-nent analog video and HDTV. Itsinherent artifacts and tendency tobreak down under processinghave made it a source of frustra-tion and the butt of jokes for gen-erations of engineers.

Underneath its rags, however,the stepchild is ready to blossom,asserts Yves Faroudja, whose in-novative decoding and encodingprocesses are doing much to putNTSC back on the cutting edgewhere it started. Faroudja's com-pany, Faroudja Laboratories ofSunnyvale, CA, has done inten-sive work on getting the most out

of NTSC while staying alwayswithin the signal parameters ofthe format.

Faroudja's work on behalf ofNTSC has received wide recogni-tion in the television industry.His honors include a DavidSarnoff Gold Medal from the Soci-ety of Motion Picture and Televi-sion Engineers and a MonitorAward. He is a Fellow of theSMPTE and sits on the AdvancedTelevision Systems Committee.

"The major motto of the com-pany is, 'We try to do the best withNTSC,"' Faroudja states. "We tryto use all the possibilities ofNTSC; we are not involved in non-

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NTSC schemes." Faroudja be-lieves that with the proper han-dling, NTSC can produce picturessurprisingly close to HDTV insubjective quality. His confidencein the format's potential led himto announce what Faroudja Labshas dubbed "Super NTSC" (theterm is trademarked by Faroudja)at the recent SMPTE Convention.

Born and educated in France,where he received a Master's de-gree in electrical engineering,Faroudja arrived on these shores20 years ago and immediatelystarted working in video. His firstemployers were Memorex andIVC.

About a decade ago, Faroudjabegan licensing various video pro-cesses he had developed to suchcompanies as Microtime, Fortel,and Conrac. By his own estima-tion, he holds about 20 U.S. andforeign patents and has applica-tions for "maybe seven or eight"on file.

Licensing (primarily in the con-sumer area) continues to be one ofFaroudja Lab's main activities,along with manufacturing ofbroadcast equipment. Current li-censees include Sony, Mitsubishi,Matsushita, JVC, Hitachi, Sharp,Ikegami, and a host of U.S. com-panies, "too many to mention."

The recently announced SuperNTSC combines Faroudja's decod-ing and encoding technology withline doubling, which gives the il-lusion of a 1050 -line picture on a525 -line system, and the newFaroudja detail processor, a"bandwidth expansion" devicethat makes picture detail morevisible, creating an image that ap-pears to have a bandwidth of 7MHz while in reality actual band-width remains at 4.2 MHz.

The detail processor establishesa level of details as high as if youhad a wider bandwidth, and cor-rects some of the errors caused bythe nonadherence of NTSC to theconstant luminance principle,"Faroudja continues. The constantluminance principle, one of thefoundations of NTSC in theory,states that luminance is indepen-dent of chroma level. In the realworld, however, "it doesn't quite

work like that" because of non-linearities in matrixing and de-matrixing and chrominancetransition errors. "More progressshould be made on that," Faroudjaasserts. "If the committees couldagree on a common technique, itwould be very significant."

Progress also remains to bemade on the line doubling con-cept. "It would be very good ifNTSC was starting at 1050 linesand could then be processed tohave a very clean 525 lines," hesuggests. "We don't have themeans to do that at this time,however." Faroudja's line dou-bling process does not add anyenhancement in decoding side,but rather relies on a techniquecalled multiplicative enhance-ment which is usable televisionreceivers.

"There's still a lot to be done,"Faroudja admits. "A lot of it nowis a work of coordination betweenmanufacturers of broadcastequipment and manufacturers ofhome equipment. There are errorsof colorimetry, errors of definitionof gamma. If there were some or-der being put in that, it would beabsolutely splendid." He adds thatthe gray scale is very often dam-aged, depending on the type of re-ceiver and camera in use. "We'reworking on that, too."

Faroudja's ideas for improvingNTSC go back more than a de-cade. It was the influence ofHDTV, however, that promptedhim to go ahead with them.

"I had had the idea for 12 or 15years, and had known for 12 yearshow to eliminate rainbow pat-terns and dot crawl," he recalls."But I was busy doing noise reduc-tion and enhancement systems, soI never built those devices. Therewere other things that werewrong with NTSC that requiredattention. But I saw HDTV aboutfour years ago at NHK and againabout two years ago. I liked thepicture quality, and I thought ifthe same high -quality camera andVTR technology that is being usedfor HDTV were utilized for NTSC,and I was removing the cross colorand cross luminance, it wouldlook pretty good." He credits his

"excellent engineers and assis-tants and very good marketinghelp" with aiding him in bringinghis ideas to fruition.

The key, Faroudja continues, isto respect the "implied rules" ofNTSC and to take advantage ofthe technology boosts that havebeen prompted by HDTV. "Whenyou put these two things togetherit looks very good," he asserts. "Itlooks very close to high definition.It's not high definintion, it's notwide aspect ratio, but if you lookat the film transfers I have done,you would never know it's NTSC."

In Faroudja's view, compatibil-ity is an essential ingredient ofany scheme to improve the qual-ity of television.

"We do not want to change thestandard, we do not want to mod-ify the existing bandwidth, we donot want the people at home tobuy new television sets," he in-sists. "But by using the best en-coder at the station you can makethe best possible picture. In fact, ifyou use our encoder with regularhome TV sets, you will see a sig-nificant difference."

The basic operating philosophybehind Faroudja's work is that "itis much better to give a little bet-ter picture to everybody than anexcellent picture to a few." Henotes that the NTSC aspect ratio"is one element we have notsolved that we do not intend to.

"There is nothing we can doabout it," he states. "This isby definition a noncompatiblechange... I think it's a very com-mendable goal to go to HDTV, butI believe any HDTV system shoudbe NTSC compatible. NTSC orNTSC-derivative schemes are go-ing to be, for another 10 years atleast, the main choice in theUnited States, so anything we de-velop has to talk easily to NTSC."

That doesn't mean set-tling for an inferior pic-ture, however. "Ourgoal is to have the pic-ture look as if it werefilm," he adds. "I thinkthat NTSC is not quitecapable of doing that,but it can come prettyclose "


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PROFESSIONAL/INDUSTRIAL DIVISION

Charlex chief engineer Paul Mitchell stands next to the racks snowingmassive cable bundles. Planning for a profitable future dictated theplant be prewired for expansion.

As with most large post -production facilities,there are two sides to NewYork City's Charlex. One,

seen by clients, written about inthe national press, is its brilliantuse of multilevel graphics and ef-fects for TV commercial clientsthe likes of Coca-Cola and Cresttoothpaste, and TV programs suchas Saturday Night Live.

The other side, more or less rel-egated to the back room, is com-posed of racks and racks of elec-tronics and machines that makeall the images come into being. AtCharlex one of the main activitiesin the back room used to be thesimultaneous starting and stop-ping of up to a dozen one -inchVTRs at once to produce the com-pany's famous layered look-atechnique achieved now throughthe use of an Abekas A62.

At Charlex, however, there isyet another level besides the editsuite and the unseen machinery-burried beneath the floors of theback room. There, over 11 miles ofinterconnected cabling, providingthe facility with both the flexibil-

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ity and adaptive power that allowit to not only create award -win-ning pieces, but to do it profitably.

"We started out seven years agowith a few decks and a smallishpatch bay," explains chief engi-neer Paul Mitchell. "But we justkept growing and growing. Fi-nally, the patching system justgot out of hand, and we knew wehad to do something."

The problem wasn't size alone.One of Mitchell's and Charlexpresident Charlie Levy s designprinciples in setting up the facil-ity had been to keep all its graph-ics equipment as flexible as possi-ble; rather than dedicating Abekasdisk recorders, special effectsboxes, painting, and animationequipment to a particular editingsuite (Charlex now has three), allthe devices were kept outboarded.

Practically the only dedicatedequipment are two Central Dy-namics switchers and one GrassValley Model 300, and the CMXeditors, kept wired into their re-spective suites.

Everything else needs to be ableto be used throughout the opera-

Charlex:A RationalSolutionforChaos

tion on a project -by -project basis.If a client wants all four cahnnelsof ADO plus the Grass Valley Ka-leidoscope, as well as Paintboxand Harry, all in the same ses-sion, it can be arranged. Or,the devices can be distributedthroughout the three edit suites.The total equipment available atthe facility includes four channelsof ADO with combiner, Kalido-scope, an A62, three QuantelPaintboxes interfaced with twoHarrys, several remotely -con-trolled animation stands (WarrenSmith and IMC), the switchers, ap-proximately one dozen AmpexVPR-3s, and now a brand-newSony digital recorder.

"For a while, I was keeping allthe patching configurations in myhead," Mitchell recalls. "It wasn'ta problem-I knew the system in-side and out. The same was true ifwe had a problem. I would rig upsomething temporarily, thencome back to fix it when we had aquiet moment."

Mitchell had to spend moretime explaining to other peoplehow to do things than it took to dothe work himself, and yet he couldonly do so much. Besides, if he gotsick, doing a special patch job toset up a client used to working ina certain way became extremelydifficult.

"You can't imagine the generalaura of chaos at a busy post -pro-duction house in the middle ofNew York City where three major


clients can be working at once,and no one has a moment tobreathe let alone think, and doz-ens of people are scurrying aroundat the same time and you justhave to be able to get a new VTRon-line and add animation standgraphics but there's never quiteenough people -power," Levyexplains.

"We had to do something. Andwhen we began an upgrading ofone of our edit suites, we decidedto bite the bullet and completelyredo our technical operation."

The solution to the apparentchaos, and Charlex's very over-worked patch bay system, was abrand-new Grass Valley GroupHorizon routing switcher. Theswitcher is currently configuredin a 128 x 128 array. The first 16 x24 crosspoints set up with threelevels to carry the R,G,B compo-nents produced by much of the fa-cility's graphics equipment, whilethe rest of the switcher is a singlelevel of NTSC.

The new switching system re-quired a complete new cabling job,and yet the whole project had to bedone without taking the facility

Buried beneath the computerflooring is over 1'1 miles of cabling.


Ampex one -inch tape machines line the walls of the Charlex Machineroom. A new Sony digital recorder is also now in place.

off-line for a moment. Thus, whileMitchell and staff engineers AlCohen and Dave Colte kept theexisting patch system up and run-ning, East Coast Video was hiredto install the 11 miles of new wir-ing. To prevent confusion, all newcable that was being installed waswhite, while existing plant ca-bling was black.

Thus, when the job was com-pleted, the East Coast technicianswere able to simply yank out anyblack cable in sight.

Fortunately the job had justbeen completed in late May whenthe ad agency for Crest walked inthe door to complete one of themost complex jobs Charlex hasever undertaken-new "Crest forKids" TV campaign.

Routing video throughout theplant is only one part of Charlex'smassive signal distribution plan,however. Paralleling the video,but carried through a separatewiring system, are both distrib-uted TBC/processing functionsand machine control commands(there is one system for distribut-ing GPIB pulses for triggeringolder types of equipment, whileanother handles controls for RS -422 machines including bothports on the VPR-3s).

The net result is that once ma-

chines are delegated to a particu-lar suite through a simple patchin the control room, virtually allfunctions required by the editorcan be remotely controlled.

"We think there will be a to-tally integrated CCIR 601 editsuite in five to six years," Mitchellsays. "But we're also looking atthe possibility of being able toconvert some of our VPRs to D-2machines when they becomeavailable."

Also being examined "veryclosely" is the possible addition ofa 3D modeling and animationsystem.

As for the router, "It should lastus through at least one more editsuite and the addition of a film -to -tape transfer room," Levy ex-plains. "Beyond that we don'tknow. Some of it depends onthe manufacturers. As we getmore and more digital equipment,we're going to have to start look-ing at routing all over again. Mybiggest wish is that some-one would come up witha single routingswitcher and controlpanel that would han-dle R,G,B and digital601 at the same time.That would be a realblessing."

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Ray Dolby:Engineer

in theStratosphere

verybody on earth knowswho Ray Dolby is. Thatis, everybody who hasever used an audio or vid-

eotape recorder. Or listened to al-most any classical or pop record-ing in the last 20 years. Orlistened to FM radio. Or watcheda movie in the last 12 years.

The proof: more than 6.5 mil-lion VHS video cassette machineshave been manufactured withDolby B -type noise reduction;more than 6 million headphoneportable cassette players withDolby have been manufactured;more than 160 licensees in 20countries have produced hun-dreds of millions of consumerproducts incorporating Dolby B,with more than 20 million beingproduced annually.

More important: there are closeto 100 thousand tracks of Dolby Anoise reduction in use in the pro-fessional segment; close to 5000channels of Dolby SR (SpectralRecording) have already been or-dered; Dolby has developed a newdigital processing technique in-corporating adaptive delta modu-lation for satellite broadcasting.

These achievements are exem-plary. Ray Dolby has the ability topersevere. Not only to continue(he has been involved in signifi-cant industry developments sincehis work at Ampex in 1952) tocontribute and to do so at levelsthat, each time, appear to exceedprior accomplishments, but tocontribute technologies and meth-ods of approaching problems thatopen doors for others participat-

Ray Dolby,engineer,inventor,entrepre-neur, doc-tor ofphysics,founderof DolbyLa bora-to ries

ing in the industry.A case in point is the recent in-

troduction of Spectral Recording.It was widely accepted that digitalaudio recorders were easing ana-log machines quietly out the backdoor. Of course, there were manyquality analog machines still onthe market, but even the vener-able champions of quality analogrecording, Studer and Otari, re-cently introduced digital record-ers. The die apparently was cast.Ray Dolby comes along with Spec-tral Recording and flips the gen-eral consensus on its ear. Thoughhe is too modest to make theclaim, he essentially rescuedmultitrack analog recording inthe professional environmentfrom an early death. With SRthere can no longer be a legiti-

mate claim for digital superiority.At least for a while.

True enough, he had a talentedstaff of engineers to implementthe technology and a qualifiedcorporate structure that allowedthe product to be brought to mar-ket. But it was his design. His vi-sion. His energy that brought,once again, a quiet revolution tothe professional audio industry.This achievement, as alreadynoted, is only part of a long list ofinnovations the man has pro-vided.

As a perspicacious youth of 18,Dolby was, along with CharlieGinsburg, responsible for layingthe groundwork for the first suc-cessful videotape recorder atAmpex. In the well -documentedstory he returned from a short


stint in the Army and rejoined theteam that, in April 1956, intro-duced the machine to the world.By 1957 it was being prepared forproduction while Dolby was pre-paring to finish at Stanford Uni-versity and go to Cambridge,England, where he ultimately re-ceived his PhD in Physics.

After finishing his degree, in1961, with a thesis on the charac-teristic properties of x-ray micros-copy in the 10 to 100 Angstromrange, Dolby consulted for theUnited Kingdom Atomic EnergryAuthority and, from 1963-65 wasa member of a United Nations ad-visory team to India on scientificinstruments. "Though it was awonderful experience, I found In -

which turned out to be an ad-vanced audio technology develop-ment laboratory, was marked inMay 1965. He then proceeded toinvestigate products based on hisresearch as a student into the in-adequacies of tape -based record-ing systems.

In 1966, 10 years after the in-troduction of the Ampex video-tape machine, Dolby Laboratoriesintroduced its A -type noise reduc-tion process for professional re-cording. Decca Records in Londonreceived the first nine units of theA301 in April of that year, and inMay the first commercial record-ing session employing the tech-nology took place. It was VladimirAshkenazy playing Mozart piano

San Francisco headquarters of Dolby Labs is based in a renoya=ed 19Wbrick building.

dia to be somewhat frustratingsince they did not have the infra-structure to support technical de-velopment and the bureaucracywas difficult," Dolby relates.Upon returning to England in1965 he established Dolby Lab-oratories.

The official formation of DolbyLaboratories, which was origi-nally intended to be a wide-rang-ing physical research facility, but

mloOMIlell11=1

concertos Just two years later, in1968, B -type noise reduction forconsumer tape decks debuted.

One should not labor under themisapprehension that Ray Dolbywas involved strictly in tape -based technologies. The stereo op-tical soundtrack for 35 mm filmwas introduced in 1975 and in1976 the company moved its head-quarters, R&D, and licensing ac-tivities to San Francisco. This is

not a point to pass over lightly.Fully 20 years after his contribu-tion to the invention of the video-tape recorder, and 10 years afterlaunching his audio tape noise re-duction system, Dolby moved hisoperation to the United States tofurther expand its capabilities.Not the sign of someone resting onone's laurels.

And now, an additional 10

Dolby's London offices house inter-national sales and manufacturing.

years after the move, there arenew surround sound techniquesfor film, spectral recording is be-coming commonplace in the high -end audio recording world, andSoundlink has been introduced.This new use of advanced technol-ogy moves Dolby into the digitaldomain in processing satellitetransmitted audio channels.

Spectral recording, as it beginsto work into the professional fab-ric of audio production, will widenits influence. The effect of Sound -link on the satellite segment isyet to be determined, but itsenhancement of the previouslyavailable system for audio channelprocessing is obviously an improve-ment. Only the commerical viabil-ity remains a question. If it goesthe way of the rest of Ray Dolby'sprojects, you might as well mark itup right now as a success.

If it does prove to be a success,Dolby's influence will havegone beyond the bordersof this earth. So, evenpeople not living onthis earth, those soon tobe inhabiting mannedspace centers, will alsoknow who Ray Dolby is.

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feareAree en e,WBRD-AMWD UV -FMFloridaStationsShine withEngineeringConcept

Director of engineering Robert J. Lankton inside the facility's mas-ter control studio.

While some broadcastoperations celebratetheir anniversarieswith cake and can-

dles, the Sunshine State Broad-casting Company of Sarasota, FL,marked its 30th year on the airwith a technological upgrade thatincluded relocating its AM/FM op-eration to a newly built, custom -designed facility. The move to thenew 6500 -square -foot headquar-ters was the first in the company'shistory and required nearly twoyears to complete.

According to Robert Lankton,director of engineering for thecompany's two radio stations,WBRD-AM and WDUV-FM, allplanning for the new facility-from the mathematical calcula-tions for sound room dimensionsto the complex underground wir-ing arrangement-was handledin-house. The building itself wasconstructed by the Sun Contract-ing Company of Bradenton, FL.

"Quality workmanship andcareful attention to budgetaryguidelines were two major consid-erations on the project," Lanktonnotes. "We looked at a few pack-age deals and prewired installa-

tions, but after some price check-ing it soon became apparent thatthey were totally out of the ques-tion. So we decided that if it wasgoing to be done right, we wouldhave to do it ourselves." He addsthat since both stations continuedoperating out of the old studiosduring the transition, there wasno specific timetable to meet-which allowed the technicians tocarefully plot out everything inadvance.

This was especially useful whenit came to planning the facility'sunderground wiring scheme.Lankton points out that the wir-ing for each room was intricatelylaid out prior to construction. In-stead of running wires throughwalls and behind racks, the engi-neering department opted to placewire troughs under the floor ofeach room with easy accessabilityprovided by 12 -inch square boxesand pull ropes. Each room wasfurther designed for maximumaudio routing flexibility withBantam -type tip -ring sleevepatch panels that were especiallyconstructed in house.

"We found it to be an extremelylogical approach," he adds. "We're

arranged for total flexibility withevery studio routed through theengineering office. For instance,from my desk, I can send anysource in any room to any otherroom or on the air." Furthermore,by similarly configuring all of thestudios' patch systems, consoles,tape machines, turntables, andother hardware, all operationspersonnel are easily familiarizedwith the equipment and both sta-tions are provided with maximumflexibility and redundancy.

The company selected 14 -chan-nel Auditronics 200 Series audioconsoles for the master control,master production, production 1,and news production studios.Lankton explains that the consolewas selected for its "exacting au-dio specifications, and ease of op-eration coupled with reliability."He goes on to note that all studiocabinetry and woodwork was cus-tom designed and configured inhouse to meet the stations' spe-cific requirements and to supportfuture equipment purchases.

The stations also rely on aheavy compliment of open -reeltape machines. WDUV-FM,which has the highest listening


share rating of any beautiful mu-sic station in the country (accord-ing to Arbitron), has used OtariARS-1000 reproducers in its auto-mated facility for some time. Thehigh reliability of those decksprompted the company to useOtari recording gear exclusively.The stations are currently stockedwith ten MX5050BII two -track re-corders and four MkIII machines.

more, equipment can be easilyremoved for remote recording as-signments or to supply audio feedsto local TV stations.

Besides such functional consid-erations, the facility-which wentinto operation on January 5,1987-was designed with carefulattention to environmental con-cerns, such as hurricane sur-vivability and, especially, light-

Lankton in the terminal gear room, which houses the station's process-ing equipment, STLs, and sat receivers.

Automation at WDUV is suppliedby an updated Harris System 90controller (actually a hybrid be-tween the System 90 and 9000)and four 48 -tray IGM Instacartcartridge machines. Meanwhile,ITC single -deck and triple -deckcart machines are used through-out the facility.

At the same time, a 24 -channelRamsa 8824 console was selectedfor the facility's multitrack pro-duction room, which also featuresan Otari MkIII-4 four -track andMCI JH110C two -track recorder,a full rack of Orban's "Blue Chip"processing gear, and an EventideHarmonizer. The room is designedto be easily reconfigured to accom-modate the production depart-ment's needs for multiple voicetrack work, music bed construc-tion, and mixdowns. Further -


ning control. (Lankton wrylynotes that the stations serve thenation's lightning capital.) Thus,lightning strike prevention andsurge protection were number -one priorities. The second goalwas to assure proper poweringand grounding to meet the sta-tions' critical audio specifications.

To handle these requirements,a bonding system was constructedthat bonded the facility's 120 -foot,free-standing STL tower intotwenty 20 -foot copper groundrods. The system was joined byone continuous ought-guage con-ductor brazed at each contactpoint and then tied back to the fa-cility's electrical ground system.The building is also served by acarefully planned network of stargrounds, which are individuallyisolated and tied back to a single

star point.The heart of the electrical dis-

tribution system consists of Light-ning Elimination Associates'surge elimination, an Onan powergenerator, and an on-line uninter-ruptible power supply from Emer-son Electric Company-all ofwhich provide the facility with100 percent uninterruptiblepower. Furthermore, Lanktonnotes that "the carefully coordi-nated segregation of distributioncircuits into different load centerspromotes a high level of userfriendliness and expandability."

Meanwhile, all of the satellitedownlinking gear, STLs, air con-ditioning distribution, and telcoequipment is housed in the termi-nal equipment room. It is alsoequipped with fully redundantsatellite receivers and demodu-lators required for handling SCPCand digital formats (as needed forreception of sporting events andfeeds from ABC Talkradio andABC and Mutual News).

Lankton adds: "Because wehave a completely redundanttransmitter site for both the AMand the FM, we house all of theassociated composite STLs, audioprocessing, remote control, andreturn telemetry gear in thisroom as well. The unique con-struction of wiring troughs andrack pedestals-coupled with theextensive use of panduct andplugmold-made for an extra neatinstallation."

Lastly, the transmitter remotecontrol system was custom de-signed in house around a TFT7610 remote control system andan IBM PC -compatible computer.Station personnel have found thatthe configuration greatly simpli-fies operation while freeing oper-ators from monitoring errors onmetering logs.

"Our goal was to design an effi-cient, state-of-the-art facility,"Lankton says, "one that isattractive, functional,flexible, and able tohouse all foreseeableability for redundancyand growth accommoda-tion. And that is whatwe feel we haveaccomplished."

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--eareafriew

NRSCStands forAdvance-

mentAdifficult entity to define,the National Radio Sys-tems Committee is never-theless one of the most dy-

namic organizations in broad-casting today. At a time when,seemingly, an entire industry hadthrown up its hands at the debaclethat was known as AM broadcast-ing, the NRSC rolled up its collec-tive sleeve and set to work. And inwhat was undoubtedly record -set-ting time, the committee came upwith a standard within a year.Though the members of the com-mittee seem to vary, there is acore unit whose contribution tothe radio industry is in no way di-minished by the fluctuation.

The NRSC has existed for along time, but was reconstitutedin the early 1980s to take a freshlook at AM stereo. Then, two anda half years ago, in 1985, the com-mittee began the work of settingstandards for transmission andreception of the AM stereo signal.The AM Improvement Subcom-mittee was formed under the ae-gis of the NAB Engineering Advi-sory Committee with "a mandateto study ways that new technol-ogy, industry efforts, and/or FCCregulation (or deregulation) canimprove the technical quality ofAM transmission and reception."Further stating its charter, thesubcommittee's technical docu-ment relates that "The subcom-mittee's formation was promptedby the need to meet the technicalchallenges facing today's AMbroadcasters."

The group was to consist of rep-resentatives from broadcast

AM Improvement Committee meets on the issues. From left to right: ArtMichael Rau, NAB; Charlie Morgan, Susquehanna Broadcasting; and Ken

equipment manufacturers, broad-casters, and receiver manufactur-ers. Two divisions within thesubgroup are the receiver manu-facturers, represented by Bill Gil-bert of Delco Electronics, and thebroadcasters represented by JohnMarino of New City Communica-tions. Given such a diverse mix offactions and such a weighty ob-ligation to fulfill under its char-ter, the odds of success seemeddim. Yet, with characteristic clar-ity, the committee saw the obsta-cles. "We have examined some ofthe most vexing challenges of AMtransmission and reception dur-ing our meetings and conversa-tions with industry experts. Manyof these issues are enormouslycomplex and in some cases highlytechnical; often generating con-troversy among even the most ex-perienced and objective engi-

neers."The first meeting was convened

by the two sponsoring institu-tions, the EIA and NAB, in thepersons of, respectively, Eb Ting-ley and Michael Rau. It was heldin conjunction with the ConsumerElectronics Show in 1985. At thistime, it was agreed that some-thing had to be done about the AMstereo problem quickly or it mightreach the point where it would betoo late to do anything.

The committee fully realizedthe depth of the problems sur-rounding the AM industry andlaid a plan for correcting the situ-ation. "In response to the currentstate of AM transmission and re-ception, the Subcommittee urgesour industry to (1) commence anindustry -wide AM promotioncampaign; (2) establish a "Tech-nical Reference Center" at NAB


Suberbeille, president/GM KANE-AM;Brown, Cap Cities/ABC

to collect and disseminate avail-able AM technical information;(3) limit the boost of transmittingaudio frequencies above 12 kHz;(4) improve AM broadcast an-tenna performance throughbroadbanding; (5) undertake re-search of supplementary antennadesigns that offer the potential tosignificantly attenuate skywavein chosen, specified directions; (6)undertake research of Transmit-ter Transient Distortion, whichcan cause interference with no ap-parent compensating benefit; (7)encourage, and consider under-writing, the development of ahigh -quality, useful, and inexpen-sive integrated circuit (chip) foruse in AM radios; and (8) work tomitigate existing and potentialinterference from radio frequencyelectrical equipment."

Out of the early and subsequent

meetings grew the draft of pamm-eters that successfully became theinterim standard for AM stereo.By the committee's rules, if an in-terim standard remains in effectfor one year without being al-tered, it automatically becomesan active, voluntary standard ofthe EIA. Also, the term interim is

ment would be throwing goodmoney after bad. Thus the evolu-tion cif the technical standard.

As presented, the standardcalled for use of a modified 75 mi-crosecond AM preemphasis, whilethe AM receiver would use a com-plementary deemphasis and a 10kHz limit on audio bandwidth

NRSC Su ocom mittee: (left to right) John Marino, New City Communica-tions; M ciael Rau, NAB; Paul Stewart W02; Glynn Walden, KYW NewsRadio; Charlie Morgan, Susquehanna Broadcasting; Chris Payne,Motorola.

applied to those standards thathave determined parameters andare awaiting approval by theAmerican National Standards In-stitute. In this case, the standardwas then petitioned to the FCC bythe NAB so that it would become amandatory standard for all AMbroadcasters by 1990. "And,"states NRSC Chairman CharlesMorgan, with confidence "wefully expect that the FCC will ac-cept and enforce the standard."

It has been argued, on the otherhand, that AM's woes are not fullyattributable to its technical inferi-ority as measured against the FMband. The position states thatwith more image conscious, com-mercially -oriented music pro-gramming and less news and talk,AM would fare much better thanit now does. The subcommitteealso recognized this but realizedthat without technical improve-ment any programming improve -

prior to modulation. The band-width specification evolved fromNRSC deliberation on the causesand cures of AM interference, andways to technically encourage theproduction of higher fidelity AMrecievers. It should be noted thatthe standard applies to AM mono-phonic and AM stereo L + Rtransmissions, and to dual band-width and single bandwidth AMreceivers.

That accomplished, the NRSChas turned its sights on the RFMask standard. The goal the sub-committee has set for this area isto keep nonoriginating soundsand artifacts within theproper bandpass.

Much activity in thisand other aspects ofAM Improvement canbe expected from theNRSC as it continues todo its part in advancingthe industry.

ealeAzee e

Shooting on the modular set/studio/control room and basketball courtof WQEX. The spiral staircase on the right leads to the mezzanine whereoffice and storage space is located.

/n today's broadcast worldthe engineering plants ofthe best facilities are mas-sive, multimillion dollar af-

fairs containing huge ENG de-partments, multiple edit bays,endless machine rooms, and sev-eral hundred thousand dollarsworth of computer graphics equip-ment. And let us not forget the all -digital studios that are becominga must for stations to compete;and there are the post -productionsuites, 4:2:2 from top to bottom.These are the things that somecontend are becoming necessaryfor a station to become a giant.

Well, Goliath, meet David.WQEX-TV, a new public televi-sion station in Pittsburgh has de-signed an automated, componentBetacam facility housing aCubicomp computer graphics sys-tem, two half -inch edit suites, themanager's office, the barcodingstation, space for six staff people,and the studio island for on -cam-era announcers-all in a 28- by32 -foot space! Oh yes, they alsofound room for a basketball hoop.That's competition.

A mezzanine, reached by a spi-

ral metal staircase, houses morestaff and the videotape library.WQEX found itself in such closequarters when its big sister,WQED-TV, bought a separatetransmitter and wanted to givethe new station its own identity.Lloyd Kaiser, president of Metro-politan Pittsburgh Public Broad-casting, which holds the licensesfor the stations, approved the plangiving WQEX its own identity asa standalone technical and opera-tional facility, commandeeringwhat was formerly the bigger sta-tion's Studio C for the past 16years.

Most broadcasters are aware ofthe national production centerstatus of WQED, producing suchprograms as Mr. Rogers Neigh-borhood and other nationally re-leased material. Most, howeverare not aware of WQEX, the littleguy, a "purpose-built" stationwith its only ambition being toachieve recognition as America'smost unusual noncommercial sta-tion. And Kaiser, after buying thenew transmitter, gave them abudget similar in scale to thespace in which it was to fit.

WQEX:Score Onefor theLittle Guy

Given such restrictions, theachievement of former director ofengineering, Fred Majewski andstation manager Kenneth Tivenis all the more noteworthy. Thechoice to wrap the station in anautomated environment, withhigh levels of computerization,was dictated by the dearth both infloor space and available money.To accomplish this, Myles H.Marks was hired away from a lo-cal station because his technicaland computer experience wouldfacilitate translating the dreaminto a reality.

The station programs 15 hoursof programming per day, 14.5 ofwhich originates on tape, the re-maining half hour consisting of alive, studio sports talk show. QEXairs no PBS programming directfrom satellite, choosing instead torecord everything and playbackfrom its Betacart. All satellitefeeds are recorded in the same fa-cility, with the dubbing of one -inch tape handled by a singleSony BVH-2500. Any quad taperequires renting facilities frombig sister. While non -Beta tapecan be played back through themaster switcher, the ease of auto-mated operation and the desire fora single -format tape library justi-fies the expense of the initial dub.

From the beginning, every-thing was conceived with the phi-losophy of doing double duty.Sometimes equipment is forced todo things above and beyond thecall of duty. The heart of the oper-ation is the Sony Betacart, whichplays back all the underwriterand promotional messages. Also,


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The staff of QEX-16 celebrates in the studio on opening night.

all programs originate from theBetacart, with its internal com-puter serving as the station's on -air computer.

Everything either originates oris transferred to the half -inch for-mat and for those programs thatexceed 30 minutes (the maximumlength for material on Betacart)sequential tapes are needed. Toensure invisible transitions dur-ing the switch between cassettes,sufficient overlap. For example,with a 59 -minute program, thefirst 30 minutes are recorded onthe first cassette and the final 30minutes are recorded on the sec-ond cassette. This method pro-vides an overlap.

Subsequently, a convenientscene change can be selected tocue the "outpoint" of the expiringcassette while the identical frameis chosen as the "inpoint" on thesucceeding cassette. For furtherconvenience of selecting the sameframe on both cassettes, identicaltime code is usually recorded onboth cassettes. The Sony systemhas allowed the station to switchcassettes on the exact frame itwas programmed for with as littleas a three -second pre -roll.

The station's database is config-ured with the Lotus Symphonysoftware package, simultaneouslygenerating the daily videotape re-cording schedule, the Betacam


cassette labels, the daily programschedule/log, the daily list of cas-settes to be erased, and theplaylist for the Betacart. All dataregarding each program or an-nouncement is stored within thedatabase. Further automation isprovided with the system capabil-ity of automatically purging allcorresponding records from thedatabase after each daily "eraselist" has been printed.

Extending the "double duty"philosophy further, the stationhas a main editing area with aGrass Valley 100 switcher, Ramsaaudio console, and Sony BVW-10player and BVW-40 recorder in-terfaced to a BVE-800 editor, allof which doubles as the on -air con-trol room. The spare side -loadplayer for the Betacart is used as aplayer for a second machine -to -

machine edit station and doublesas the slo-mo/freeze-frame device.

Moreover, thanks to an RS -422patch panel designed by Marks,he is able to configure the twoediting stations as either separateand independent two -machine op-erations or, with a patch swap, theBVE-800 editor can control anyone of the second edit room's ma-chines for a three -machine editstation. This is truly an exampleof the innovation and vision pro-vided by the station designerssince, with such seemingly lim-

ited facilities, the station is capa-ble of complete interformatediting among one -inch, U-matic,and Betacam tape. All this whilethe BVH-2500 allows direct inter-face with the Cubicomp Picture-

Maker for frame -by -frame anima-tion sequences without anyprerolling while assembling ani-mation sequences.

Nor does the equipment work-load stop there. Even the station'stime base corrector wears twohats. Instead of using a tele-cine/slide chain for lower -thirdIDs or program bumpers, QEXinstalled a Sony Pro-Mavicastill -store device using 3.5 -inchfloppies as the storage medium.Up to fifty individual televisionpictures can be stored on a singlemicrofloppy, and the unit sharesthe TBC with a Sony U-matic SPrecorder. A custom -installedswitch, replacing the bypassswitch, allows for operator selec-tion of inputs. Finally, the ChyronVP -1 video printer serves multi-ple functions too. It operates, ofcourse, as a standard charactergenerator and, in addition, acts asthe video display of a databaseprintout for classified listings.

It is only fitting that the pro-gramming at QEX is as unique asthe rest of the station. As the sec-ond PBS station in the PittsburghADI, they have the luxury ofexperimenting with stationbreaks, replacing spot announce-ments with a human VJ (videojock). The studio uses to great ef-fect every 1300 square foot in itspossession to house a VJ island,two cameras, two edit suites, amaster control room, a computer-ized graphics/compose room, 11workstations, an office/confer-ence room, and sufficient storagespace for thousands of video cas-settes.

WQEX, armed only with a bagof stones and a slingshot,has walked into the frayand aimed directly atthe brain of the giantfacilities and the think-ers who say you have tobe big to be best. Some-times, being smart isbetter than being big.

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SarnoffResearchContinuesTradition

ofExcellence

irmpressive as it is on its ownmerits, the development of apractical, compatible ex-tended -definition television

system is only the latest in a de-cades -long series of achievementsfor the David Sarnoff ResearchCenter. Since its founding in 1942as RCA Laboratories, the centerhas been at the forefront of re-search in television signal, trans-mission, and reception tech-nology.

In fact, U.S. television broad-casting is deeply indebted toSarnoff Research Center (SRC) forits pivotal role in the developmentand eventual acceptance of theNTSC color broadcasting stan-dard.

Today, the Television ResearchLaboratory at SRC is focusingmuch of its energies on ACTV, orAdvanced Compatible Television,as the proposed new system iscalled. Publicly announced onlyon October 1 of last year, theproject already had been under-way for five years in the SRC labs,occupying 20 researchers full-time for the last two years.

The silence that until recentlysurrounded the ACTV research ischaracteristic of projects atSarnoff-even more so now thatthe center has gone independent.In April 1987, SRC's then -owner,General Electric, donated the op-eration and its facility to SRI In-

SRC's Princeton, NJ, facility houses some of the country's most ad-vanced research in television systems and equipment.

ternational, a nonprofit researchcenter (itself formerly affiliatedwith Stanford University).

General Electric remains one ofSRC's major clients (ACTV is aGE project), but other clients nowdemand SRC's time, effort, and si-lence. "Most of our clients wanttheir work to be proprietary,"notes Jack S. Fuhrer, director ofthe Television Research Labora-tory.

In developing ACTV, SRC re-searchers faced the challenge ofdesigning a widescreen, higher -definition signal that would becompatible with present-dayNTSC receivers and trans-missable over a standard 6 MHzNTSC channel. The goal also in-cluded a picture that was opti-mally viewable from a distanceequivalent to three pictureheights-in contrast to NTSC,which must be viewed from a dis-tance of five picture heights to beacceptable. (The ultimate goal is afull HDTV -quality system thatwould be viewable with optimumquality from a distance of as littleas one picture height.)

SRC designed ACTV to allow

two -stage adoption of advancedtelevision in the U.S. The firststage would consist of an en-hanced, NTSC-compatible wide-screen picture transmitted on asingle 6 MHz channel, with twoside panels compressed 6:1. Thesecond stage would bring the sig-nal up to full NTSC quality withthe addition of an augmentationsignal requiring 3 or 6 MHz of ad-ditional bandwidth, possibly on anoncontiguous channel. As pres-ently described, the system wouldrequire only upgrade or replace-ment of existing exciters at thetransmission end.

The complexity of the ACTVproject is such that, even fiveyears into its development, aworking prototype has yet to bebuilt. (Fuhrer projects that proto-types for both transmission andreceiving equipment will be view-able by mid -1988.) The ACTVdemonstrations SRC has so farconducted have relied upon elabo-rate computer simulations devel-oped in SRC's own digital re-search facility. According toFuhrer, the digital research facil-ity combines "some purchased


computer equipment from DECand some homemade additions toit with some very special softwarewe wrote for the DEC equipmentand our equipment. The result isthat we can simulate televisionreceivers and all the different por-tions of television receivers onthat computer."

Original material for the ACTVdemos was produced on 1125 -lineHDTV at 1125 Productions inNew York City, and then con-verted to simulated 1050 -lineACTV at the SRC facility. Theconversion took eight hours foreach second of original video.

"The crucial thing was that wecould invent ACTV and make lotsof mistakes and changes [becauseof the digital research facility],"Fuhrer explains. "Every day wecould correct a nuance until wehad something good enough to putin that demo. If we were making

sion research organizations havesimulation capabilities akin toours. We believe ours was the firstone; we've had it for five yearsnow. We're hoping it might stillbe the best, but it's no longerunique."

The ACTV signal consists offour components. The main com-patible signal includes a time -ex-panded center panel and side pan-els compressed 6:1. While the sidepanels encroach slightly on view-able picture area, SRC's researchindicates that 98 percent of view-ers will not see the stripes at all.

The time -expanded high -fre-quency information for the twoside panels will be encoded oncomponent two of the ACTV sig-nal. Components one and two areeach 1.2 MHz bandwidth. Compo-nent three contains horizontalluma detail between 5.0 and 6.2MHz, while component four is a

Widescreen ACTV image (left) shows greatly increased resolution andreduced artifacts over standard NTSC image (right)

changes in hardware, it could bethree months between changes."

He continues, "The computer'sbenefit is very quick trial -and -er-ror learning...You can't build asmany 'what -ifs' into hardware. Ithas taught us the kinds of thingswe're going to have to still trywhen we get to hardware. Thedemonstration was only 12unique seconds of video. When webuild the hardware, more thingswill come out when you watch 10hours of unique video. But thechanges we'll have to make willbe subtle."

Fuhrer admits, "Other televi-

vertical-temporal luma "helper"signal.

ACTV draws on much previousresearch into advanced televisionsystems, including a discovery byDr. William Glenn that high -fre-quency information doesn't needto be sent as often as low -fre-quency information. Clever pro-cessing also hides characteristicsthat might otherwise become un-acceptable artifacts. For example,the side panels contain high fre-quencies and extra horizontal de-tail that is transmitted in thechroma part of the signal, causingwhat Fuhrer called "gruesome

color blobs all over the picture."The "blobs" are not visible, how-ever, because opposite colors al-ternate 60 times per second, caus-ing the eye to cancel them out.

ACTV still faces a number oftechnical and regulatory hurdlesin its quest for acceptance. Notthe least of these is adoption bythe FCC, which has instituted aninquiry on advanced televisionsystems. SRC has been joined inits proposal of ACTV by GE, theproject's sponsor, and by NBC,which has already committed it-self to adopt the system if it be-comes a standard.

Implementation of the ACTVaugmentation signal would alsorequire relaxation of the UHF ta-boos currently in effect, whichsharply limit the availability ofUHF channels in any one localitydue to close -channel interference.According to Dr. James E. Carnes,vice president, consumer electron-ics and information services,SRC, new developments in receiv-er technology could eliminatemuch of the current problem.

Another hurdle also involvesreceiver technology. CurrentHDTV receivers are not brightenough to be viewed comfortablyin a lighted room. The problem isnot insurmountable, but SRC offi-cials view its solution as severalyears off. An affordably, accept-ably bright ACTV receiver couldbe built much sooner, however.

While technology remains thecornerstone of SRC's work, thecenter's new independence has ledto a certain change in outlook,Fuhrer comments.

"We're very much business- andmarketing -oriented," he notes."But until a few months ago, wenever had a marketing depart-ment at all." With the new out-look has also come a broaderhorizon.

"It used to be that wecould look forward to in-venting things thatwould support the busi-ness of RCA," Fuhreradds. "The world is ourlimit now, and thatmakes it much moreexciting."

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ea rtie,nee e

The new on -air console at KNX-AM brings everything-includirg theautomated news system-within arms reach for combo operation.

s the oldest continuouslyoperating radio station inLos Angeles, KNX-AM issteeped in tradition. For

more than 60 years, part of thattradition at this all -news CBS Ra-dio O&O required broadcasters towork on one side the glass whiletechnicians handled matters onthe other side. That time-honoredmethod of radio production cameto a halt last year when changingmarket conditions and the eco-nomic realities of broadcasting inthe 1980s led CBS to institutecombo operation (i.e., on -air tal-ent working their own boards) atall of its owned -and -operatedfacilities.

In order to accommodate thenew policy and to facilitate asmooth transition for its staff, thestation's technical operations de-partment opted to completely ren-ovate the on -air studio and controlroom. The project took approxi-mately six months to completewith a budget that ran into thesix -figure range. One of the mainpriorities was to install as manycomputer assists as possible.Hence, a new addition was a cus-

tom -designed live assist systemfrom IGM Communications con-sisting of an automated controllerand three 48 -tray Instacart car-tridge machines, which had beenspecified by CBS management tosimplify playback of commercials,promos, and PSAs. A MoseleyDRS -1A remote control unit wasalso ordered for transmitter con-trol and auto logging needs.

Meanwhile, a DynatechNewStar electronic newsroomcomputer system had been in-stalled in the facility in 1985 andwas extended to include a termi-nal in the new combo studio. Thesystem was further enhanced bythe insertion of a custom panel inthe center of the Wheatstone A-500 on -air audio console (alsospecified by CBS for use in all ofits combo operations) to hold theNewStar keyboard, providing on -air personnel with immediaterandom access and editing ca-pability of news stories and up-dates supplied by the variousnews services. An Apple IIc wasalso added for direct communica-tions between the news editor andthe broadcasters.

OldestStationUsesNewestConcepts

The implementation of comboat KNX similarly required sig-nificant structural renovations.The station hired the services offreelance interior design consul-tant Jerry Braude to coordinatethe construction of the equipmentcabinets and to work with KNX'sgeneral manager GeorgeNicholaw on the design of theroom, while all woodworking wasdone by CBS carpenters on -site.

Originally built in 1937, thestudio was designed with a wallthat separated the on -air boothfrom the control room. Under thenew arrangement, the wall wasremoved and the original controlroom was turned into a mastercontrol or terminal room. "Theoriginal studio is where the newaudio console and table are nowlocated," says Erik Disen, directorof technical operations for CBSRadio, West Coast. "The roomsare connected, making for a veryopen and airy feel while loweringthe resonant frequency of theroom."

The interior design of the studioalso called for the JBL 4301speaker monitors to be hidden be-hind the ceiling. However, Disennotes that this unusual speakerplacement does not inhibit highfrequency response. "We removedthe speaker grilles and adjustedthe tweeter controls to compen-sate for any high frequency loss,"he says. "Since we're not using theroom for production work, it's nota major factor and most people


really can't hear any difference."One of the most critical ele-

ments in the studio's renovationwas the on -air console desk. Be-cause of studio's spacial and per-sonnel limitations, it was decidedthat the desk should be utilizedfor reader auxiliary functions inaddition to its primary comboapplication. Thus, a shelf was de-signed above the console thatholds the two computer terminalsand five ITC Delta I cart ma-chines in the anchor position, aswell as one Delta III triple -traycart deck on either side that per -

Flashback: Eric J. Disen in the then -newly renovated KNX studio in 1983

mit sports persons and auxiliarybroadcasters to play their own ac-tualities without assistance fromthe anchor person.

"We worked many hours de-signing that overbridge," saysDisen. "We used mock tables andboxes in various configurations inorder to achieve the most ergo-nomic design."

Elsewhere, a separate rack inthe terminal room contains twofive -tray 5500 cartridge decksfrom Broadcast Electronics (usedprimarily for playing station jin-gles) that can be started andstopped from the console. Otherequipment found in the studio in-cludes Gentner telephone hy-


brids, Crown monitor amplifiers,two Tascam 32 reel-to-reel decksfor playing back an occasionaltaped long -form program, andUREI, Orban, and Aphex audioprocessing gear. However, one ofthe things that has remained fromthe "precombo" days is the sta-tion's trophy case, which displays15 years' worth of Golden Mikeawards for best news.

Disen points out that the sta-tion was the first CBS O&O to useSennheiser HMD-414 headsetsrather than standard micro-phones. These allow on -air per-sonnel to move around withgreater flexibility and are nowfound at several other CBS -owned

An overview of the renovated on -air studio and terminal roomshowing the IGM live -assist systemon right.

stations. "There is a compromiseinsofar that the quality of the micis not equivalent to studio mod-els," he notes. "They require agenerous amount of preprocessingin order to sound warm and clean."

All was prepared by the timethe station inaugurated its combooperation on February 23, 1987.Although Disen notes that therewere a few initial errors made bybroadcasters as they learned towork their own boards, he pointsout that after the first week or so,"everyone settled down and noteven the most sophisticated lis-tener could tell that a very basicway of doing business hadchanged.

"Combo radio is and has beendone routinely for years outsidethe top 10 markets," he adds. "Thelessons learned there were quitevaluable in planning for combo atKNX. Ultimately though,the implementation ofthe system at this sta-tion turned out to be acomplex assignmentthat required uniquebits of innovation. Butthe most importantthing is that it works."

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BreakingNew

Ground inTelevision

It's rare that a new stationgets the opportunity tobreak new ground in an es-tablished television market.

In becoming Syracuse, NY's firstindependent station, and the mar-ket's first new local television sig-nal in 25 years, WSYT-TV, Ch.68, used that rare opportuntity tobuild a first-class plant.

WSYT is the second televisionstation to be acquired by TheFlatley Company, a large NewEngland real estate developer.(Flatley's first station, WNHT inConcord, NH, was profiled in theNovember 1984 issue of BM/E.)Thomas Disinger, WSYT's stationmanager, was working at WNHTwhen he learned of the Syracuseopportunity.

"I'm a native of Syracuse,"Disinger explains. "Through thebroadcast grapevine, I was in-formed of an attempt to put Ch. 68on the air in Syracuse that hadfaltered financially. I made somecontacts, and within a very shorttime it became evident that thiswas a unique opportunity. Syra-cuse was one of the only marketsin the top 100 with three affiliatesand no independent."

Flatley moved quickly to ac-quire the station, whose physicalplant at that time consisted onlyof a 500 -foot tower and transmit-ter building. One of the first or-ders of business was to find a suit-able building and construct officesand studios.

Again, WSYT found opportu-nity on its side. A two-story build-ing, the former home of a com-puter leasing firm, was for saleon Syracuse's "Broadcast Row,"

All programming and commercials air from WSYT's Lakart II automationsystem, which controls a mix of VTRs and ties in directly to the Colum-bine traffic computer.

James St., in between the studiosof the local CBS and NBCaffiliates.

The decision to buy the JamesStreet building "was primarilybased on its location," Disingercomments.

"We felt that logistically, pur-chasing a building close to theother stations would have a goodeffect," he explains. "It makes uslook like one of the players in-stead of the new independentguy.' The commitment to a profes-sional look and a quality facilitywas a commitment to a morehasty success."

The building, which had beenhoused offices, had an open "bull-pen" area in the center. The openareas were transformed into thestation's control rooms, studio,film storage area, and traffic area.The existing freight elevatoropens directly to the studio andcontrol rooms for easy delivery ofequipment and supplies. Such at-tention to ergonomics and conve-nience is the facility's signature.Control rooms are adjacent toeach other, tape storage and traf-fic are easily accessible from thestudio and control rooms, and

traffic connects directly withsales, programming, and businessoffices. In addition, the staff of-fices around the perimiter areclustered in functional groups,with public offices (administra-tion, sales, programming, commu-nity affairs) toward the front ofthe building and production andpromotion toward the rear, nearthe control rooms and studio.

The plant's infrastructure wasthought out with equal care. Bothstudio and master control have re-dundant HVAC systems for maxi-mum efficiency and reliability. Inaddition, all electrical circuits inthe control room areas have com-puter -style wired grounds takento a common point, eliminatingany video hum from conventionalmetal conduit.

Master control has computerflooring raised six inches off theoriginal floor for easy access to allwiring.

The WSYT engineering stafftook great care in soundproofingthe studio. All the walls weretreated with Conwed Silent 95acoustical wall panels, an inch-thick fabric -covered insulation,which Disinger describes as "very


attractive yet very sound absor-bent" The material's noise reduc-tion coefficient (NRC) is rated inthe 0.90 to 1.0 dB range. Becausethe panels are available in a vari-ety of colors, they did dual duty asa decorating aid. Three of the fourstudio walls were covered inmauve, with a foot -wide beigestripe about three feet from thefloor. The fourth wall was coveredin solid beige and can function asa background for camera shots.The studio ceilings were treatedwith spray acoustical insulation.

The heart of master control is aLaKart II semi -automated play-back system. Commercials and30 -minute programs run off sixSony BVW-10 Betacam players,while longer programs play backon two Sony BVH-1180 one -inchmachines. Two additional 1180sare available for recording satel-lite feeds and dubbing movies.The three-hour capacity of the

A Sony MXP-2000 console runsthe audio in WSYT's productioncontrol suite.

1180s allows complete movies andfeatures to be recorded on singlereels. External sources are routedthrough an ADDA VW -2 synchro-nizer, and all video and audio

sources are automaticallyswitched by LaKart through aGrass Valley Ten -XL router.

"Virtually everything" playsfrom the LaKart system, Disingerasserts. "Most of the program ma-terial is shipped to us either ontape or film and then dubbed toour format if necessary," he con-tinues. "There's also some satel-lite -fed programming that istaped. Then time code is appliedto the tape, which activates theLaKart system."

The system's efficiency is fur-ther optimized by direct interfacewith the station's Columbine traf-fic system, which runs off an IBMSystem 36 computer. An automa-tion interface downloads eachday's program log from the Sys-tem 36 directly into the LaKart II,eliminating the manual program-ming that otherwise would beneeded on a daily basis.

WSYT broadcasts in full stereo,and a Shure stereo mixer controlsaudio levels and runs voice-overaudio carts. Audio is processedthrough Aphex Compellor andDominator series processors andgoes out via a Broadcast Electron-ics stereo generator. Any materialthat originates in mono is pro-cessed through the Orban 275Astereo synthesizer.

The production control roomhas Sony Betacam editing withtwo BVW-10s and one BVW-40recorder. The video sources areswitched through Grass Valley a100 switcher, and production ste-reo audio is run through a SonyMXP-2000 console. An NEC E -Flex provides special video effects.At present, however, the stationhas not invested in electronicgraphics equipment.

"What we wanted to do first andforemost was put a good producton the air," Disinger states. "Thenwe'll explore other opportunitiesbased on what the market needs."

The two control rooms are inter-connected with a Bosch/BTSTVS/TAS 2000 routing systemconfigured for 30x20 video. It hasone video channel and two audiochannels, plus a third audio chan-nel in a 20x10 configuration. Therouter, which has redundant

power supplies, can be repro-grammed by station personnel us-ing a personal computer.

The studio site is connected tothe Phillips Pye TVT 60 kWtransmitter via a Harris Micro -star STL-TSL system. Signalsfrom two Scientific-Atlanta satel-

A Bosch/BTS TVS/TAS 2000 routingsystem interconnects master con-trol (shown) with productioncontrol.

lite dishes are transmitted back tothe studio along with remotetelemetry.

Of course, the technical facili-ties would be meaningless with-out a strong product to put on theair. WSYT scored a major coup inits first year by winning therights to the highly popularSyracuse University basketballgames, which for years had beenowned by the local ABC affiliate.

"It was another signal of ourcommitment to becoming a realplayer," Disinger asserts. "It at-tracted a tremendous amount ofmedia attention, and the adver-tiser attention has been over-whelming. It's already sold out."

WSYT's April 5, 1987 signonwas without a hitch. "I've beenthrough three other startup sta-tions from scratch," Disinger re-calls, "and I can say without hesi-tation that it's been the smoothestsituation I've been through in 20years of broadcasting."

He adds, "One of the nicethings about putting anew station on the airis that you can go withall the latest technol-ogy. That's one of theniceties of doing it fromscratch. You can do ev-erything right."

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Ampex's ACR-225 presently represents the only production model ofcomposite digital technology.

any broadcast and tele-production engineerswill remember the al-

most mystical sense of worldwideharmony that arose following theadoption first of CCIR 601, theworldwide digital sampling fre-quency establishing the 13.5MHz, 4:2:2 sampling scheme, aswell as the D-1 19 mm digitalcomponent recording format stan-dard that followed.

It seemed, for a few shortmonths anyhow, that all of thewoes of NTSC would one day dis-appear, to be replaced by the won-der of digital component recordingwith its promise of untold genera-tions of post -production capabilitywith no degradation in picturequality.

Sony showed prototypes of boththe new digital recorder and thenew cassette format in a privatesuite at NAB '85-not a finishedproduct because the digital re-cording format had not been set

yet, but close enough to be a work-ing reality. Then, at NAB L986,Sony began writing orders for itsDTR-1000 D-1 DVTR-90 orders,in fact, primarily from post -pro-duction houses anxious to be thefirst on their block to take deliv-ery of the new wonder machines.

Then the roof began falling in.First, many of the companies thathad ordered digital machines orwere about to take the plunge re-alized that you couldn't simplytake a D-1 recorder and swap itwith an existing Type C machine.Indeed, to record D -1's componentdigital signal, the entire planthad to be rewired for componentrather than composite processing.Even more importantly, virtuallyevery piece of equipment in thesignal chain-from productionswitcher to special effects box tographics camera to paint systemto time base correctors and framesynchronizers-would have to becapable of digital component sig-

D-Dayin theFormatWars

The advent of theD-2 (digital composite)VTR format raisesnew questions inthe digital recordingdilemma.

By Robert Rivlin

nal processing, or the benefitsof digital component recordingwould be lost. Some began to re-evaluate their position on D-1.

The second pinprick to the digi-tal bubble came from Ampex atSMPTE 1986, when it announcedthat rather than developing a D-1machine, it was pursuing develop-ment of a digital composite re-cording system that came to beknown as D-2. Citing the hugecost of digital component record-ing in terms of both the digital re-corder and the attendant plantmodifications, it explained that,at least in limited situations suchas an on -air playback systemwhere compatibility with othersystems was not a big issue, digi-tal composite could prove to be ahandy technology.

The Ampex announcementthrew the industry into turmoil.Some took Ampex to task for notsupporting the SMPTE-approvedD-1 component standard. (A


Digital Video

As the current state-of-the-art machine, the Sony DVR-1000 seems tohave secured a solid niche in the high -end video production business.

SMPTE working group has beenformed subsequently to draft astandard for the D-2 format.)Ampex rejoindered by claiming itwasn't withdrawing its supportfrom D-1, merely advancing onyet another new front. For others,the Ampex move threw already -thought -out plans for convertingto digital into confusion. Wouldcomposite or component mark thefuture course for recording?Would there be more than onesupplier of digital component anddigital composite? Were Ampex'sclaims about the cost benefits ofdigital composite really justified,and what would be the real sacri-fice in terms of image quality?

Sony joined the fight prior to1987 NAB with the announce-ment that it would join Ampex inthe development of digital com-posite recording, and would li-cense Ampex's technology.

Now, at the most recentSMPTE, digital recording hasbeen dealt yet another blow by the

revelation that Ampex views D-2as not only a format for limitedapplications such as an on -airplayback system, but also asa production/post-productionrecording format. Ampex's sug-gestion is that although D-1 mayfind limited applications in somepost -production applications re-quiring extensive multigenera-tion processing and effects, it isputting its efforts into what it con-siders will become the general-purpose digital machine of the fu-ture, D-2.

D-1 or D-2? The choice is leav-ing the industry with some pro-found, unanswered questionsabout the future of digital record-ing. And the dilemma is morewidespread than the quality ver-sus cost question being faced byTV stations and production/post-production facilities. As one man-ufacturer confided, "We wereplanning to come out at NAB thisyear with a component digitalspecial effects/processing system,

to be integrated with the otherpieces of CCIR 601 gear that arebeginning to show up on the mar-ket. Now we're not so sure weshouldn't come out with digitalcomposite instead. The forecastabout which way the industry isgoing has suddenly become veryunsettled."

Lower costsAmpex's position on digital re-

cording is quite clear. In additionto whatever future expansionplans it has for the ACR-225commerical spot player intro-duced last year, it will definitelyshow a D-2 broadcast and post-

production studio VTR at NABthis year, with deliveries of boththat VTR and the ACR-225 prom-ised for late 1988.

According to Donald Bogue,VP/GM of Ampex AVSD, the D -2'sprincipal advantage over D-1 as aproduction/post-production for-mat is that it is completely com-patible with existing compositestudios, meaning that users cangain the immediate benefits ofdegredation-free multigenerationcopying and processing (to at least20 generations) without addi-tional plant rewiring or equip-ment purchases. The Ampex ma-chine will also come with fourhigh -quality digital audio chan-nels. Operational features are thesame or better than Type C, andthe format has the advantage ofeasy -handling tape cassettes in32-, 94-, and 108 -minute lengths.

Noting that the VTR will bepriced competitively with currentType C machines that incorporateTBCs (the VPR-3 rather than theVPR-80), Ampex thus believesthat the new digital recorder willeventually replace Type C in al-most all of its current applicationsover the next 10 years (althoughthe company will, of course, con-tinue to aggressively support thecurrent worldwide installed baseof some 35,000 one -inchmachines).

According to Bland McCartha,director of marketing for AmpexAVSD, D-2 is going to become aworkhorse product in the indus-try, the general-purpose machinefor dozens of broadcast and post -


production applications fromstandard two- and three -machineediting situations to dubbing andduplicating to network delay tomaster time coding. In the Ampexscenario, a broadcaster or produc-tion company would originate itsfootage using either Type C in thestudio or a component analogvideo (CAV) format such asBetacam/Betacam SP for fielduse. Material would then bedubbed over to the digital com-ponent recorder for post -produc-tion and eventual airing ordistribution.

"There will still be some in-stances where a component digi-tal recorder will be useful,"McCartha admits, "such as in asituation where extensive specialeffects and graphics must beadded. But they're relatively rarecompared with the large numberof applications where digital com-posite will be quite adequate.That's the market Ampex is after.For every component island, there

are likely to be dozens of compos-ite applications"

Some otherviewpoints

While Ampex has at least tem-porarily abandoned developmentof a D-1 component digital ma-chine, feeling that the market forthe full -quality recorder will besmall, others are not quite soready to concede the market. Andgiven that the use of graphics andspecial effects is still growing byleaps and bounds at both broad-cast and post -production facili-ties-an application where muchequipment is already available inthe CCIR 601 domain and wherework in analog or digital compos-ite yields poor results at best-themarket for D-1 machines may be agood deal larger than the 20 per-cent projected by Ampex. In manyof these applications the increasedprice of going to the D-1 recorder,projected at perhaps twice that ofD-2, is worth the increased qual-

ity of component and the elimina-tion of NTSC's artifacts duringpost -production processing. It wasfor these applications, indeed,that digital processing and record-ing held out such promise in thefirst place.

BTS, for one, is actively pursu-ing the D-1 market, and usedSMPTE '87 as a showcase for itsnew DCR-100 D-1 recorder. Thecompany's attitude towards digi-tal recording is expressed byBerthold Eiberger, its manager ofadvanced development of broad-band systems: "D-2 is a fine me-dium for distribution.-But forproduction applications, we thinkD-1 is going to be the machine ofchoice. This will be especially truefor companies that are going to besetting up new facilities or thosejust getting into the business,where maintaining compatibilitywith existing wiring and equip-ment is not a concern. If you'realready in business then you haveto face a decision: do I go with

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Digital Video

existing Type C technology, or doI replace some of my Type C ma-chines with D-2? But if you're juststarting out, I can't imagine whyyou wouldn't want to go with D -1's full -bandwidth, ultimate -qual-ity format.

"D-1 represents the future oftelevision, not an extension of itspast. It's upward compatible-there's room to grow into higherdefinition. D-2 doesn't allow youto grow anywhere." The BTS re-corder will be available in twoversions, one designed primarilyfor applications where it will beremote controlled, the other inapplications where a full -func-tioned control panel would berequired.

Striking a balanceWhile Ampex and BTS line up onopposite sides of the digital re-cording issue, Sony continues toshow evidence that it intends tocreate product in both the D-1 andD-2 formats. In addition to having

written "real" (deposit accepted)orders for 225 of its $120,000DVR-1000s, the company willcome to NAB this year with a newcomposite digital machine. Sonywon't reveal at this point whetherit plans the new product introduc-tion as a commercial playbacksystem or a production/post-pro-duction unit; it had announced atNAB last year, however, that itscommercial/program library man-agement system, demonstratedwith Betacam decks, could beadapted to D-2 transports.

"We think there is going to be asubstantial market for D-1 record-ers," a Sony spokesperson claims."We're still back -ordering ma-chines from what we consider tobe the tip of the iceberg-thelarger post -production facilitiessuch as The Post Group, Post Per-fect, Grace and Wild, and the like.Within time, we have no doubtthat D-1 will become the majormachine at post -production facili-ties where they not only need

component's superior ability tohandle multigeneration effectsand editing but where they canalso afford to simply pass on D -1'scosts to their clients. Cost itselfisn't the object at most post -pro-duction companies-just how tosell the equipment."

On the other hand, Sony recog-nizes that for most broadcastapplications, not only is theregenerally no need for elaboratemultigeneration work (complexprojects are almost always takenout -of -house), but capitalization isdifferent. Equipment costs can'tsimply be billed out and must beamortized. For these reasons, theD-2 machine will find a place inthe broadcast environment forboth on -air playback and as a gen-eral workhorse machine.

"We see no reason to disagreewith Ampex's projection that D-2will replace Type C within 10years," the Sony spokespersonsays, "especially in broadcast ap-plications."

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Differing views ofmarketJust how large the market will befor D-2 is a matter of great con-cern in manufacturing circlesthese days. Given the strongcommittment being made by Sonyand BTS to D-1, Sony's sale of over220 machines in their first outing,and the worldwide trend towardscomponent digital, some are ask-ing whether Ampex may have

BIB tijeb:ft

BTS

The BTSBTS DCR-100, unveiled atSMPTE '87, is the second entry inthe digital market.

missed the mark in not develop-ing a D-1 machine and putting allits eggs in the D-2 basket.

This may be born out in marketresearch figures released by Sheerand Chaskelson Research in itsBroadcast Equipment Market-place (BEM) and ProfessionalVideo Marketplace (PVM) stud-ies. According to Douglas Sheer,of the total current installed baseof Type C machines in the U.S.,only some 17 percent are ownedby broadcast stations while nearly30 percent are owned by the ap-proximately 5,000 teleproduction/post -production facilities coveredby the studies. (The remaining

machines are in use in applica-tions such as corporate video.)

Further, the studies show thatbroadcast orders for Type C ma-chines are declining, perhapsanticipating the widespread use ofC AV recorders.

There is no doubt in most insid-ers' minds that the market inbroadcast television for D-1 re-corders will be very small indeed,and that here the D-2 format, in

both its on -air playback andproduction/post-production forms,stands a real chance of success-adirect replacement for one -inchmachines in the broadcast plant,where studio origination and lim-ited post -production are the pri-mary one -inch uses. On the otherhand, it seems equally clear thatin many post -production facili-ties, the D-1 format will stillemerge victorious. BM/E

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Digital Pudic)Steals the Show

By Steven Schwartz

NED attracted SRO crowds for its Synclavier demonstrations.

plthough video technologyhas quite naturally com-manded center stage at

most recent SMPTE conventions,this year's gathering in Los Ange-les turned out to be something of asurprise. While the much-bally-hoo'ed HDTV screenings reapedmixed reviews, it became increas-ingly apparent as the show pro-gressed that the real excitementwas generated by the number ofdigital audio products on the exhi-bition floor. In addition to the ex-pected open -reel digital recordersand audio/video editors, the 129thSMPTE conference saw the intro-

Numerous hardwareand software introductions

for digital audioproduction finds

SMPTE is all ears.

duction of many innovative com-puter -based digital recording sys-tems and software packages. Theage of the digital audio work-station had arrived.

Not surprisingly, R-DAT (rota-ry digital audio tape) technology

also made a strong showing, withnew professional decks debuted byFostex and Tascam. Both unitsare expected to be priced in the$4000 range and will utilize allthree of the format's samplingrates: 44.1 kHz (playback only onthe Tascam model), 48 kHz, and32 kHz for digital input only.Tascam's R-1 is slated for avail-ability later this month and willfeature twin D/A and A/D con-verters, four direct -drive motors,and wireless remote control. Theas -of -yet unnamed Fostex ma-chine will be available in mid -spring and will offer punch-in/out


editing capability, balanced I/O,and track indexing. The unit willalso be equipped with a SMPTEinterface for recording and play-back of SMPTE timecode-as wellas serial and parallel data ports.

Mark Cohen, Fostex's sales VPrecently stated that "DAT has po-tential for broadcast applicationsas long as it can be controlled bySMPTE and has a serial port onthe back." Cohen went on to notethat such an arrangement makesit possible to interface the deckwith a personal computer in anautomated broadcast facility.

After showing working modelsof its DAT machines at industrytrade shows over the past year,Sony announced that its PCM-2500 studio DAT deck is nowavailable in the U.S. Priced at$4995, the PCM-2500 is loadedwith advanced features includingdouble -encoded Reed -Solomon er-ror -correction code with indepen-dent processing for both audiochannels. The unit also offersselectable 44.1 kHz and 48 kHzsampling rates (as well as 32 kHzfor digital inputs), three digitalinterfaces (AES/EBU, SDIF-2,and S/P DIF), balanced XLR-typeI/O, and switchable emphasis forrecording analog sources.

It is further outfitted with auto-matic and manual ID subcode re-cording capabilities that enablethe machine to locate selectedtracks at 60 times normal speed.High-speed tape search with fastspooling of up to 180 times normalspeed can also be accomplishedusing the unit's reel -time tapecounter. It also comes suppliedwith both wired and wireless re-mote control units for addedflexibility.

Surprisingly, perhaps out ofcautiousness for the continuinganti-DAT lobbying in Washing-ton, the company has put off theU.S. introduction of the "star" ofits professional DAT family, theportable PCM-2000 deck. Weigh-ing in at a mere eight pounds, 13ounces (with the optional NP -1Arechargeable battery), the PCM-2000 is scheduled for delivery inearly spring at a list price of$7000. Like its studio counter-part, the PCM-2000 has a number

of convenient features, includingrecording and playback capabilityof SMPTE/EBU timecode on oneof the format's auxiliary longitu-dinal tracks. Standard recordingchores can be done at any of theunit's four sampling rates (thethree previously mentioned aswell as 44.056 kHz), while a digi-tal I/O is supplied for interfacewith a variety of digital equip-ment (digital audio signals canalso be synchronized via the wordsync input). At the same time, theunit's balanced XLR-type analogI/O can be switched for line or mi-

Sony's professional DAT line. ThePCM-2500 studio deck is currentlyavailable; its portable counterpart,the PCM-2000, is expected thisspring.

crophone sources.While manufacturers and in-

dustry observers expect DAT tohave a significant impact in theprofessional audio and broadcastcommunities, many potential us-ers feel that a remaining obstacleto the format's acceptance in thepro audio market is the currentlack of editing capabilities. How-ever, Mike Sekiguchi, DAT prod-uct manager for Sony, claims that"there will be an editing systemavailable for DAT in the near fu-ture," although he declined tospecify when.

Digital production soarsThis year's SMPTE also saw the

introduction of several new com-puter -based audio workstationsthat record, mix, and edit mate-rial entirely within the digital do-main. In addition to offering supe-rior sound quality and enhancedediting capabilities, the inte-grated design of many digital au-dio systems can significantly re-duce the amount of time spent onaudio post -production for film andvideo projects. Thus, manufactur-ers are now touting the cost-ef-fective aspects of these high-tech-and high-end-productioncenters.

One of the newest arrivals inthis category is the AudioFramedigital audio workstation fromthe Boulder, CO -based Wave -Frame Corp. After making an im-pressive debut at the 83rd AESconvention in New York last Oc-tober, the AudioFrame proved tobe just as popular among SMPTEattendees. A compact, single unitfitting into a standard 19 -inchrack, the unit employs a propri-etary digital audio bus(a 64 -channel switching matrix)that accommodates up to ten plug-in modules for sound synthesis,storage and editing, signal pro-cessing, and mixing andmastering.

WaveFrame president Glenn T.Edens points out that such an ar-rangement makes it simple for us-ers to customize their systems fortheir particular needs. "Becausethe AudioFrame is modular, re-dundant subsystems such as pow-er supplies, front panels, D/A andA/D converters, and studio con-trollers are eliminated," saysEdens. "Users buy only thecapabilities they need, adding tothe system in a cost-effectivemanner when expansion becomesnecessary."

Designed to handle music,sound effects, and dialogue, theAudioFrame employs fixed sam-ple -rate processing to maintainconsistent audio quality in soundmanipulation and to avoid thenoise problems that may be foundin variable -rate sampling sys-tems. The sampling synthesismodule offers 16 voices and two


Digital Audio

megabytes of RAM for 24 secondsof audio data storage at 44.1 kHz;sampler memory may be extendedup to 30 Mbytes for six minutes ofaudio data storage.

An IBM PS/2 (or AT -compat-ible) computer controls the sys-tem, with software functions (in-cluding multitasking) performedon Microsoft Windows. It also con-forms to a number of industrystandards and features an openarchitecture to permit future soft-ware and hardware upgrades aswell as to allow easy integrationinto any existing studio.

The Soundstation II from Digi-tal Audio Research (DAR) in Sur-rey, England, also made its debutat SMPTE this year. The second-generation system consists of afront-end control console that fea-tures a touch screen display (usedin editing and selecting soundsegments) and a separate proces-sor/storage unit that contains thesystem hardware, software, anddisk drives.

The sleek design of the Sound-station II's control panel has a def-inite ergonomic appeal while of-fering a logical approach to thesystem's powerful audio capabili-ties, which include instant -accessediting, multichannel digital re-cording, and signal processing.The console also features a locatorcontrol that audibly emulatesreel -rocking for locating editpoints in the program material. Itadditionally provides nondestruc-tive editing with instant access ofaudio segments that can be audi-tioned at normal or variable-

speed playback.The basic system configuration

includes four -channel recordingand editing (with expandability toeight channels) and two 380Mbyte 5.25 -inch Winchesterdrives that provide a storage ca-pacity of up to two -track hours. Itmay also be further modified formore than five -track hours of on-line storage with removable opti-cal write once, read many

(WORM) disk drives.Fairlight displayed its new

MFX hardware/software packagefor its CMI Series III. The MFXsystem provides precise trigger-ing of up to 80 channels of musicand effects and includes aSMPTE-based cue list sequencerand a graphic event display. Itscontrol panel features a QWERTYkeyboard, timecode display, and ajogger wheel that is also used tooperate the editing system.

At the same time, Lexicon andNew England Digital (NED) weregiving full-blown demonstrationsof their digital production sys-tems. Lexicon displayed the non-destructive editing capabilities ofits Opus digital workstation withdialogue and sound effects on atrailer for the new Star Trek: TheNext Generation TV show. Mean-while, NED showed the Synclav-ier digital audio system in a vari-ety of "real world" applications formusic production, sound effects,and dialogue. The 45 -minute dem-

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and tougher spImproved frequency response plusless distortion and crosstalk are just afew of the technical gains achieved inthe n3w Telex Pro Series duplicator.This means that you'll make duplicatesthat are truer to the master than withany comparable tape duplicator on themarket today.Yes, here's a system with all the advan-tages of the famous 6120 high speedduplicator plus enhanced specifica-tions. Features that made the 6120popular such as compact size, unlim-ited expandability, track select, audiolev.31 monitors and easy one -button operation remain distinctTelex advantages. But, by developing the 6120XLP with 8Xspeed. Telex gives you the advantage of improvements inmany important professional specifications such as distor-tion, requency response, speed accuracy and crosstalk.And, the new cassette transport speed allows you toduplicate directly from 15 ips open reel masters 4or theultimate in quality and convenience.Tha Pro Series 6120 uses a newly developed, highly effi-

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Digital Audio

onstration included excerpts froma recent McDonald's commer-cial, Rob Reiner's new movie ThePrincess Bride, and a selectionfrom recording artist Sting'snew release, "Nothing Like theSun," which was composed, per-formed, and recorded on theSynclavier.

Also shown was the company'snew optical disk recorder, whichprovides an on-line sound effectslibrary that is fully indexed andcross referenced. A 16 -trackstandalone direct -to -diskmultitrack recorder was also dem-onstrated. Available in four-,eight-, 12-, 16-, and 32 -track con-figurations, the system featuresfull random-access editing withon -board mixing capabilities and75 minutes of continuous record-ing time at 50 kHz on each track.

Maximizing the MacThere was also good news for

budget -conscious professionalswho are eager to explore the

realm of digital audio production.A new product shown at SMPTEexpands the capabilities of Ap-ple's Macintosh computer fam-ily-a leading favorite amongMIDI (musical instrument digitalinterface) users-to handle digi-tal audio recording, editing, andpost -production. The Dyaxis digi-tal audio system from IntegratedMedia Systems (IMS) in San Car-los, CA, interfaces with third -gen-eration Macintosh computers (i.e.,the Mac Plus, SE, and Mac II) tocreate a truly flexible digital pro-duction system.

The modular Dyaxis systemfeatures mass storage on harddisk and a digital audio processorthat is capable of performing ste-reo or mono direct -to -disk trans-fers in real time. Meanwhile,IMS's user-friendly MacMix soft-ware provides a full complementof recording and mixing optionsand additionally utilizes the Mac-intosh's graphic interface to sup-ply a visual reference of the mate-

rial for editing, splicing, andassembling passages. The pro-gram further performs a range ofsophisticated audio processingfunctions via easy -to -follow win-dows and menus. The Mix Win-dow, for example, emulates tradi-tional console functions; anynumber of sound files can becalled up and mixed together,panned, crossfaded, and repli-cated for looping or slip -syncingfor time manipulation. In post -

production applications, the com-puter can be used as a control in-terface to sync the audio outputfrom the Dyaxis to video withSMPTE timecode.

Prices range from $6995 for abasic "start-up" system that in-cludes a 110 Mbyte drive, con-verter box, software, rack driver,and all necessary cables, to$19,500 for a high -end system fea-turing two 320 Mbyte drives formore than one hour's worth of ste-reo storage at 44.1 kHz.

Yet another product designed

AT LAST!STEREO FIELD MIXINGCOMES OF AGE!

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Until you try the new AT4462, you'llnever fully realize what other mixersput you through, just to get a stereosignal on tape, on film, or on the air.Because simply adding pan pots oranother output to a mono mixer is notenough for today's stereo.

Field Tested and RefinedWe went to network and independentbroadcast engineers, and leading filmand A/V audio people to learn yourproblems and needs first-hand. And wereturned again and again to test oursolutions. These tough critics agreethat the new AT4462 sets up far faster,

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Introducing Modu-Comnr,The AT4462 is designed for the realworld. For instance, let's assume you'redoing a simple sports remote. You setup microphones for the sportscasterand the color announcer, plus a stereomike for the ambient crowd noise.Normally you would also have to run a

for the Macintosh allows the com-puter to operate as a SMPTE-based automation controller forany MIDI device. Digidesign's Q -Sheet software is designed arounda user -created cue list of MIDIevents. Once a cue list has beencreated, the Q -Sheet allows theMacintosh to automate key-boards, effects units, and evenMIDI mixing consoles (such asYamaha's digital eight -trackDM131 console, which was used inthe demonstration at SMPTE).The Q -Sheet's event sequencermay also be used to cue theDyaxis.

Audio editing updatesOf course, all the news at

SMPTE wasn't limited to harddisk digital recorders and soft-ware. Several new introductionsfor established product lines wereequally innovative. For example,Mistubishi introduced its newXE-2 digital audio editor designedfor use with the company's X-86

The Dyaxis digital audio systemfrom IMS turns the Macintosh PCinto a digital post -productioncenter.

digital two -track recorders. Theunit features an 11 -second digitalmemory with search -shuttle func-tion for instant replays and pre-cise location of editpoints. Allediting chores are completely

electronically controlled, and thuseliminate any need for manualcutting and splicing.

Meanwhile, Adams -Smith hasaddressed the needs of the audio -for -video market with its new2600 A/V editor. The system fea-tures C: Sound, a newly developedaudio editing technique that per-mits digital sampling of up to onehour of sound on three separateaudio channels with simulta-neous display of any two chan-nels. The C: Sound display is lo-cated on the editor's main screenand has its own dedicated func-tion keys. The system uses color -coded cursors to mark sync points,record -in/ -out points, and locationpoints and automatically entersthe corresponding addresses onthe screen, effectively eliminatingthe need for working with time -code numbers.

The CD connectionAlso shown at the Adams -

Smith booth was a new system

wired or wireless feed to the sports-caster for his cue phone.

But with the AT4462 and Modu-Comm cue is fed through the an-nouncer's mike cable already in place.Add a small accessory decoder to theend and plug both the cue phone andthe microphone into the same cable.Cue can be program, an outside line, or"talk over" from the mixer. No extrawires, no crosstalk, and no change inaudio quality! Nothing could be simpleror more efficient.

Now, No -Fuss StereoActual stereo mixing is equally straight-forward. The sportscaster and the colorannouncer in our example appear onseparate pannable inputs so they canbe centered as desired in the soundfield. The stereo crowd pickup goes toa stereo input, with clutch -gangedcontrols for one -hand level control.And there's a second stereo inputfor another mike or line level source

(a second field mike perhaps, or forpre -show interviews on tape).

True Stereo LimitingPlus LEV-ALERT"Adjustable limiters can operate intandem, or individually as you prefer.And our Lev -Alert system can give youpeak level audible tone warnings inyour headphones when you can't watchthe VU mete=s. Trust Lev -Alert :o keepyour standards high...even when itisn't easy!Take A Close LookWhen you examine the new AT4462

True 6001. MOOU-COMM-Stereo/Mono Mic/Line Mic/Line Switch 20 dB Pad Line Level Limite- Level

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you'll see a host of other features tohelp ycu do your job: Cue on everychannel...Separate headphone ampli-Eer...Pkantom power for all types ofmikes...Three-frequency tone oscilla-tors...Slate mike...Supplied carryingstrap and protective case...PoweredEither by internal 9 -volt batteries or anyExternal 12-18 VDC supply, any polarity.

A New Era in Stereo BeginsWe've trade the new AT4462 a workingtool that helps you and your staff takefull advantage of the production valuesstereo nas to offer. And a hands-on testwill quickly prove it. To learn how theAT4462 can help you create betteraudio every day, call or write us now.

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Conti -cols

LEV-ALERT- Stereo Limiterfor Audible Switchable toor Visual Dual Mono

Peak Levelor Limiting

Warning

MODU-COMM"Full Duplex

Communication overExisting Mic Lines

Digital Audio

from the Chicago -based ChytchenLabs that allows users to dubsound effects, music, and othermaterial directly from a CD ontothe master tape without having tofirst convert the material tosynchronizable media (such as an-alog tape). Designed primarily foraudio -for -video applications, thenew Chytchen Synch-pronoun-ced "kitchen sink"-system inter-faces the Technics SL -P1200 CDplayer with most SMPTE timecode -driven edit -controllers; theSL-P1200X CD player must bemodified by Chytchen with a re-mote -control port on the rearpanel.

First demonstrated at thisyear's AES, the Chytchen Synchenables the edit -controller to op-erate the CD player as it wouldany transport with user -selectedin -/out -points, offsets, and otherSMPTE-related parameters. Thesystem makes all the calculationsfrom SMPTE timecode to CDtimecode, translates commands

from the edit -controller to the CDplayer, and provides the samelevel of synchronization as offeredby the edit -control system.

If you're looking for additionalproof of the CD's appeal, considerthe recent news from ShureBrothers. A name long associatedwith audiophile -quality phonocartridges (as well as many otherproducts), Shure recently took thewraps off a new professional CDplayer. Scheduled for delivery inthe middle of this month, the newPDP1000 was officially unveiledlast October at the NAB Radio '87convention in Anaheim and shownagain in prototype form at SMPTE.

Among the PDP1000's range offeatures is the ability to wire theunit for control at the studio mix-ing console or other remote loca-tion. It further offers automaticcueing to the first downbeat of themusic as well as auto stop at theend of a selected track. Other fea-tures include random access cue-ing with cart machine -style red

and green indicators, 15 -trackprogrammability, and transform-erless, balanced XLR outputs.

Future stock?What is the significance of the

plethora of digital audio hardwareat SMPTE? In all likelihood, theavailability of the equipment de-scribed here will not result in full-scale conversions from analog au-dio gear in existing facilities.However, the range in price andperformance represented does pre-sent some interesting possibilitiesfor new post -production suites andstudio upgrades.

Digital audio production willprobably continue to be viewed asa high -end alternative for severalyears-particularly in the broad-cast environment where its appli-cations are still somewhat lim-ited. Nevertheless, digital tech-nology has come a long way in arelatively short amount of time.And, by the next SMPTEgathering...who knows? BM/E

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New Equipment

SP&

ANT Unveils NoiseReduction SystemThe E413 multitrack noise reduction system isthe newest member of ANT's telcom C4 line ofnoise reduction systems. Constructed for theAmerican marketplace, the 24 -channel E413 is acompact, easy -to -install noise reduction systemthat provides an overall dynamic range of 118 dB.

Surface -mounted device (SMD) technology anddesign improvements combine to deliver a high -quality unit based on ANT's C4 E card; a single -channel 70 amp/8 VCA/250 SMD companderboard. In addition, the E413's design eliminatesthe need for cooling fans.Circle #200 on Reader Service Card

Conrac DisplaysMonitor/PhotometerPackageThe Micromatch monitor system from Conrac Dis-play Products Group consists essentially of a 13 -or 19 -inch 6545 color monitor and digital 6550photometer unit that can reduce in -studio set-uptime by about 20 seconds per monitor. In addition,the monitor features dot -mask, a precision in -line(PIL) CRT with .31 mm dot pitch, digital beamcurrent feedback and comb filter, automaticNTSC sensing, factory preset D6500 color stan-dard, and soft -touch front panel controls.

The handheld 6550 photometer is able to digi-tally acquire information from the master moni-tor, process and store that information, and thenautomatically communicate the master settingsto the other monitors in a system simply by press-ing the photometer against their screens

The Micromatch system comes in both 13- and19 -inch models, and a variety of cabinet andrackmount options are available. List price is$5295 for the 13 -inch version, and $5565 for the19 -inch.Circle #201 on Reader Service Card

Electro-Voice PumpsNew ShotgunThe RE45N/D, a highly directional microphonefrom Electro-Voice, utilizes a combination of car-dioid and distibuted front characteristics to de-liver high sensitivity and a functional workingdistance two to three times greater than most di-rectional mics. High sensitivity, coupled with theinherent low noise of the unit's dynamic trans-ducer ensures a high S/N ratio when working inlong -reach applications.

Cardioid-related functions provide uniform fre-quency characteristics up to 1500 Hz; above thatpoint distributed front openings take over to nar-row the mic's directional performance.

The RE45N/D specs include 600 ohm imped-ance, 5 mV/Pascal output at 1000 Hz, and -50 dBsensitivity at 1000 Hz.Circle #202 on Reader Service Card

Be u I

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Anton/Bauer LifesaverPuts Batteries in ChargeNew from Anton/Bauer, the Lifesever MP -8 is aneight -channel microprocessor -controlled chargerdevice that expands on previous Lifesaver prod-ucts in several ways.

In addition to standard Lifeseaver maintenancecircuitry, the unit features eight charging posi-tions that accept either Anton/Bauer or ProPac 90(BPR-90 VTR type) batteries; automatic chargeroutine and optimum voltage sensing; LEDcharge status indicators and LCD charge detailsdisplay; and replaceable PROMs to update themicroprocessor as new cell technologies becomeavailable.

List price is $2985.Circle #203 on Reader Service Card

Otari's Compact MX -55Otari's newest 1/4 -inch audio recorder is the MX -55, which, like the MX5050, is designed for use inrecording studios and audio post facilities. The


New Equipment

recorder features user -selectable speed pairs of15/7.5 ips and 7.5/3.75 ips and comes in six customversions: full -track, twin -track NAB or DIN ste-reo, twin -track with center -track time code, four -track, and twin -track in a desktop overbridgedesign.

Other features include a DC quartz PLL cap-stan motor and a seven -digit tape timer, test toneoscillator, and ± 20 percent vari-speed reproducefor overdubbing.Circle #204 on Reader Service Card

NEC Unveils VSR 10The new VSR 10 from NEC is a fully solid-statedigital video recording device that incorporatesDRAM technology for data storage and high-speed signal processing in lieu of traditional tapeor film media. Other system features include flex-ible architecture, frame -by -frame random access,real-time slo-mo record and playback, continuousvariable speed record and playback (from 0 to 16xnormal), built-in mix keyer interface for near -transparent DVE operations, and zero picturedegradation due its digital format.

The basic two -channel VSR 10 system with 34seconds of recording time can be expanded with aseries of four 34 -second memory shelves toachieve a system maximum of 136 seconds ofvideo signal storage. In addition, the system canbe configured to control up to four channels ofinput and output in any desired sequence, and theunit conforms to hard- or floppy -based externalstorage devices.Circle #205 on Reader Serice Card

Symbolics OffersAnimation/Video LinkSoftwareSymbolics Graphics Division has introduced newS -Record system software that allows users ofSymbolics paint and animation units to directlycontrol video storage devices. Currently the pack-age works in conjuction with a Lyon Lamb Mini -Vas to control VTRs, disk recorders, and similar

devices for unattended output of animation tovideo. S -Record allows easy user control of anima-tion recording and video image capturing for laterprocessing.

Software functions include Mini -Vas verticaltime -code -to -video transferral, overall debuggingfunctions, recorder and frame grabber testroutines, and cable and port testing.Circle #206 on Reader Service Card

Ani-Maker/Image-MakerSoftware DebutedMicrotime has released Version 4.3 Ani-Makerand Image -maker system software featuring a va-riety of 3D and graphics enhancements, includingscene scripting, velocity profiling, and enhancedtexture mapping.

Scene scripting allows users to create complexsequences with multiple models, trajectories,backgrounds, lighting grids, and camera paths.Acceleration and declaration variables can be de-fined with the software's velocity profiling func-tion. Texture mapping enhancements includefour -method shading, four resolution levels, andobject transparency preservation.Circle #207 on Reader Service Card

Enhancement Products forAU/280 AnnouncedAurora Systems has announced the availability ofseveral new productivity enhancement tools forthe high -end AU/280 videographics system. Soft-ware enhancements include color cycle anima-tion, an expanded augmentation of the machine'smultiplane animation; a 3D modeling previewfunction, which allows artists to view a wireframerendition of an animation in real time; timeline -

based animation editing, involving the display ofa sequence as portions of a timeline; selectivereal-time 3D animation; automaticstoryboarding; tiling and texture fill functions;and picture browse capabilities. AU/280 systemhardware is being upgraded as well, with all newsystems featuring a 30 -megabyte hard disk asstandard equipment.Circle #208 on Reader Service Card


WaveFrame Intros All -

Digital WorkstationWaveFrame Corp. has announced the availabilityof the AudioFrame digital audio workstation. Es-sentially a complete sound production environ-ment in a single unit, the AudioFrame allows pro-ducers to compose finished sound tracks withoutleaving the digital domain.

A proprietary audio bus is employed in the unitthat allows an array of plug-in modules to commu-nicate in the digital domain as well. Modules fordigital -to -analog and analog -to -digital conver-sion, sampling synthesis, studio control process-ing, and memory expansion are available for theAudioFrame.

The system "heart" is an IBM Personal Sys-tem/2 PC running the Microsoft Windowsmultitasking environment.Circle #209 on Reader Service Card

Beyer DebutsM 58 ENG MicA new omnidirectional dynamic microphone, theM 58, is the latest product offering from BeyerDynamic, U.S. The mic has been designed for usein ENG and EFP applications.

The unit features an internal shock -mount sys-tem to reduce handling noise, and the mic's high -output, contoured extended -response enhances

vocal and speech clarity, even off -axis. The M 58represents the first Beyer product designed spe-cifically for hand-held electronic newsgatheringand field productionCircle #210 on Reader Service Card

Alexander Offers 11 -CellSony AlternativeThe BP -1-11 11 -cell battery from Alexander Bat-teries is designed to offer engineers a longer -last-ing alternative to the Sony NP -1. The eleventhcell allows cameras and recorders more time thana normal battery, which drops off after it dis-charges 11 volts. The battery is rated at 13.75volts with a 1500 mAh fully -charged capacity.Circle #211 on Reader Service Card

Panduit Cutting Tool BowsAn new cutting tool designed to clip through sur-face raceway runners has been announced byPanduit Corp. The ratchet -action SRT tool makesa smooth cut without leaving any jagged or un-even edges on the raceway while eliminating theinconvenience of toting a hacksaw. The SRT fea-tures easily replaceable blades, and it can also beused to cut plastic conduit.Circle #212 on Reader Service Card


Business BriefsFCC Commissioner Mimi Daw-son was recently nominated byPresident Reagan for a post asdeputy secretary for transporta-tion. Her Senate confirmation isexpected to go without a hitch.Dawson's departure from the com-mission would leave only three offive seats filled-former commis-sioner Mark Fowler's seat re-mains open.

As the date for the 1988 WinterOlympics in Calgary drawsnearer, more and more manufac-turers join the ranks of officialOlympic product suppliers. In pre-vious columns we have announcedthe involvement of Fuji andIkegami in the Games (see "Busi-ness Briefs," BM/E, July 1987,p.80); now add Ampex, Vinten,Bose, and Harrison.

Host broadcaster CTV of Can-ada has selected Ampex 196 one-

inch videotape as its exclusivetape medium for use in its Cal-gary Broadcast Center during theGames. Also, through AppliedElectronics Ltd., Vinten's Cana-dian distributor, CTV will be uti-lizing several camera -mount andpan -and -tilt devices: Vision 20s,Vision EFP tripods, spreaders,Mk5 and Mk9 pan -and -tilt heads,Tern pedestals, and a Merlincrane arm round out Vinten's con-tribution to CTV's coverage . . .

Bose has won the PA contract forthe Calgary Games and will sup-ply the sounds systems for all 12Olympic venues . . . And the offi-cial U.S. Olympic network, ABC,is putting two Harrison MR -4 au-dio consoles to work in shippablemodular production buildingsthat will be transported to Cal-gary when events start up. Previ-ously ABC had used MR -4s in itscoverage of the 1984 WinterOlympics in Sarajevo.

Expansions and moves domi-nated business news in the pastmonths, with several majormakeovers or outright relocationsreported. Celebrating the start ofits third year, Unitel-Hollywoodunveiled its new expanded post -production facilities and remotethree -unit teleproduction fleet.. .

The Detroit office of VictorDuncan has relocated to an

NBC's Chicago affiliate, WMAQ-TV, has installed a Comtech3.5 -meter dual -axis Ku -band antenna atop the Windy City's 25 -

story Merchandise Mart. According to NBC's engineering man-ager Fred Rodey, the dish will be used to receive all live eventsfrom WMAQ's SNV as well for broadcasting some of the sta-tion's local programming, including shows like Warner and OurPlace.

The dish installation's reflector design consists of ten close -

tolerance panels, and all system components were designed tofit in a standard freight elevator-The WMAQ staff was able totransport and erect the dish without any special tools orcranes.

18,000 -square -foot home in themultitenant Studio Center com-plex in the Farmington FreewayIndustrial Park outside the MotorCity. . . Andrew Corp. has an-nounced the relocation of the salesand support departments for itsbroadcast antenna and transmis-sion line of products from Upland,CA, to the company HQ at 10500W. 153rd St., Orland Park, IL60462 . . . Omicron Video hasmoved to 21822 Lassen St., UnitL, Chatsworth, CA 91311; (818)700-0742 . . . Rank Cintel has re-located national HQ to 704 Execu-tive Blvd., Valley Cottage, NY10989; (914) 268-8911 . . . ArtelCommunications Corp. is nowoperating out of offices in theKane Industrial Park, Hudson,

MA 01749; (617) 562-2100 . . .

Dynatech Computer Power,Inc., has announced the comple-tion of its move from Scotts ValleyDrive to 5800 Butler Lane, ScottsValley, CA 95066.

Personnel changes this monthinclude Harry Anderson as presi-dent of Sony Magnetic Prod-ucts, Inc. Elsewhere at Sony, inthe Professional Video Divi-sion, James Hansen has beennamed VP of sales . . . AmericanPublic Radio has tapped VP ofprogramming Eric Friesen to takeover as acting CEO for the net-work during the interim periodfollowing Albert Hulsen's res-ignation. Bruce Theriault hasbeen named senior VP for opera-tions for the radio network.

78 BM/E DECEMBER 1987

Why this publicationand more than 1,200others let us go overtheir books

once a year.Some publications, we're sorry to say, keep their readers

undercover. They steadfastly refuse to let BPA (Business Pub-lications Audit of Circulation, Inc.) or any other independent,not -for-profit organization audit their circulation records.

On the other hand, over 1,200 publications (like this one) be-long to BPA. Once a year, BPA auditors examine and verify theaccuracy of our circulation records.

The audit makes sure you are who we say you are. The infor-mation helps advertisers to determine if they are saying the rightthing to the right people in the right place.

It also helps somebody else important: you. Because the morea publication and its advertisers know about you, the better theycan provide you with articles and advertisements that meet yourinformation needs.

BPA. For readers it stands for meaningful information. For ad-vertisers it stands for meaningful readers. Business PublicationsAudit of Circulation, Inc. 360 Park Ave. So., New York, NY 10010.

MEDIAINTELLIGENCE

VBPA

ADVERTISERS I:16J 4:1

ManufacturerPage CircleNo. No.

Page CircleManufacturer No. No.

Abekas Video Systems . 19 115 East Coast Video Systems 45 123Alpha Audio 66 138 Eastman Kodak Co 54 126Audio Technica. U.S 72-73 135

Audio Technologies 74 136

Avcom of Virginia 66 137

Fidelipac Corp. 1 101

For -A Corp 30 120

Belar Electronics 67 131 Full Photo Film USA 58 59 128

Camera Mart. Inc . The 16 113

Comark Communications 11 109 Grass Valley Group. Inc The 6 104-

107

Datatek Corp 39 122

Delta Electronics 13 110 Hubbard Communications Inc /Dielectric 22 117 HUBCOM 23 118

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LOST AND FOUNDDaven designed audio stepattenuators, pads and atten-uation networks are avail-able from Shallco.

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Page Circle

Manufacturer No. No.

JVC Industries. Inc. 2-3 145

JVC Industries, Inc 8-9 108

JVC Industries, Inc. .5 103

Lake Systems Corp 65 130

Maxell Corp. of America 36 -Midwest Corporation 15 112

Motorola 17 114

NEC Corporation 62 129

Nova Systems 57 127

Panasonic 49 124Panasonic 51 125

Quantel 26 119

Sachtler Corp. of America 32 121

Shallco 80 139

Shure Brothers Inc. 14 111

Solid State Logic 42

Sony Broadcast Products Inc 34-35Sony Pro Audio 70 133

Specialty Vehicles Inc 67 132

Studor Revox America. Inc. Cover 2 100

Telex Communications 4 102

Telex Communications 71 134

3M Magnetic Media 2425 -

Videotek Inc 21 116

Ward -Beck Systems Cover 4 -Wheatstone Corp Cover 3 151

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