BROADCASTING FROM HOME

AROUND THE WORLD

May 2020
From the Publishers
of Radio World
 Broadcasting
From Home
Radio organizations around the world have faced a
technology challenge of unprecedented scope: how
to maintain on-air and business operations when their
facilities are off-limits or their employees are sent home.
Air talent were suddenly told they’d be hosting live
programs or expanding voicetracking from their living
Cover image: Getty Images/Wavebreakmedia Lt
rooms. Engineering and IT teams rushed to provide sup-
port from the office while many were forced home them-
Paul McLane
selves. Virtualization became an even hotter topic than
4 Editor in Chief
it was. Technical managers were called upon, on short
notice, to outfit hundreds or thousands of team members with remote gear
Broadcasters and cyber-secure computer hardware.
Confront Workflow For some organizations, this involved modifications to existing infrastruc-
ture and processes; for others, it was a dramatic change. How are broadcast
Changes organizations around the world handling this? This special double-issue
Over and over we heard the same ebook explores that question.
reply: “Everything has changed” The content is organized in three parts. The first discusses changes in
workflow as reported by broadcasters and our supplier sponsors. The sec-
ond focuses on specific solutions and products. In the third we asked our
20 sources to forecast the long-term implications of these changes.
Please comment to me on this or any Radio World stories. Email me at
Tech Tools and radioworld@futurenet.com.
Tips of the Trade
Which products and platforms
specifically are broadcasters
putting to use?
Major-market

27
news, 2020 style.
Debra Feinstein
of WTOP.
What About the
Long-Term Impact?
Our experts definitely see
permanent effects, but generally
take an upbeat view
Credit: Debra Feinstein

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Radio World | May 2020

3
Broadcasters Confront
Workflow Changes
Over and over we heard the same reply:
“Everything has changed”
Radio organizations across the country and around the
world were affected by coronavirus. The stories were
everywhere. NPR’s “Tiny Desk” concert series had to go
remote. In Phoenix the “Kim Komando Show” shifted to
remote work. The FCC barred visitors to its headquarters.
In Washington, news biggie WTOP sent many of its
approximately 200 employees home, equipped air talent
with remote gear, broke up anchor teams into separate
studios and started vigorous cleaning. NAB cancelled
its annual show and rolled out a COVID-19 response kit.
RadioDays Europe and CABSAT and IBC were postponed.
Minnesota Public Radio canceled all events. Health
Info Radio was introduced by a company in London.
Companies announced layoffs, furloughs and pay cuts.
On and on it went.
“I’ve talked to a lot of friends and colleagues and they
all agree that their whole mode of operation is upside
down,” said one manufacturer.
What follows is an exploration and sampling of the
impact on radio operations and particularly audio work-
flows.
“Everything has changed,” said Steve Shultis,
the CTO of New York Public Radio, home of
WNYC(AM/FM), WQXR, The Gothamist, WNYC
Studios and The Jerome L. Greene Performance Space.
“Approximately 98% of our staff is working from home,
including talent. The only staff coming into the office
on a regular basis are a minimal body of broadcast engi-
neers and broadcast maintenance engineers, facility
engineers and some office support staff.”
All other work groups — reporters, show producers
including podcast and digital-only stream production,
call screeners, membership/development staff, market-
ing, digital developers, sponsorship — work and produce
from home.
“By far the greatest concern for us was to protect the
health and safety of our staff,” Shultis said. “For anyone
that we still require to come into the office/studios, we
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Radio World | May 2020
4
segregated this staff into three teams such that no one
crossed paths with each other and we perform cleaning
between team change-overs. To form these teams, we
scaled back operations, eliminating attended overnights
and used that staff, as well as our performance space and
remote concert technical staff to form a skeleton screw
for Master Control operations and anything else that we
still needed to perform at the facility.”
Shultis said the station had to make a difficult call. Very
early on, well before March, management was told by
the newsroom staff that they had reason to believe that
the virus was already present in New York City and rec-
ommended that New York Public Media close its doors to
any outside entities including guest talent, sales visitors
and others.
By far the greatest concern for us
was to protect the health and safety
of our staff.
— Steve Shultis, New York Public Radio
“We took the recommendation to heart and from that
time on performed all live and taped interviews remotely
and cancelled all of our many upcoming shows in our
public performance space,” Shultis said. “These were hard
calls to make in the early stages of the pandemic, when
many venues and entities around us were still open and
doing business as normal.”
Chris Crump, senior director of sales and marketing of
Comrex, complimented New York Public Radio for how
it mobilized. “They did an amazing job getting their pre-
senters comfortable in their new home studios. WNYC
engineers made safe, socially distant ‘house calls’ to get
everyone set up and prove out the reliability of our gear
to their on-air staff. They shared a few great stories with

me that were similar to things I’ve been hearing from
broadcasters all over the world.”
Bloomberg News has over 2,700 journalists and
analysts in 120 countries. “Although our techni-
cal operations come from our world headquar-
ters in New York, we are well-versed in working with
many of those remote locations daily,” said Charlie Voll-
mer, technical operations team leader at Bloomberg
Radio.
“Before the pandemic hit, most of our staff would
report to their local newsroom on a daily basis. By mid-
March, almost all of our on-air staff was working from
home globally. We’ve traded in-person collaboration for
video conferences and phone calls. We’ve all had to heav-
ily rely on instant messaging during live programming as
opposed to talking to each other in real time through the
other side of the glass.”
Bloomberg Radio creates over 27 hours of unique radio
content across its platforms each weekday; throughout
the pandemic it hasn’t missed an hour, Vollmer said. “This
is all a credit to the infrastructure investments Bloomberg
has made over the years, paired with some incredibly
intelligent, dedicated and hard-working staff across all
aspects of operation.”
Vollmer said the first step was to design and imple-
ment a process to actually run the radio operation from
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Radio World | May 2020
5
Credit: Wayne Shulmister
Brian Lehrer
of WNYC
home. “We pared it down so an op could successfully
operate the board using only a laptop connection to the
office.”
The next step was sending equipment to each mem-
ber of the on-air staff. “That led to plenty of unforeseen
challenges as we had to walk each and every person
through setting up our kits in their unique and personal
environment.” Key components include Wheatstone and
Comrex gear, as described later in this ebook.
In the end, Bloomberg created 60+ custom broad-
cast spaces that are in use as of late May. (Read about
Bloomberg’s New York home.)
Bonneville’s Sacramento cluster usually has
about 100 people working to serve four sta-
tions at its main location. Its workflow includes
RCS Zetta for automation, RCS Selector for ad schedul-
ing/ingestion and Microsoft 365 Cloud Platform for busi-
ness operations.
Director of Engineering Jason Ornellas said most
employees already had some remote access to VPN but
that the capacity had been lightly used. So when access
to the building was suddenly limited to engineering and
some air staff, Ornellas and his team had to scramble to
expand VPNs and disseminate laptops to support the
migration.
Continued on page 8 ❱
❱ Continued from page 5
To outfit team members at home, they built a dozen
home broadcast kits, each with SKB case, foam cutout,
Rodecaster production unit, Atlas mic stand, EV RE320
mic and Tascam headphones.
“The Rodecaster gave our on-air talent the flexibility
to have control of levels, have a button bar for hot keys
and liners, integrating phone calls. And we created a VPN
where they could pull their VoxPro files.” (Learn more
about how this cluster and several other radio organiza-
tions responded by watching the Radio World webcast
series “Broadcasting From Home,” available on demand.)
In San Diego, J.R. Rogers and Bill Eisenhamer
are market technical operations director and
chief engineer, respectively for the five-station
Entercom cluster. The station has SAS and WideOrbit
infrastructure, and is a big user of Tieline remote prod-
ucts.
Their morning shows preferred to go live if possible
rather than voicetrack, so they now are using a mix
of Tieline Report IT app on tablets as well as physical
codecs, with producers back at the studio. The engineers
gave each talent a Sescom microphone/headphone
adapter to plug into the tablet and a set of Audio-Tech-
nica sports headsets, and they connect via the app or
Jenna Mangino, right, station manager
of KTSC(FM) Rev 89, is interviewed by TV
reporter Dez Rowe via Zoom for a segment
about remote operations.
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Radio World | May 2020
8
codec. In the studio they use three Merlin Plus codecs,
which allow six mono streams each for a total of 18. The
engineers set aside has a couple of ViA codecs for special
circumstances as needed.
Though producers are currently in the studio, the
engineering team decided to prepare for a completely
remote situation if needed. Their SAS surfaces commu-
nicate with 32KD frames via Dante, so Eisenhamer says
now he has the capability of running a Rubicon console
completely remote if needed, and he’s testing to allow
producers to take calls live remotely. The SAS Remote
Console has a button panel that can be configured to
control the broadcast delay.
Fox News Radio began taking planning steps in
late February, according to Vice President John
Sylvester. It soon had nearly 80% of its staff
working remote daily.
Depending on the job, each staff member was given
remote access to Adobe Audition, Amazon Workspace,
Slack, Zoom, iNews for writing and editorial newsgather-
ing, and VPN access to the broadcaster’s ENCO automat-
ed audio systems, plus various other tools and software
applications.
All audio feeds are sent to and managed by the
company’s network operations center in New York and
backed up in Washington, using a cloud-based platform
that gives everyone access to the content in real time.
Many of its network radio reporters and anchors, spread
around the country, have Comrex Access units and head-
set microphones. Teams were supplied with additional
Blue Yeti microphones for stories to be filed and upload-
ed. Others in the field use Tieline gear.
Workflows have been “radically changed,” said
Jose Luis García Hernán-Pérez, vice principal of
technical media at Radio Nacional de España, or
National Radio of Spain. Approximately 80% of its work-
force were on telework by May. Those who cannot tele-
work are on a modified shift “detention” schedule.
“The main challenge has been preparing and config-
uring, in record time, a large number of computers and
audio coders to facilitate teleworking,” he said. “At the
moment, more than 700 technical devices are in use.”
Each journalist has a remote kit with computer for
recording and editing, an audio encoder for live inter-
views and a mobile phone. RNE uses Prodys ProntoNet,
Nereus and Quantum codecs as well as AEQ ALIO and
Venus codecs.
“Technicians can also remotely connect with the differ-
ent control devices like digital audio arrays, audio coders,
computers, servers and audio consoles. All the connec-
tions are made in a secure way through VPN protected by
firewalls.”
RNE has a Dalet digital desktop production system
that provides some provision for teleworking; journalists
can connect from home to access the system. However,
remote audio editing was constrained in the past by con-
nection delays and lower quality. He said this problem
has been resolved by the new HP ZCentral application,
which enables a fast connection, clean sound and, addi-
tionally, the use of USB control remotely. “Our journalists
are delighted that they are teleworking almost the same
as if they were present at headquarters.”
Rob Quicke, founder of the College Radio Foun-
dation and College Radio Day and professor at
William Paterson University in New Jersey,
wrote in late April about the impact on college stations..
“Right now, most college radio stations studios are
empty. The music director’s office is silent. The news-
rooms are shut down, and the lounge area has empty
sofas and chairs, with things left out on desks and
tables, such as open magazines with half-read articles,
unchecked lists of tasks that needed to be completed
before spring break, and schedules for shows that will
likely never take place. It’s like stumbling onto the Mary
Celeste, a place that has been hastily abandoned on
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
9
short notice.”
However, Quicke wrote, “Many students involved with
college radio have quickly adapted and are finding new
ways to create radio and find a way to communicate that
to their audiences. It’s heartening to witness their passion
combined with sheer ingenuity, to create and share con-
tent that provides information and comfort to a listening
audience.”
He said team-oriented and social media tools such
as Discord, Skype, Zoom, MS Team, Facebook Live and
SoundCloud are being used in various combinations to
create and share content and support sharing efforts like
the College Radio News Network (CRNN).
(Read more about how college radio organizations
have responded.)
Remote operation is all in a day’s work at
Learfield IMG College, which holds sports rights
for more than 100 universities and colleges, and
is one of the largest users of Comrex gear. Tom Boman is
vice president of broadcast operations, and Randy Wil-
liams is chief engineer.
Our journalists are delighted
that they are teleworking almost
the same as if they were present at
headquarters.
— Jose Luis García Hernán-Pérez,
Radio Nacional de España
In normal operation, its two operations centers are
busy with team members working at numerous cubicles
right next to one another, each essentially a small radio
station producing a broadcast. Teams in the field carry
Comrex Access NX portables; back at the operations
centers, producers and board ops mix the network com-
mercials, billboards and imaging to produce a finished
product that’s sent to affiliates over satellite or internet
stream. This includes terrestrial radio partners and outlets
like TuneIn and SiriusXM.
The cancellation of an entire sports season was a mas-
sive challenge for IMG Learfield, with a great deal of ad
inventory sold but no basketball or baseball or softball
games to air it on. From a programming standpoint, that
meant creating new content ideas on the fly like spring
football specials; repackaging classic past games; and
rethinking and repurposing podcasts.
Many of the play-by play-talent had their gear already
Continued on page 12 ❱
❱ Continued from page 9
with them. “Going to IP made it relatively easier for talent
to do their own engineering,” said Boman.
The organization is also making more use of Comrex
Opal, an IP audio gateway that enables guests to connect
to the studio by clicking a link, which is particularly help-
ful where talent didn’t have gear with them. He empha-
sized how easy it is for non-technical users to operate this
via laptop or smartphone.
Chris Crump of Comrex said as more users settled into
remote operation, the company has seen interest in Opal
increase. “If you have an updated browser — Google
Chrome, Mozilla Firefox or Safari — it actually has an
Opus coding algorithm and a G.722 coding algorithm
in it. So essentially you have a web browser that has an
audio codec, with your smartphone or your computer
being the interface.”
At college station KTSC(FM), which seeks to
train students for real-world radio, Station
Manager Jenna Mangino said operations
flipped to remote beginning a week before spring break..
A remote voice tracking system had been created ear-
lier by WideOrbit in which students use a Dropbox folder
to submit audio files. “Once the files are in the folder,
the system knows to scan the folder and anything that’s
named properly will match the corresponding positions
that have been pre-scheduled in the log,” Mangino said.
Some students had Adobe Audition,
others learned how to use Audacity,
which was used to record voice tracks
and the nightly health update.
— Jenna Mangino, KTSC(FM)
“With this simple process, it allows students to use their
own equipment at home to create voice tracks and drop
them into the system and have them inserted instantly.”
KTSC likes Cleanfeed software. “It functions as a brows-
er-based ISDN quality line that allows students to record
multiple voices for sports shows, podcasts, public affairs
shows and morning shows. It works with Google Chrome,
is secure, and allows the user to send an email invitation
to the guest or other host/DJ. They can accept and all
join and it records each voice on a different track. The
final download mixes all tracks together and then the file
can be manipulated in Audition.”
Without a big budget, the station couldn’t provide
remote home-studio kits. “Several students already had
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
12
COPE Presenter Pilar Cisneros
broadcasts from home.
the gear needed and had studio-grade microphones.
Others purchased cheaper mics; a $50 Insignia USB
recording microphone from Best Buy did the trick for one
student, others used Yetis, laptop mics, gaming headsets,
cell phones or anything else they could get their hands
on. Some students had Adobe Audition, others learned
how to use Audacity, which was used to record voice
tracks and the nightly health update.”
Some students had Chromebooks and others worked
with Mangino to either record audio on their phones
and then send the file to her to produce and air, or they
would record on Cleanfeed and she’d produce it and mix
it down for airing.
The station uses Zoom for meetings and hopes to add
Tieline gear to allow students to produce live shows from
home in the fall.
VENDOR VOICES
Radio World also asked the manufacturing sponsors of
this ebook for their own observations about the impact
on workflows and how their clients have responded.
Robert Ferguson, support engineer for Wheatstone,
said, “Use of remote applications, for access to broadcast
devices, and other software for business purposes, allows
collaboration in near real time. From online meetings, to
instant messaging, to IP-based hardware and software
codecs, the tools were there, and are now being expand-
ed upon with current needs.”
Broadcasters as a whole have done a tremendous
job in keeping audiences informed, entertained and
engaged, said Ferguson, despite not having their familiar
studios, in-person promotions and the benefit of face-to-
face communications.
“I think broadcast engineers and IT folks are the
unsung heroes in all of this. They have been charged with
getting staff connected from remote locations, keep-
ing and maintaining existing facilities and transmission
Continued on page 16 ❱
❱ Continued from page 12
plants, while also trying to keep themselves healthy in a
trying time.”
Market size, population density and geography all play
into how hard some stations were hit, said Doug Ferber,
vice president of sales for Tieline.
But in areas with bigger populations, the virus has
been very disruptive. “The main studio automation is
being put to the test. Salespeople officing from home.
Air personalities broadcasting live and voice-tracking
from living room studios. The engineers are the only
ones left in the building.”
He too credits the engineers who scrambled, with
little notice and maybe not a lot of preparation, to keep
live content on the air. “We have seen solutions that
range from economical short-term fixes to sophisticated
high-quality and longer-term set-ups.”
Demand for gear to support journalists working at
home was clear to Reto Brader, CEO of Barix. “At the same
time remote broadcast from events has been greatly
reduced,” he said. “This change in workflow asks for a
simple setup at home for broadcasters providing highest
quality audio links over the internet.”
His company produces Exstreamer 500 broadcast
codecs as well as new SIP OPUS-based codecs for remote
contribution to link the home office with the studio.
“Another long-term trend is that more people want
to have their own internet radio kind of service,” Brader
said. “From streaming a worship service to providing a
community radio stream from the town government to
its citizens, streaming has taken a vital position in com-
municating with people.”
Dan McQuillin, managing director of Broadcast Bion-
ics, said, “Radio has never had more difficult operating
conditions, but radio equally has never been more
important. Many of the broadcasters we work with have
done incredible and creative things. This [situation] is
abnormal, it will not always be like this. But necessity is
the midwife of invention.”
McQuillin was flying to visit WNYC when he got a text
saying the station was closed and could not accept visi-
tors. The station had already been looking at a possible
upgrade to its older talk show system. He says broad-
casters who have moved toward pure IP audio and virtu-
alized solutions had the greatest agility when the crisis
erupted. Software can be remotely reconfigured and IP
workflows can be dynamically rerouted. He also noted
that users like Bauer Media in the U.K. have been moving
to the use of glass console surfaces which can be very
easily reprogrammed and configured.
Echoing that, Marty Sacks, the executive vice president
of sales, support and marketing at the Telos Alliance,
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Radio World | May 2020
16
users with AoIP backbones already have a high level of
remote functionality.
“Every workflow is different, so flexibility is welcomed
by our customers. You have essentially the same usability
as you would in-studio, at home. It’s just a matter of get-
ting broadcasters set up at home.”
He highlighted the importance of support from the
factory, adding that Telos’ 24/7 support line has long
offered remote setup support. “For our clients, remote
setup via Telos Alliance products is probably less stressful
than trying to educate remote talent.”
Of course, the features and connectivity of automation
and audio management systems are also in the spotlight.
“Now more than ever, broadcasters are relying on their
automation systems to keep things running smoothly
amid reduced access to their studios and offices,” said
Ken Frommert, president of ENCO Systems.
“In many cases, clients are diving into the deeper fea-
tures of DAD Radio Automation, and discovering that
many of the tasks they once performed at the studio
could be easily done from the comfort of their homes.”
Radio has never had more difficult
operating conditions, but radio equally
has never been more important.
— Dan McQuillin, Broadcast Bionics
Even before the shutdown, he said ENCO was seeing a
trend of clients moving towards web-based and mobile
applications for remote voice tracking and playlist man-
agement. “Now, when it’s simply not possible to work
from the studio, clients are leaning into these solutions as
the new normal, providing a familiar but refined interface
to keep working from home offices.”
Frommert pointed to Vermont Public Radio as an
example of an effective response. “Workflow-wise, they
were able to adapt quickly and began tracking all shows
from home studios via the WebDAD voice tracker. Engi-
neering-wise, they were able to keep their engineers
safer by eliminating unnecessary travel; instead of driv-
ing to the station, they could check system status from
a web browser and apply changes when needed. And
most importantly, they were able to continue broad-
casting without interruption when their audience need-
ed them most.”
The way broadcasters have adapted varies from coun-
try to country, said Gustavo Robles, sales director for
AEQ, based both on differences in technological skill and

in the effects of the pandemic.
“But in general terms we see a massive movement to
remote broadcasting, and in most cases home broad-
casting. Our friends and customers in radio stations very
quickly adapted normal operations to remote operations,
usually with excellent results. Technology was a key fac-
tor in this great transition.”
Robles complimented COPE, a large private radio com-
pany in Spain, which has more than a hundred associated
local and regional radio stations.
“They very quickly moved to protect employees’ health
with protocols, protections, etc., and in parallel they
designed a plan to move as much of their normal opera-
tion as possible to remote operation, keeping most of the
staff working from home. Today it is still one of the best
stations on the Spanish dial, and the audience didn’t feel
the difference.”
He also saluted Cadena Ser Guadix, which he said
was already working mostly from home in its operations.
“In some ways Cadena Ser Guadix was a pioneer and we
didn’t know until now.”
Some broadcasters implemented team “shifts,” with
groups of employees isolated from one another, to cover
their facilities and workflows.
“The policy ‘the show must go on’ took on special
meaning for our customers, while most of society was
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Radio World | May 2020
17
Live broadcast of “Full Disclosure”
on VPM-Virginia’s Home for Public
Media is monitored from the
engineer’s shack at home.
requested to stay at home and anxious for constant and
reliable updates about the COVID-19 crisis,” said Pablo
Rodriguez, sales manager for Prodys. He said it was
important for broadcasters to keep “voices and faces” on
the air to help lower public anxiety.
Rodriguez expressed amazement at how quickly broad-
casters reacted. “Specifically I’m impressed with RAI, the
public radio and TV in Italy. They set up remote training
of their talent and quickly arranged new hardware for
their homes. But similar situations also happened in other
countries where our products are widely used like Spain,
Poland, Czech Republic, Colombia and many more.”
Changes in workflow are felt even in the cabinetry
business. Omnirax Furniture Co. now has a line called
BFH, which stands for Broadcasting From Home, and
cites interest in its Podcast Line and MeDesk, among
others.
Philip Zittell, CEO of Omnirax, said, “Across the radio
industry, shelter-in-place orders have forced radio into
a work-from-home model, from air talent and pro-
grammers to salespeople and managers. And with the
Main Studio Rule abolished by the FCC, any company
can find many cost efficiencies by breaking with tradi-
tional ways of doing live radio.” He noted that prom-
inent users of Omnirax products include Bonneville
Sacramento. n
Tech Tools and
Tips of the Trade
Which products and platforms specifically
are broadcasters putting to use?

In this article we share more specific insights that we

gathered from the field, including discussion of specific
tools and products.
Tieline said its ViA remote codec and Report IT app
are finding a lot of use, with a Bridge IT or Merlin studio
codec at the head end. Doug Ferber said the ViA allows
a user at home to stream live audio, record interviews,
manage recordings, create playlists of local and imported
files and produce podcasts that can be sent via FTP. “It is
a full broadcast studio in a compact unit that has every-
thing you need to go live from anywhere.” Paul Montoya of Wyoming Public Radio’s
Clients of ENCO Systems are using the browser-based setup includes RCS Zetta automation, Telos
automation controller WebDAD for adding voice tracks, Axia Element with SoftSurface software, and
Comrex BRIC-Link.
managing audio libraries and modifying playlists.
“With physical access to stations limited, and remote
desktop sessions bogged down by lag or prevented by
security measures, stations need a robust solution to
provide native-level access to their automation systems,” Yann Vonarburg said Aeta client
said Ken Frommert. He noted that WebDAD has a sub- Lagardère / Europe purchased “a good
stantial new web interface. number” of codecs before the lockdown.
A “surprise hit” for ENCO is ENconveyor, an automated
download utility that usually operates in the background. “They were rushing us to deliver.”
“While originally designed to automate the download
and ingestion of syndicated audio segments, many sta-
tions are using it as a quick and effective way to transfer Wheatstone has a “remote” access app for nearly every
files from home studios directly into their DAD library IP surface it manufactures, according to the company’s
and playlists,” Frommert said. The company is offering Robert Ferguson.
free subscriptions to that at present. “Some of our surfaces do not come with an ACI, our
Ayrton Mcphail, chief engineer for Baker Broadcasting, control interface; however nearly every Blade in our line-
is a WebDAD user. Other tools that Mcphail has found up has built-in software utility mixers, so there is the abil-
useful include GoToMyPC remote desktop software, ity to control those with a remote application.”
which allows users to access computers remotely using a He said Blades had already become popular for vari-
web browser; it is being used by trafficking and manage- ous uses in broadcast plants. “They allow for a ton of cre-
ment. And he likes Luci Live Lite for live remotes. ativity and flexibility. When we realized that many of our
“It allows the jocks to talk live, and sound like they are customers would need an easy-to-use and setup solution
still in the studio. All you need is a laptop, a phone and a for these systems, ReMIX was developed as an affordable
way to get it into your on-air line, and you’re up and run- remote mixing app that could remote control a utility
ning. And with a little creativity you can talk on multiple mixer within a Blade.”
stations live with a single instance of Luci Lite.” Continued on page 22 ❱

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20
 ❱ Continued from page 20
Bloomberg Radio is a Wheatstone user. Most of its
anchors were given Comrex NX codecs with sportscast-
er-style boom mics to install in their homes.
“For reporters and our affiliate team, we heavily relied
on the various Luci Live apps,” said Bloomberg’s Charlie
Vollmer.
“As far as actually running the shows, our technical
producers were given high-performance laptops so they
could VPN into designated PCs back in our headquarters.
From there, they were given full access to our Wheat-
stone LXE remote mixing app, automation and audio
playback systems. We have various audio hybrids set up
with a program feed from each station’s air chain so they
can listen in real time to the broadcast they’re running.”
Some broadcasters saw the health crisis coming.
According to Yann Vonarburg, general manager of Aeta
Audio Systems, client Lagardère / Europe purchased “a
good number” of codecs before the lockdown. “They
were rushing us to deliver. My guess is that they had
anticipated this French lockdown while seeing the one in
Italy.” Aeta makes the Scoopfone4G and eScoopfone.
Voice of America’s Chet Rhodes, special project man-
ager, studio and production operations, said VOA had to
Rodrigo Poyatos Molero
of Andalucía Este FM
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
22
send half of its radio staff home early on, and that even-
tually all radio programming was done remotely.
“Staff are producing shows at home or in the field and
sending in files to be played out of our automation sys-
tems. Live programming, such as top of the hour news-
casts, are being done with VoIP technology or over the
cell phone network.” Staff uses a wide selection of free
software from Audacity, as well as the Adobe products
such as Audition and Premiere.
“Working from the field has always been part of radio
production, so in many ways we are going back to the
basics; while some staff have not had to work at home
at this pace before, staff has had to make sure the home
environment, the Wi-Fi, the older home computer was
ready to support everything needed. VOA has deployed
laptops, and many staff also upgraded home systems.”
Reto Brader of Barix said the company’s new SIP
codec with Opus compression has direct application for
home broadcasting. “It will replace older remote codecs,
driven by the fact that ISDN goes away and SIP VoIP is
the new telephony standard.” He also pointed to the
Barix Instreamer ICE for streaming from home, using its
Icecast server or through any streaming service, and to
Exstreamer 500 broadcast codecs, which relay and I/O for
tally and switching.
Marty Sacks of the Telos Alliance highlighted its virtual
Axia SoftSurface and Axia Pathfinder Core PRO.
“Paul Montoya, director of engineering for Wyoming
Public Media, accessed it remotely during the crisis to
switch a last-minute White House press conference on
the air, which saved the day, and saved someone making
a trip to the studio just to press a button.”
Axia IP-Tablet virtual radio software is helping custom-
ers connect remotely, offering the same functionality for
many Telos Alliance products via software. “We’ve seen
a lot of folks with our small consoles, like Axia Radius,
remote into their desktop using VPN/TeamViewer and
control their physical console faders that way from all
over the world.”
In Washington, WAMU uses Livewire-enabled devic-
es throughout its air chain. Director of Technology Rob
Bertrand said Axia Fusion consoles, Telos VX phones and
Axia SoftSurface on IP tablets played important roles.
“We were even able to deploy a temporary fallback
studio in an academic building at our parent American
University in a matter of hours using Axia, including full
two-way audio with NPR HQ and flexible switching into
our transmitter plants and streams.” The primary studio
plant is being operated remotely from the homes of sta-
tion staff.
Bertrand also noted WAMU’s use of remote screen
sharing tech like VNC and simple Remote Desktop to
remotely control WideOrbit players in the studios, as well
as AoIP codecs from Comrex and Tieline, as well as Telos
VX phones and a Broadcast Bionics PhoneBox screening
platform.
Broadcast Bionics saw new interest in its Skype TX for
Radio, according to Dan McQuillin, and came out with a
simplified version that WAMU started using extensively,
to gather audio using Skype. Also it has introduced Caller
One, a software product that runs in a web browser on
a simple PC, and added a webRTC audio codec called
Anywhere, a simple piece of software that gives remote
control over a browser and ability to screen calls in a
small footprint.
New York Public Radio moved from a running proof-of-
concept version of Teradici Zero Client PCoIP — a remote
access platform designed for media — to purchased,
permanent infrastructure to allow remote access for its
newsroom production team.
“We had been exploring it prior to the pandemic for
general mobility needs for the newsroom reporters/pro-
ducers, so we were positioned to put it into production
relatively quickly,” said Steve Shultis.
“Additionally, Broadcast Bionics offered us an emer-
gency installation of their AudioServer virtual phone PBX
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
23
and Bionics Studio call screening system for which we
migrated to from our legacy, physical PBX/phone hybrids
and Bionics PhoneBox call screening system in an effort
to move call screeners to their home,” he continued.
“To complete the installation we had to engineer a new
QSIG connection from our separate Business SIP PBX and
steal some surplus DIDs from that SIP provider and engi-
neer an AES67 connection to the new Bionics server for
use in virtual sound cards and hybrids.”
It designed and built 18 home studios based around
Comrex NX codecs, Citrix remote access and the Bionics
call screening system. “Our engineers delivered installed
and tested each of them in the talent’s homes. We are
currently doing a live on-air fund drive with all of these in
use daily,” he said.
For the many teams producing shows from home, New
York Public Radio is leveraging its enterprise Dropbox
infrastructure for sharing audio files and worked with
Avid for providing remote licensing for its many Pro Tools
production workstations to allow individuals to work on
remote laptops.
We’ve seen a lot of folks with our
small consoles ... remote into their
desktop using VPN/TeamViewer and
control their physical console faders
that way from all over the world.
— Marty Sacks, Telos Alliance
“Lastly, we are working closely with our console man-
ufacturer SAS, building a soft console and soft switching
for full remote control of our audio infrastructure mixing
and routing, should we be forced to evacuate the broad-
cast facility. We are using this now for emergency opera-
tions from home during unattended operations.”
Digigram pointed users to its IQOYA Connect, a con-
nection service for remote broadcast applications. It
includes Guest service, which allows the user to invite
guests to radio shows via a simple link. “Clicking this link
transforms any web browser, on a laptop or smartphone,
into a two-way codec,” said Xavier Allanic, vice president
of sales.
“The plan was to release IQOYA Connect at the NAB
Show 2020. We decided to accelerate the development,
and we were able to release IQOYA Guest Preview at the
beginning of the lockdown in Europe.”
Allanic complimented French Christian radio network
Continued on page 26 ❱
What Charlie Vollmer of Bloomberg Radio
sees at home while running “Daybreak
Asia.” Remote Wheatstone is on the bottom,
automation and audio playback on the top.
❱ Continued from page 23
RCF, a user of Digigram codecs for program distribution
over satellite. “RCF technical and IT team were waiting
for the release of IQOYA Connect. They really appreci-
ated the fast and relevant response of Digigram to the
lockdown with early release of IQOYA Guest Preview.”
The latter is a web-based solution for conducting remote
interviews of guests outside the studio.
Demand surged for large deployments of smaller, simpler
commentary units, according to Pablo Rodriguez of Prodys.
“This has been a manufacturing and logistical effort for
equipment suppliers. Now the air talent were asked to
start home studios on their own with new hardware, and
only remote support from their engineers.” He said the
Prodys Quantum Lite has been a strong seller, a hand-
held device for remotes that allows multiple independent
links with the studio receiver.
AEQ offered a series of webinars on how to run a radio
station from home. Gustavo Robles said customers are
using IP audio codecs over regular internet with excellent
audio quality, or are remotely operating audio mixers
using IP control applications like the company’s Virtual-
Forum.
“When this pandemic started, we received a big
number of purchase orders mainly for portable codecs
as our ALIO unit or rack-mounted ones like our Venus.
Then in recent weeks we saw conversations move more
to remote control or complete remote operation. We
believe broadcasters are thinking not only about the
next weeks or next months, but perhaps something
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
26
more permanent.”
Rodrigo Poyatos Molero of Spain’s Andalucía Este
FM said the company uses the AEQ Forum console, con-
trolling it remotely using its virtual console software and
the AEQ Forum Screen application. Codes in use are the
AEQ Phoenix Mercury, Venus and Studio Audiocodecs. A
Phoenix ALIO is in its remote van.
“For sports or unexpected events we use SIP applica-
tions for mobile phones that work with a SIP license from
AEQ. The audio encoding we use is Opus due to the low
delay and broadcast audio quality.”
Rodrigo Poyatos Molero is CEO and editor at Andalucía
Este FM, which runs four radio stations in southern Spain.
“We faced a great challenge due to the coronavirus. We
have been working remotely for several years, although
we have intensified our work due to the coronavirus situ-
ation,” he said.
“Our national headquarters urged us to prevent people
from entering the studios, and during this period, we did
so. The difference has been that now the editors are not
in the studio. One of them is managing our AEQ Forum
mixer and sending contribution from a Phoenix Mercury
audio codec remotely from his home, and the rest are
sending contribution from their homes with more Phoe-
nix Mercuries.
“We haven’t been at the radio studio at all during the
entire lock down, not a single day,” he said in mid-May.
“We have daily broadcasted telephone interviews with
mayors of municipalities, medical officers and people
who have overcome the virus.” n
What About the
Long-Term Impact?
Our experts definitely see permanent
effects, but generally take an upbeat view
Writing about technical industries in general, Frederic
Filloux on Medium.com recently predicted “a spectacular
rise in remote working that will reshape the corporate
tech world.” Among challenges confronting all managers
are employees who no longer want to commute; close-
packed office elevators; unsanitized hot desks; questions
about how to enforce mask requirements; the need to
rethink cubicle layouts; and many more.
Focusing on radio’s audio workflows, how will the
trends discussed in this ebook change operations in
months and years to come?
The challenges radio has faced would have seemed
like science fiction until recently, said Rodrigo Poyatos
Molero of Andalucía Este FM.
“It is clear that the way we make radio will change
after COVID-19. But with the help of new remote control
equipment, IP audio and shared files in the cloud, no
listener will notice it, and we will be able to offer profes-
sional programming,” he said.
“We will return to the studios and make magic on the
radio again. Stations need studios to centralize technical
infrastructure and as a place to interview guests.”
By updating systems to continue broadcasting from
remote locations and preparing for future emergencies,
stations open up to the possibility of adding new on-air
talent from anywhere with an internet connection, said
ENCO’s Ken Frommert. “While most station personnel will
return to their offices and studios in time, the cloud infra-
structure will allow stations to find and voice track talent
easier than ever before.”
Philip Zittel, CEO of Omnirax, said, “Everyone is trying
to predict what the ‘new normal’ will be, while looking
for solutions to what once seemed like a temporary
challenge but now appears to be a more permanent and
evolving one. As companies re-populate their facilities
and tweak them to meet social distancing guidelines,
more and more employees will be forced to work from
home.”
Zittel said this presents two immediate challenges.
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
27
“With increasing reliance on remote technology necessi-
tated by social distancing, facilities will transform to meet
the new reality. Studios will be smaller, less guest-centric,
modular, flexible, and geared toward supporting remote
efficiencies.”
Also, people working from home need to be support-
ed. “Their at-home work environment should promote
health, happiness and increased productivity,” Zittel said.
“Working from home will be the new paradigm for the
common industry,” agreed Pablo Rodriguez of Prodys.
“However, broadcast professionals will return to work
from the places where the ‘news’ happens. In future,
outside broadcasts will benefit from all the infrastructure
and training used during the pandemic.” He said Prodys
plans to develop more for remote contribution, including
adding video to audio capabilities.
We will return to the studios and
make magic on the radio again.
— Rodrigo Poyatos Molero,
Andalucía Este FM
At Entercom San Diego, J.R. Rogers and Bill Eisenhamer
are working toward being able to switch talent to day-
to-day remote operations pretty much on demand. If
an air talent says, “I need to do a broadcast today,” the
engineers want to reply, “Well, what kind of connectivity
do you have?”
Says Eisenhamer, “You’ve got the Tieline Report
IT app; and you get remote access to WideOrbit. The
concept of putting remote console software on the
WideOrbit machine allows them remote access to oper-
ate WideOrbit and to run their SAS console. Pending
bandwidth, you can use the VPN access to access the AVT
phone system and run the client; and how you have full
Continued on page 30 ❱

❱ Continued from page 27
control over your phones.”
Rogers adds that such flexibility also provides disaster
recovery. He notes that their building sits under a low air-
line approach path. “There’s always a chance someone’s
going to make a mistake; and if something unfortunate
happens we have the ability to operate on an empty
building while things are assessed.”
Claudio Donadei is CEO of Fulgor Service in Italy, which
specializes in professional audio systems and acoustic
treatment in reverberant structures including churches.
“During this COVID-19 period we had to find new
technologies that allow us to enable new workflows.
As we deal with audio amplification and crowds are not
allowed, we started using all those technologies that
work on the internet with data flows, streaming, etc.,” he
said. The company uses Barix products.
“I think that all applications for mobile devices and
software that simplify audio and video management will
be of great interest for everyone involved in this mar-
ket,” Donadei continued. “In my opinion the demand for
streaming devices will increase, people will get more and
more used to this technology, and the companies in the
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
30
Terry Gross, host of
“Fresh Air,” works
from home too.
sector will use it more and more for two simple reasons:
to decrease the possibility of contagion, and to decrease
costs. Everything related to streaming will be the new
business.”
Studios will be smaller, less guest-centric,
modular, flexible, and geared toward
supporting remote efficiencies.
— Philip Zittel, Omnirax
Human contact, he added, will “remain fundamental.”
The crisis shows that fresh ways to create, edit, mix
and broadcast are possible, said Gustavo Robles of AEQ.
“Some of the changes will produce excellent results
and will become the new standard in the market, some
others will need more time and changes to succeed. But
ultimately this health crisis will force all actors in the radio
industry to adapt.”
Continued on page 34 ❱
 ❱ Continued from page 30
Talent will work from home, radio studios will be in
general smaller. Remote control will be a “must” in new
devices. “In some countries analog technology will finally
fully disappear because it cannot offer the capabilities of
IP digital material to adapt to this situation. And for sure,
IP, internet, DSL and 4G/5G connectivity will be mandato-
ry in important projects, if was not already included.”
“I believe that as we start to ease back into things, new
challenges will arise,” said Robert Ferguson of Wheat-
stone.
“Technology is always moving and evolving forward,
and everyone is curious what the post pandemic world
will be like. I think it depends on many factors and will be
different from group to group and market to market.”
For broadcast shows with live talent, Ferguson doesn’t
expect the traditional studio to go away anytime soon.
“The chemistry between hosts is one of those things that
is impossible to do with being remote and having vary-
ing lag times between them.”
He said remote talent, voicetracking and even pro-
duction workflows have been around for some time.
“I think those will continue and expand as necessary
for some. Virtual workflows, cloud-based systems, are
continually evolving and the requirements for them are
rapidly advancing. These advances will allow for more
capabilities in broadcaster workflows, either in the office/
studio or remote. Everything from station management
to sales, programming and promotions will see advan-
tages to these advances,” Ferguson believes.
“Some think that traditional office life may never come
back. Some think that nothing at all will change. I see
it somewhere in the middle, and again it depends on
the goal of the broadcaster. Smaller spaces or allowing
remote work flexibility, yes those are coming. The eco-
nomic impact of this issue will dictate some of that, as
many may need to keep costs as low as possible until the
economy recovers and revenues start coming back.”
Remote work certainly will increase, said Reto Brader of
Claudio Donadei of
Fulgor Service at work.
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
34
Barix, due to the easy setup now available at home; but
shared working will still play an important role.
“In particular the remote group approach will gain
momentum,” he said. “Most remote radio broadcasts
so far were a single person, or a remote studio feeding
back to the main site. Now it has become more common
to do a show with three or more people, all at different
locations. This will probably survive the work-from-home
mandate during this health crisis.”
Ayrton Mcphail of Baker Broadcasting believes in the
power of radio and that our industry will bounce back.
Remote access will give stations more flexibility.
Every employee needs to learn to
work self-sufficiently. It’s important
to keep your technical skills fresh and
continually learn new systems and
processes.
— Charlie Vollmer, Bloomberg Radio
“Have a jock that gets hurt and can’t physically come
to the station? No prob. They now have the ability to
do their work from home and keep the income flowing.
Same goes for trafficking.” (He adds jokingly that sick
days are no excuse anymore.)
Marty Sacks of the Telos Alliance said we will see
much more broadcasting from outside the traditional
facility going forward. “The tools are available, primarily
related to AoIP; the tech just works; and some facilities
will have a smaller physical footprint as a result.” While
COVID has forever changed our industry, Sacks said the
news isn’t all bleak.
“Remote broadcasting is possible today and we are
working to build new, innovative ways to make it even
easier — with flexible business models to match. Much
of this will take advantage of the advancements in the IT
industry.”
Charlie Vollmer at Bloomberg said that in his personal
opinion, there will be a lot of changes to the way many
industries operate in the physical workplace. “Stations
will need to have a diversified plan for deployment of
people, equipment and offices. I think every employee
needs to learn to work self-sufficiently. It’s important to
keep your technical skills fresh and continually learn new
systems and processes.”
Perhaps there will also be a renewed focus on creating
full backup capabilities. For instance WAMU built a disas-
ter recovery setup near its tower “just in case we run into

trouble at our main facility,” Rob Bertrand said.
“Of course this crisis will change the industry,” said Digi-
gram’s Xavier Allanic. “But the lockdown proved the ability
of broadcasters to adapt fast to difficult situations and find
smart and efficient solutions. So let’s consider this as open-
ing opportunities for the future. This is even more import-
ant as broadcast is now a huge mix of audio and IT.”
As Doug Ferber of Tieline sees it, “Lots of radio com-
panies were caught without a plan for large-scale remote
broadcasting, so they slapped together low-cost and
low-quality solutions as a fast fix to keep their live pro-
gramming on the air,” he said.
“The longer air personalities broadcast from their
homes, the more the need for better remote equipment
will increase. The engineering community will find ways to
smooth out the roughness of the short-term fixes through
creative necessity and higher-quality equipment acqui-
sition. And remote broadcasting ‘aint goin’ away.’ Fewer
people in the studio building means stations don’t need
all the space that they currently occupy,” he continued.
“In big markets, commercial office space in high-visibil-
ity buildings where radio companies like to operate from
leases for $100 per square foot or more. Do the math.
During an economic downturn, an industry that was
already struggling will see this as an easy way to lower
operating expenses. The remote equipment works great,
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
35
Jenna Mangino’s at-home work station at KTSC Rev
89. “To the left I’m editing the nightly health update (a
recorded student’s voiceover using Cleanfeed) on Adobe
Audition, then to the right is the VPN to the station’s on-
air machine so I can operate the automation remotely.”
the jocks like working from home (especially single par-
ents), and the GM gets to run the place leaner.”
Ferber thinks that as broadcasting from home
becomes more permanent, there will likely be more
investment in better remote equipment. “More robust
all-in-one solutions that stream, record, edit and play
audio from several sources (some from other remote
locations) will become even more popular.”
For certain, he said, remote control will be a key feature
to any remote or home studio.
IP is now less frightening to users, said Yann Vonarburg
of Aeta Audio Systems. Main control rooms now may be
designed with more connectivity to the outside world,
but he said in the near term, studio operations generally
will still have value. “Nothing replaces a face-to-face dis-
cussion or a team around the table, especially in radio,
where the audience has to ‘hear’ the mood.”
Still, he said, the crisis has taught that good radio can
be done remotely on a daily basis when necessary, and
that doing so can be a reliable alternative that provides
flexibility and simplifies staff management.
“Some radio organizations could indeed be tempted
to reduce studios and do everything remote or by relying
more on cloud-based solutions, provided that they are
secure enough. But that is the long term,” Vonarburg said.
Continued on page 38 ❱

As broadcasting from home becomes more
permanent, the need for better remote equipment
will increase, according to one expert.
❱ Continued from page 35
Shultis at New York Public Radio expects there will
be many permanent changes to the broadcast industry
workplace and workflows.
“We are currently running an on-air fund drive with
multiple hosts collaborating live on air from their home
studios and taking physical cues using Zoom video con-
ferencing in lieu of traditional face-to-face, in-studio col-
laboration,” he said.
We are engaging our architect for the
effort and have created an internal task
force to work with them and our various
teams to devise both a physical and
personnel scheduling plan that is safe
and productive for our staff.
— Steve Shultis
“This workflow for live interviews will be the norm so
as to minimize exposure to staff, i.e. leveraging phone
and IP technologies for both audio and video feeds.”
He is interested to see what transpires with “live” music
broadcasts; will they be limited to only the smallest of
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
38
Getty Images/eclipse_images
ensembles to fit on a stage with social distancing rules,
or will they be relegated to something like Zoom meet-
ings with the musicians performing live but in separate
locations?
“We have a densely populated office and news-
room,” Shultis noted, “and have enjoyed the ease of col-
laboration and social interaction this open workspace
has afforded us. Now this appears to be a liability, and
we will have to re-think what our office and studios
look like and function. We are engaging our architect
for the effort and have created an internal task force to
work with them and our various teams to devise both a
physical and personnel scheduling plan that is safe and
productive for our staff.”
“We will not always sit screening in our living rooms,”
said Dan McQuillin of Broadcast Bionics. “But the creative
possibilities have been expanded. This has accelerated
the inevitable. Our industry was already changing. But it
will change more quickly.”
CLOSING THOUGHTS
With so many businesses closed and people out of work,
it’s an especially difficult time for the broadcast business,
said Chris Crump of Comrex.
“Local advertising revenue is so important for our
customers and ultimately for the broadcast equipment
business, and it’s really taken a hit recently. First and

foremost, we have to consider the health and safety of
our employees during this pandemic which has certainly
affected our daily operations.
“But the long-term is really uncertain. We think that
social distancing is here to stay, and the majority of our
customers have adapted to this quite nicely. But ‘Zoom
fatigue’ and ‘quarantine fatigue’ have really made us all
very antsy. We are really hoping that when the world
reopens, our broadcast customers will take their listeners
with them … wherever that might be.”
Steve Shultis recommends to his peers to make sure
they have personal protective equipment at shared trans-
mitter sites. “Early on we learned of an individual asso-
ciated with a general contractor who works extensively
for a master antenna site that had to quarantine due to
exposure. That drove home the point for us that we had
to make sure we had PPE to use at the sites when work-
ing with or around other entities.”
Rob Bertrand of WAMU emphasized that patience and
trust are key, especially when answers are fluid.
“It’s also critical that we as technologists keep the
uneasiness of air staff top of mind. It can be tempting
to say ‘you just need to do X.’ But we need to remain
mindful that they are dealing with the stresses of
being the public name and voice of WAMU, doing
that in an unfamiliar manner, and doing so from the
otherwise private enclave of their home. Doing all that
while also juggling parenting and other family com-
mitments, while trying to deliver meaningful content
is a real challenge.”
Consulting engineer Ed Bukont of E2 Technical Ser-
vices says his rule in such situations is this: “Needs we
accommodate; wants we discuss.”
“I have already heard some horror stories about man-
agers demanding access to a VPN, with no idea what that
is, or how to use it, but they think its direct access to their
office PC. That’s not what a VPN is,” Bukont said. “Com-
munication, patience, trust your engineer, are what will
get you through this.”
“Radio has shown itself in a new light,” said Dan McQuil-
lin of Broadcast Bionics. “For sure some of our commercial
friends are having challenges because advertising revenue
is strained. But our industry has never been stronger, more
relevant, more urgent, more important. We are an indus-
try that is fantastic at beating ourselves up. Please don’t.
Give yourselves a round of applause. Audiences will never
realize how abnormal this was and how much of this was
made up on the hoof. And it sounded great.”
Gustavo Robles of AEQ gets the last word: “Radio is
important. Projects are important. Business is important,”
he said. “But health is more important. Take care and stay
safe. These bad days of COVID-19 surely will pass.” n
BROADCASTING FROM HOME AROUND THE GLOBE
Radio World | May 2020
39
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