In these turbulent times, keeping the FM airwaves free of offensive material is more important than ever before. Media Max, one of Kenya’s largest broadcast networks needed a robust, networkable profanity-delay solution to keep the content on their six radio stations free of questionable or profane content.

Thanks to our partners at TVV Sound Project from Belgium, we got an inside look at two of their latest studio upgrades for MEDIALAAN, featuring a ton of Omnia, Axia, and Telos Alliance gear! 

“The times have changed” has been a common phrase used to describe most parts of the technological world, and this is no exception to the world of sound. Today, music that is being released bares very little sonic resemblance to what has been released in the past.

This article was (roughly) translated from Italian from this article by Newslinet from April 13, 2019. Frank Foti (Executive Chariman of Telos Allaince, former engineer of Z100 and founder of Omnia) talks about how there is no perfect audio set-up, only those best-suited to your format. 

After the popularity of the first piece, we return to talk about sound and sound processing with Frank Foti, one of the world's leading experts in this regard. He is former chief engineer at Z100 New York and is now Executive Chairman at Telos Alliance, a world-leading audio company, which has granted us at NL with an exclusive interview.

At Telos Alliance, we hire people from all walks of life, but mostly, we hire people who are Passionate About Broadcasting, whether it be TV or Radio! Dave Sarkies, Social Media Community & Content Coordinator, is all about passion. Passion for music, passion for Radio...

In early 2015, the Telos Alliance^® and 25-Seven^® introduced the Voltair^® Monitor and Processor. According to industry experts, the use of Voltair resulted in more accurate measurement of radio listenership. This disruptive technology enabled Radio to finally get credit for more of the listening it deserves.

Months later, after denying that it had any effect, Nielsen^® responded to Voltair by changing its encoders to include some of Voltair’s features. The company claimed that its so-called enhanced CBET (eCBET) could replace the need for Voltair.

We weren’t so sure.

Tom Churchill believes that radio’s future must include localism, customization, and that connection of familiarity with listeners. Lower budgets and smaller on-air staffs can reduce localism, but Tom offers ideas and services that maintain localism around the clock. Chris Tobin joins Kirk Harnack talking with Tom Churchill of Virtual Voice Technologies.

Supa Cindy is the popular morning show host at Miami's 99 JAMZ, WEDR 99.1. Cindy has been with 99 JAMZ the full extent of her on-air career - 15 years - after making the switch from another realm of the broadcast world early on in her career. Her upbeat personality and enthusiasm for the music greet the ears of South Florida hip hop and R&B fans five days a week, and have raised her to celebrity status in greater Miami. We had the opportunity to speak with Supa Cindy recently for an inside look at what motivates her.

Meet Bob Page, the studio manager with two studios and no transmitter. With a revolving door for the on-air talent. And for whom every single broadcast shift is a “remote.” Bob manages the Radio Broadcast Center at Universal Studios, Florida. He and Jason Mercurio manage, train, facilitate, troubleshoot, connect, and do whatever else is needed to get from 2 to 5 broadcasts on the air each day from these spectacular studios.

We experienced some tech difficulties during the broadcast. Naturally, the high-speed Internet link checked out perfectly before the broadcast. But, it went dead and we had to use a backup Internet connection. Quality wasn’t so good, but Bob Page’s interview, along with Chris Tobin’s comments, are worth watching or listening to.

Of all the components of the broadcast facility, the transmitter may be the most important in a disaster. That site can be pressed into service as a combination studio/transmitter location, especially if a backup generator exists. Back in the days of cart machines, we removed a rack of three decks, relocating them to the transmitter, to stay on the air when the studio flooded. It wasn’t the most glorious of 'studios', but we stayed on the air and covered all the spots. Nowadays with backup hard drive systems or even an iPod® for source material, a station can usually stay on the air during a disaster.