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rdaticasTechnology:

Update 1981 ABC/Barnathan CBS/Green FCCiFerris NAB!Wasilewski & Payne NBC/Silverman NPR!Cassidy & Kean

A ColossalOne -Inch StepOne -inch is the VTR format of the future. It's tooimportant a step forward for a scaled -up 3/4" or ascaled -down 2" system. It deserves to be totallyoriginal, with every advance designed in. That'show we approached the new Hitachi HR -200, afteralmost 20 years of experience making quadmachines. The result: a one -inch Type C VTR des-tined to establish new broadcast standards every-where. In every department, the Hitachi HR -200is miles ahead of the one -inch competition!

Fast, sure, easy operationHitachi one -inch VTR's are loaded with features-many of them Hitachi exclusives. Like the brakerelease for easier threading. Both video and audioconfidence. A "Bap" configuration, for reduceddropout. A pm_ ism's-moveable tape guide for easyloading, with an incredible 1 -micron tolerance that'saccurate for up to 2 million threadings! Plus asloped design and easier -to -see top mounted drumfor still easier threading.

Dazzling performance extrasImagine shuttling a 1 -hour tape end -to -end in just The HR -200 is available as a console, or for tabletop80 seconds! It's possible, only on the Hitachipeolr 19" rack mounting. Best of all, it costs no moreHR -200, because an internal air compressor injects than ordinary 1 -inch VTR's!a column of air int.g.the tape guides to reducefricti increase acceler;it ion. The same air Smallest Type C portable ever!

r provides air for the non -contact The ER -100 portable model has many of the HR -200m, cushioning the tape when in thesta features, yet it's the smallest Type C portable in the

world. And the most serviceable too, with plug-in PCmodules. Die-cast uniblock construction makes theHR -100 durable yet extremely light. And like theHR -200, it has a non -dropout tape path. Plus an ex-tended tape path for less edge wear, an auto back spaceassemble editor, and 3 -way power with built-in batterypack, AC adapter or external DC.

Take a big one -inch step. See the New Hitachi 1"VTR's...today.

Hitachi.. Tomorrow'stechnology today.9 Regional Centers for Parts & Field Service New York Chicago Los Angeles Atlanta Cincinnati Dallas Denver Seattle Washington, D.C.

fast shuttle modes. For funible-free shuttling andjogging and f , a single knob controlsboth. The pot erase capability. And aHall -Effect head on the third channel reads the timecode more accurately, regardless of tape speed.

A microprocessor makes the built-in editor themost advanced you'll find today. And, just as im-portant: it can be re -programmed to interface withediting systems of the future. Serial or parallel

logic for remote control? Both have advantages,so Hitachi gives you both. Built-in cable com-

pensation boosts the signal so you can usecable up to 300 feet.

Uniquely simple serviceServiceable components have been hu-

man -engineered for easy access and re-placement. The PC modules are front -mounted and can be removed in an instant.

The six heads come as a pre -aligned drum as-embly that snaps out and snaps back in minutes.

HITACHIHitachi Denshi Arnenica.Ltd.175 Crossways Park Wes!Woodbury, New York 11797516-921-7200

eirCircle (2) on Reply Card

BROaDCaSTenaneeRinG

The journal of broadcast technology

December 1980 I Volume 22 Fl No. 12

8 FCC update10 Industry news

Association news12 NAB12 NRBA

BROADCAST TECHNOLOGY: UPDATE 198120 Introduction

By Bill Rhodes, editorial director

22 The impact of digital technologyBy Julius Barnathan, president,Broadcast Operations and Engineering, ABC, New York

28 Radio: responding to a challenging futureAn interview with Ralph Green, vice president, engineering,CBS Radio, New York

38 Home video delivery systems in the 1980sBy Charles D. Ferris, chairman,Federal Communications Commission, Washington, DC

45 Challenging transitions in television and radioBy Vincent T. Wasilewski, president, and Chris Payne,assistant to the senior vice president for engineering,National Association of Broadcasters, Washington, DC

50 Network TV: The main mass -audience mediumBy Fred Silverman, president and chief executive officer,NBC, New York

55 National Public Radio: surging aheadBy Richard Cassidy, director of engineering, andJohn Kean, senior engineer, National Public Radio,Washington, DC

Feedback58 Addendum to "Worldwide Color TV Standards. Similarities

and Differences"By Michael Robin, CBC

79 People in the news64 New products71 Business news80 Advertisers' index81 Classified ads

BROADCAST ENGINEERING (USPS 338-130) is published monthly by IntertecPublishing Corporation, 9221 Quivira Road, P.O. Box 12901, Overland Park, KS66212. Postmaster, return form 3579 to the above address.

()Copyright, 1980, by Intertec Publishing Corporation. All rights reserved. Material may notbe reproduced or photocopied in any form without written permission of publisher.

BROaDCaSTenomeeRinG

BroadcastTechnology:

Update 1981

P..666/6.1.6 i Kew,

THE COVER this month was createdon the Ampex Video Art (AVA) systemintroduced by Ampex at NAB-'80/LasVegas.The following artists created the covergraphics on AVA:Ampex Corp.

Picture 1Canadian Broadcasting Corp.

Picture 3: Mino BonanPicture 5: Maxime Del Campo

KGO-TV San FranciscoPictures 4, 6, 8: Wiley SchmidtPicture 2: Jim Schewring

KTVU-TV San FranciscoPictures 7, 9: Jim Minton

One of the first major applications ofthe AVA system was by CBS in NewYork for use in conjunction withpresidential election -night coverage inNovember.

The cover art was provided courtesy ofAmpex Corp., Redwood City, CA, andsymbolizes, through electronic image-ry, aspects of "Broadcast Technology:Update 1981," in broadcasting. Thistopic is the theme of our Decemberissue, and coverage is outlined in thecontents at the left.

January 1981(BE enters its 23rd year of broadcastengineering coverage.)The January issue will emphasizeelectronic news gathering in radio andtelevision, including World Series andother sports coverage. Also to beincluded is show coverage of theNRBA and SMPTE conferences.

2 Broadcast Engineering December 1980

Embarrassing questionsto ask audio

console salespeopleSometimes it pays to ask questions. If thesubject is audio consoles, asking difficultquestions can be very revealing in comparingone console to another. Here are some of thequestions that make most console salespeoplesquirm.

Is the console "human engineered"? Does theconsole have an esthetically "professional"appearance? Is the layout well defined anduncluttered? Are controls large? Do they fit thehand? Are they well labelled and lighted? Dothey provide adequate visual feedback to affirmthe position of the control? Is consolenomenclature permanently engraved?

Easy to service? Are all components readilyaccessible and isolated for individual servicing?Are op -amps in plug-in sockets? Are thereservice loops in the wiring harness? Areextender boards provided? Are all wiresuniquely numbered and referenced to yoursystem documentation?

How responsive is the service department?Can they provide a history of fast, efficientcustomer service? Are they confi-dent enough to furnisha complete list of cus-tomers for you to call?

ADM 1600Audio Console

-Modestbut mighty.

How easy is installation? Is the consolecompletely assembled and ready to install? Areinstallation points readily accessible? Are allprogram inputs and outputs uniquelytransformer isolated?

How about specifications? Are themanufacturers' published specificationsconsistent and easily understandable or miredin the game called "specsmanship"?

How good is reliability? Do all modulesreceive three levels of testing? Does the totalsystem receive 4 levels of performanceverification? Do both the modules and systemreceive extensive burn -in?

Is the console backed by a 5 -year, all-inclusivewarranty? (Only ADM answers "yes" tothat one.)

ADM and only ADM answers all of thesequestions with a full, no weaseling, resounding"YES"! The only question remaining is, whenwould you like to talk to us about a new audioconsole?

Contact ADM Technology, Inc.,16005 Sturgeon, Roseville, Michigan

48066. Phone (313) 778-8400.TLX 23-1114. West Central Sales

Representative, Gordon Peters,(817) 467-2990

®TheAudioCompany

December 1980 Broadcast Engineering 3

Ifwehad set out to give you onlythe features our competition gives you,

this is where wed be today.

Most VTR units give you only a fraction of the features you might want from avideo tape recorder. So we didn't stop where our competition did. We kept on addingfeatures. Until we developed the most versatile 1" machine on the market.

Compare the 3M TT -7000 VTR and NTC-10 Time Base Corrector to the competi-tion. Nobody puts together more of the features you want than 3M. And once you seeour unit, we think you'll agree that buying anything else is like getting half a machine.

The 3M TT -7000 Video Tape Re-corder gives you: Auto track following (KIT) 1/4 reverse

through 2x forward (optional). Video and sync confidence heads. Three channel audio confidence heads. Video sync channel. All DC motor and servo tape transport. 19" rack mountable with full dust cover. Front panel plug-in modules. Frame accurate insert and assemble

editing. Dual tape timer with zero memory. Tape speed override on front panel. Stop tone and cue -up (0, 3, 5, 7 sec.

preroll). Contact closure and TTL external inter-

face. Variable speed forward/reverse shuttle. Still frame jog. Autochroma and color framing. Audio 3 record in play mode (built-in

speaker). Instant stop action from play or slo-mo

(with KIT option). Instant audio bias level adjust. Video level calibrate marker. Preset/Manual tracking select on front

panel. Fixed precision rabbited drum tape

guide. And low RF, high temperature and low

voltage alarms.

Our Time Base Corrector comescomplete with its own list of standard fea-tures: Sixteen line correction window. Ten bit quantizing. Four times subcarrier sampling. 65 dB signal-to-noise ratio. Velocity compensation. Digital one line drop out compensator. Compact size (83/4" high by 171/2" deep

by 181/2" wide). 45 pounds total weight. Portable cabinet or rack mountable. And front panel plug-in modules.

Add it all up, and you've got themost complete VTR/TBC package on themarket. For a freedemonstration, call(612) 733-7914 or write3M/Mincom Division -Video Products,223-5E 3M Center,St. Paul, MN 55144.In Canada contact 3MCanada, Inc., P.O. Box5757, London,Ontario, N6A-4T1.In Alaska contact3M Company, 5331Minnesota Drive,Anchorage, AK 99502.

Get the completepicture.

I Tin PI; )

Circle (3) on Reply Card 3M


Of course, it'sTelex/Magnecord

Telex Magnecord broadcast cart machines run cool and steady. So cool noventilation is required, so steady not even voltage or frequency fluctuations willalter their speed. Thanks to our dc servo flutter -filter drive. Completely immuneto RFI and EMI, it meets or exceeds all NAB standards and is suited for local orremote/automated operation.

Standard features at no extra cost.An edit pushbutton to add stop cues in playback and omit stop cues in recordLED indicators show end of tape, status and secondary/tertiary cue tonesFront panel headphone jackVU meters for each channel

Convenient, FlexibleMC -Series is field convertible from mono to stereo, or play to record. Optionalremote controls simply plug in.Four broadcast cart machines to choose from in the Telex/MagnecordMC -Series - all made in U.S.A. and affordable. Write for detailed information.

Quality products for the audio professional

ca',Ne

C I

TELEX.9600 ALDRICH AVE. SO., MINNEAPOLIS, MN 55420 U.S.A.

Telephone: 612-884-4051, telex: 29-7053EUROPE: 22, rue de la Legion-d'Honneur. 93200 St. Denis, France, Telephone: 820-98-46, telex: 63-0013

CANADA: Telak Electronics, Ltd., 100 Midwest Road. Scarborough, Ontario M1 P381, Telephone: 416-752-8575

Circle (4) on Reply Card6 Broadcast Engineering December 1980

BRoaqncn9zEditorial, advertising and circulation corre-spondence should be addressed to P.O.Box 12901, Overland Park, KS 66212 (asuburb of Kansas City, MO); (913) 888-4664.

EDITORIALBill Rhodes, Editorial DirectorJohn Wiliszowski, Video EditorKevin Kious, Managing EditorJoan Jackson, Associate EditorRhonda L. Wickham, Editorial AssistantMary Thornbrugh, Editorial AssistantPat Blanton, Directory EditorARTDudley Rose, Art DirectorJoy Viscek, Graphic DesignerTECHNICAL CONSULTANTSHoward T. Head, FCC RulesHarold L. Kassens, FCC RulesDonald L. Markley, FacilitiesArt Schneider, A.C.E., Post -productionCORRESPONDING ASSOCIATIONSAmerican Society of TV CameramenAssociation for Broadcast

Engineering StandardsNational Association of BroadcastersNational Radio Broadcasters Assn.CIRCULATIONJohn C. Arnst, DirectorEvelyn Rogers, ManagerADMINISTRATIONR. J. Hancock, PresidentGeorge Laughead, Publisher

ADVERTISINGCameron Bishop, Marketing DirectorMary Birnbaum, Production ManagerRegional advertising sales offices listednear the Advertiser's Index.

Member,B P American Business Press

Member,

VBPAAuditBusin

eosfscPirucbulliacittitoionns

BROADCAST ENGINEERING (USPS 338-130) is published monthly by IntertecPublishing Corporation, 9221 Quivira Road,P.O. Box 12901, Overland Park, KS 66212.Postmaster, return form 3579 to the aboveaddress.

BROADCAST ENGINEERING is edited forcorporate management, engineers/tech-nicians and other station managementpersonnel at commercial and educationalradio and TV stations, teleproductionstudios, recording studios, CAN and CCTVfacilities, and government agencies. Quali-fied persons also include consulting engi-neers and dealer/distributors of broadcastequipment.

SUBSCRIPTIONS: BROADCAST ENGI-NEERING is mailed free to qualifiedpersons in occupations described above.Non -qualified persons may subscribe at thefollowing rates: U.S., one year, $20; allother countries, one year, $26. Back issuerates, $5, except for the September Buyers'Guide issue, which is S15. Rates Includepostage. Adjustments necessitated by sub-scription termination at single copy rate.Allow 6-8 weeks for new subscriptions orfor change of address. Controlled circula-tion postage paid at Kansas City, MO.

©1980. All rights reserved.Intertec Publishing Corp

BUILT TO MAKE IT!Fixed Marker

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AND MAINTAIN IT!! Measuresfrequency response on TVs, VTRsand other video equipment.The Asaca Video Sweep Generator205 contains a built-in standardcolor sync signal generator. Thecolor burst can be switched on andoff so the 205 is ideal for oscillatorcomparisons to measure frequencyresponse of color equipment.

There is a selection of outpjtsignals: video sweep (0.1 - 10 MHz),chrome sweep (sub carrier ±- 2MHz),CW and multi -burst.

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Circle (5) on Reply CardDecember 1980 Broadcast Engineering 7

FCCupdate

December 1980

Region 2 actionThe General Services Administra-

tion (GSA) has approved a charteramendment for the Advisory Com-mittee on AM Broadcasting inRegion 2. The changes were madein response to a petition to thecommission from several organiza-tions in the radio broadcast indus-try. The responsibilities of thecommittee are increased and thename changed to "Advisory Commit-tee on Radio Broadcasting."

There are two new informalsubgroups, titled "Subgroup on Rad-io Spectrum Allocations" and "Sub-group on Technical Matters." Inaddition to advising the commissionstaff on preparation for the Region 2Administrative Radio Conference onAM Broadcasting, the committee, asrevised, will study and advise thecommission on appropriate alloca-tions objectives and technical stan-dards of AM and FM broadcaststations.

To make it possible for thecommittee and its subgroups toprovide timely advice and informa-tion, it is important that the mem-bership be ready to begin work assoon as possible. The commissioninvites parties interested in partici-pating in the work of the committeeor its subgroups to notify Henry L.Baumann, chairman, Advisory Com-mittee on Radio Broadcasting, Fed-eral Communications Commission,Washington, DC 20554, and toparticipate in meetings of the com-mittee and subgroups. The commis-sion encourages a balanced repre-sentation of diverse interests, viewsand experiences in the radio broad-cast field, including minorities andwomen.

TV transmitter output powerThe Broadcast Bureau has clari-

fied the commission's rules regard-ing the output power capability ofTV broadcast transmitters.

The commission's UHF Compara-bility Task Force found this clarifi-cation necessary during its examina-tion of techniques broadcasterscould use to transmit televisionsignals more efficiently.

Specifically, Sections 73.663(b)(3)and 73.663(c)(3) of the rules require

that the power output meters for thevisual transmitter and the auraltransmitter (if the direct method ofdetermination is used for soundtransmissions) be calibrated at800/0, 1000/0 and 1100/0 of authorizedpower.

However, if the transmitter isincapable of operating at 1100/0 ofauthorized power, the calibrationmay be made at a power outputbetween 100°/o and 110% of author-ized output power. These rules donot require that the licensee demon-strate that the transmitter willoperate at 110°/o of authorizedpower.

In adjusting TV broadcast trans-mitters (particularly Klystron trans-mitters), there is a trade-off be-tween maximizing the operatingefficiency (ratio of TV signal outputpower to the electric power input)and the reserve capacity to adjustthe output power to values exceed-ing the authorized power.

Maintaining a television broadcasttransmitter so that it has thecapability to operate at 1100/0 ofauthorized power results in wastedenergy, particularly for UHF sta-tions, according to the BroadcastBureau.

Although stations are required tobe capable of operating at 1000/0 ofauthorized power during all periodsof regular program operation-ex-cept at times of technical emergen-cies beyond the licensee's control-no useful purpose is served byrequiring that transmitters (particu-larly Klystron transmitters) be ad-justed for less efficient operationsolely to provide the unnecessaryreserve capability of operating at1100/0 of authorized power, theBroadcast Bureau emphasized.

Direct satellite -to -homebroadcasting

The FCC is seeking comment onrecommendations made in a commis-sion staff report presented on Octo-ber 2, 1980-recommendations thatcould form the basis for regulationof Direct Broadcast Service (DBS) inthe 1980s.

The staff report indicated thatthere is no need for the commissionto apply traditional types of regula-

tion to DBS. The report stated thatany decision concerning the regula-tion of a new service should be inkeeping with the deregulatory trendof recent commission actions.

The staff recommended creationof a hybrid service, recognizing thatvideo programming services such asDBS have characteristics of bothbroadcast and point-to-point ser-vices. The staff felt that such aservice could then be distinguishedfrom broadcast and common carrierservices, and thus could be free oftraditional types of regulation.

DBS systems may provide serviceswhich the public will desire that arenot presently being met by conven-tional broadcast services. A DBSservice will probably offer severalchannels of video programming on asubscription basis, which will enterthe home via a special antennaattached to a typical television set.

The commission cannot establishfinal regulations concerning DBSuntil after the 1983 Regional Admin-istrative Conference of the Interna-tional Telecommunications Union. Inthe meantime, the commission isseeking comments on staff recom-mendations in preparation for theconference.

Amending UHF rulesThe commission has begun a

proceeding to amend the rules thatgovern UHF television (channels14-83), and is seeking comment onrecommendations by the UHF Com-parability Task Force.

Based on suggestions by the taskforce to improve UHF, the FCC hasbegun a rulemaking to: Exclude UHF channels 70 to 83from the FCC's all -channel televisionreceiver requirements (these chan-nels have been reallocated to theland mobile radio services), Require that tuning and receptionaids such as coaxial input connec-tors and shielded cable be includedin the UHF portion of a televisionreceiver if they are included in theVHF portion, Consolidate present channel selec-tor rules to achieve more accuratetuning and better labeling of UHFchannel numbers for a few types ofreceivers which have been meetingless stringent requirements, Clarify existing rules to say thattelevision station transmitters neednot be capable of operating at 1100/0of their authorized power, since areduction in this margin can savepower costs for the UHF station.

The commission is also seekingcomments from the public for taskforce recommendations for helpingUHF television attain comparabilitywith VHF television. 0


Broadcast Electronics introduces a new FM Exciter-the FX 30-with superior performance that rivals the

best hi -fidelity tuners available.

For the Purist, Purest Sound.The FX-30 has the lowest distortion,

with THD and IMD less than 0.08%.And, it's the first exciter to specifyTransient Intermodulation Distortion(TIM) at less than 0.1%.

Loud, yet Quiet.The FX-30 is loud and sparkling clean

with your programming. yet it's the quietest exciterof all, with a typical S/N ratio of 78 dB.

Broadband and Synthesized.Advanced dual speed

phase locked loop putsmore than 2000 channels atyour fingertips.

For more information on the FX-30 Exciterand BE's exciting new FM transmitters,call or write Joe Engle at: 217-224-9600

a FIUTIWAY/company

Set It and Forget It.Automatic control circuits eliminate

adjustments after initial setup.Exciter output is automatically stabilized andfully protected. Set it and forget it.

The Perfect Retrofit.IRF power output is adjustable up to

30 watts. The FX-30 will improve the performanceof any transmitter and will fit directlyin place of your present exciter.

Styling Elegance.Elegant in styling

as well as in performance, thenew look in FM is theelegant look of the FX-30.

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Poniatoff dead at age 88Alexander M. Poniatoff,

whose boyhood fascinationwith a locomotive eventu-ally led to the founding ofAmpex Corporation andtwo major technologicalbreakthroughs, died Octo-ber 24, at the age of 88.He founded Ampex in 1944and served as presidentuntil 1955, when he waselected chairman of theboard.

The first breakthrough occurred in 1947 whenAmpex, down to eight employees in a post -World WarII recession, introduced the first practical magneticaudio recorder in the United States. The technicalmilestone helped launch a multi -billion dollar industryand set Ampex's future course of development.

That development was followed by introduction ofthe first practical videotape recorder in 1956, aninvention that revolutionized the television broadcastindustry and gave Ampex a worldwide reputation fortechnical innovation. The company's name comes fromPoniatoff's initials, together with EX for excellence.

Poniatoff was born in Kazan, Russia, on March 25,1892. During an interview when he was 84, Poniatoffrecalled that he saw his first horseless vehicle, alocomotive, when he was seven. "I decided right thenthat I would build these locomotives," he told theinterviewer.

He attended the Unviersity of Kazan, the ImperialCollege in Moscow, and the Technical College,Karlsruhe, Germany, obtaining degrees in mechanicaland electrical engineering.

He was a pilot in the Imperial Russian Navy duringWorld War I, and then in the White Russian Forcesthat were defeated during the revolution. He escapedto Shanghai, China, in 1920 and worked as anassistant engineer for the Shanghai Power Companyuntil 1927, when he immigrated to the US. He becamean American citizen in 1932.

He is survived by his wife, Hazel, and a niece, Mrs.Peter (Anna) Kashkadanmoff, of San Francisco.

Gill proposes 'do-it-yourself' CPCalifornia broadcast pioneer Cliff Gill, a radio

station owner and consultant from Marina del Rey,has proposed what he calls "do-it-yourself construc-tion permits" to speed up processing of applicationsby the Federal Communications Commission.

Under his plan the engineering review of applica-tions would be performed by private professionalengineers rather than FCC staff members.

Once two qualified private engineers had agreedthat a new or higher powered station would notinterfere with any existing station, an applicantwould only have to file a "Notice of Intent toConstruct" with the FCC and after a 60- to 90 -daywaiting period for potential protests had passed thebroadcaster could proceed with construction at hisown risk. If unforeseen interference should develop, itwould be the responsibility of the new station ownerto correct the problem, or in the ultimate case, go offthe air.

Gill says he has not received a single negativeCircle (7) on Reply Card


reaction from dozens of broadcasters and engineersand members of the public with whom he hasdiscussed his plan. "Everyone says it's a great ideabut it's so logical the government probably won'tapprove it," he said. "But I have discussed it withseveral high level FCC and NTIA staff members andthey thought it was a good idea, too. We'll have to seewhat the commissioners themselves say."

There is a precedent for use of private engineersfor processing applications, according to Gill. He saysthat the FCC hired private practitioners to help thembreak the log -jam of applications that had built upduring World War II.

"I'm proposing a similar concept, but this time thebroadcasters pay for it," he says.

"1 favor a plan whereby the broadcast applicantshoulders the entire cost of preparing and checkingapplications, relieving the taxpayer of the cost of staffwhich can be replaced by private practitioners," hesaid in a pleading filed with the FCC.

He says that even though engineering fees may behigher, broadcasters will actually save money becausethey will be able to get into operation sooner. Thepublic will benefit from new or improved service thatthey now have to wait years for, he said.

Fire interrupts KCMO broadcastingBecause of a fire that originated in its Harris

MW -50 transmitter, KCMO radio in suburban KansasCity was knocked off the air at 6:02pm on October 22.After a downtime of only 71/2 hours, station personnelwere able to restore full operation using auxiliarystandby transmitters. Damage to the transmitterbuilding, north of Kansas City, was minor, limitedmainly to that caused by water and smoke.

Wold handles links for marathonWold Communications, new operating division of

Los Angeles -based Robert Wold Company, handledterrestrial and satellite interconnection for the 11thannual New York Marathon, broadcast live fromCentral Park on Sunday, October 26.

16,000 runners, representing 42 countries, partici-pated in the event, regarded by those athletesboycotting the 1980 summer Olympic Games inMoscow as "the next best thing."

Archives acquires rare TV equipmentThree rare television receivers from the 1930s have

been donated to the Academy of Television Arts andSciences/UCLA Television Archives by Harry Lubcke,who directed development of Los Angeles's firstelectronic television station, W6XAO. Two of thereceivers, 12 -inch, were designed and built by theW6XAO staff in 1937 and 1938. The third receiver, aTRK-12, was manufactured by RCA in 1939 and isone of the earliest receivers to be sold publicly.

The archives has also acquired a TK-10 studiocamera from television station KTLA, Los Angeles.Built by RCA, the TK-10 was the first productioncamera to be sold in quantity, beginning in 1946. Itwas the primary camera used during the phenomenalpost-war growth of television programming.

RCA Satcom I sendslive coverage from Voyager I

Six hours of live TV coverage showing closeup viewsof Saturn made by NASA's Voyager I was carried onShowtime transponders during November via RCAAmericom's SATCOM I satellite.

The telecasts took place November 11, 12 and 13when the spacecraft passed the planet.

rPerfecit

If You've Wanted To Put Time Code OnYour Tape, But Can't Afford The HighCost Of SMPTE:

The ES 280 TIME CODEGENERATOR/READER Is For You!

The new, low-cost way to provide time infor-mation on all your tapes, ES 280 generates atime code which includes DAYS, HOURS,MINUTES, SECONDS AND TENTHS OFSECONDS.

With the flip of a switch, ES 280 becomes areader, to locate that certain place on thetape.

An Amplitude Control knob is located on therear, so that you can use the 280 with anyrecorder, Video or Audio.

The 280 uses tones that are compatible withthe cue tones used in cartridge recording.

ES 280 COSTS $500.00

ES 281 (READER ONLY) $375.00

Contact us or one of our dealers, and we'll tellyou how you can get your own 280.

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Circle i8) on Reply Card

association news

National Associationof Broadcasters

1771 N Street, NWWashington, DC 20036

NAB not in complete supportof FM assignment plans

The NAB, although supporting theFCC's proposal to streamline its FMassignment process, told the agencyit is not in complete support of theoverall plan.

In its filing, the NAB said it wasdisturbed by the FCC's apparentview that smaller communities nowhave enough FM service and thatthe commission's proper futurecourse is to assign new stationsprimarily to large urban areas. Italso emphasized the commission'sstatutory obligation to assure a"fair, efficient and equitable distri-bution of radio service" throughoutthe country. NAB said it wasessential that "parties proposing anassignment which will provide agreater degree of local service notbe defeated by procedures which,on their face, are designed only toreduce expense and delay."

The NAB recommended that thecommission study the issues in thelarger context of FM and AMservice taken together through itsnew Advisory Committee on RadioBroadcasting.

FCC told to study 9kHzThe NAB said the FCC must

conduct thorough studies on theeffect of its proposal to reduce AMchannel spacing from 10kHz to 9kHzbefore it may knowledgeably orresponsibly make a decision. It alsosaid the proposal should be studiedby the FCC's Advisory Committee onRadio Broadcasting especially be-fore the Region 2 conference.

The NAB also urged the FCC togive high priority to existing day-time -only AM stations desiring full-time service. "These daytime -onlybroadcasters long have laboredunder severe operational restric-tions in their efforts to provide localservice and, as such, appear de-serving of a portion of any potentialbenefits from 9kHz channel spac-ing."

The association emphasized thatit never has taken a positionfavoring or disfavoring a reductionto 9kHz but has asked for athorough review of the effects.

In its filing, the NAB said it isconcerned about the possibility ofthe elimination of threshold require-ments on the acceptability of appli-cations and opposes any such ac-tion. It said this would operate tothe detriment of localism and indisregard of the commission's basicstatutory requirements.

FCC accused of`cart before horse' approachA "cart before the horse" ap-

proach is being used by the FCC inexamining possible use of the satel-lite spectrum, the National Associa-tion of Broadcasters has charged.

The FCC recently issued a Noticeof Inquiry in preparation for the1983 Region 2 World AdministrativeRadio Conference that will allocateuse of the satellite spectrum. TheNAB pointed out that the UnitedStates has not yet sorted out thedemand for satellite communicationsand is in no position to nowcomment on "the panoply of techni-cal issues to be passed on at the1983 conference."

The NAB suggested the com-mission first form an advisorycommittee to translate the US inter-ests into a flexible but soundposition for the conference. Specifi-cally, the association proposedmaintaining flexible options for divi-sion of spectrum space for fixedsatellite service and for broadcastsatellite service as well as forindividual reception and communityreception.

Kops named chairman,Broadcast Rating

Council BoardDaniel W. Kops, president, Kops-

Monahan Communications (WAVZ),(WKCI-FM), New Haven CT, waselected chairman of the Broadcast-ing Rating Council's Board of Direc-tors at its annual meeting. Kopsreplaces Peter Kizer, vice presidentfor broadcast operations, DetroitEvening News Association, Detroit,MI, who held that position for theprevious five years.

The Broadcast Rating Council isheadquartered in New York Cityand is an independent organizationwhich monitors the procedures andperformance of accredited broad-cast rating services to assure thecredibility of broadcast audience

measurements.

Schulte, Davenport namedto posts

Jerome Lansner, NAB's seniorvice president and general managerof the Code Authority, announcedthe appointment of two staff mem-bers to new positions. William E.Schulte, assistant manager of theNew York Code office, will becomeLansner's assistant, and Kittie Dav-enport, senior editor, will succeedSchulte. Both appointments are ef-fective immediately.

Schulte joined the Code Authorityin 1966, served in a number ofeditorial positions and was seniorstaff assistant. He has been assis-tant manager for the past sevenyears. He was a continuity and copywriter at WCPO, Cincinnati, and didlayouts for print advertising for theReuben H. Donnelley Corp.

Davenport joined the Code Au-thority in 1974 as a science editorand two years later was namedscience supervisor. In 19 78 shejoined the Research Testing Labora-tories as clinical research associateand returned to NAB in 1979 assenior editor. Her past experienceincludes research assistantships atNew York Medical College and TheRockefeller University.

National RadioBroadcasters' Association

1705 De Sales Street, NWWashington, DC 20036

9kHz move could cost$20 million

According to a $250,000 engineer-ing report for the FCC by Moffet,Ritch & Larson (formerly Sillman,Moffet and Kowalski), the proposed9kHz move may cost as much as$19,836,119.49. Depending on thefacility, individual station costscould range from $1600 to $60,000.The figures are based on "arealistic minimum cost" and do notinclude money loss due to downtime.

The final total cost results are asfollows:Nondirectional $4,641,334.75*DA -D & DA -1 $3,958,479.96*DA -N $4,555,296.57DA -2 $4, 886, 619 . 75DA -3 $ 32,402.01Requiring Redesign $1,232,422.92

12 Broadcast Engineeing December 1980

IntroducingNEC's all -new

The "new"new generation"ENG/EFP camerawith a difference!

Get a headstart on the 1980's with NEC's newest "state-of-the-art" ENG/EFP camera: the MNC-81A.

Designed to meet today's more stringent requirementsfor highest -fidelity color reproduction, the MNC-81Afeatures outstanding colorimetry matched to thatof broadcast cameras; with f/1.4 high -transmissionprism optics; a choice of pickup tubes: Saticon®,Plumbicon or Diode GunTM Plumbicon®; asignal-to-noise ratio of 54 (±2) dB; 4 -positiongain control with up to +18 dB additional gain forlow light level operation; plus all the automatics,built-in indicators and features that havebecome standard for broadcast -qualityvideo cameras. And more.

The NEC difference...Extensive use of LSI hybrid

microcircuits developed uniquely byNEC makes the MNC-81A extremelystable in registration and performance,and ultra -reliable in circuit operation.

Low -profile and ultra -lightweight - camera head(without lens, but including 1.5" viewfinder) weighs lessthan 11 lbs and measures approximately 101/4" x 4" x131/2"-the MNC-81A handles with the ease of a compact16mm newsfilm camera.

It is well balanced on the shoulder, with a form -fittingadjustable base. And its 1.5" viewfinder telescopes forconvenient left or right eye viewing.

Best of all, the MNC-81A is a multi -purpose camerawith the widest range of options for studio and fieldoperation. Its sophisticated optional remote control

capabilities includefor distances up to 5000 feet, as well as fiber opticsmodule and cable adapter for fiber optics videotransmission from distances up to 9000 feet.

Quite a difference in operational flexibility andversatility compared to other cameras in

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For complete details on the MNC-81A camera,contact Don Dunbar, Vice President/National Marketing.Call toll -free: 800-421-7468.

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December 1980 Broadcast Engiieering 13

Association News

Critical Arrays $ 529,568.53Other Stations 0GRAND TOTAL $19,836,119.49*DA -Directional Array

These figures assume that chang-ing to 9kHz spacing would cause nostation to move more ±4kHz, theplan currently favored by the UnitedStates.

Privacy protectionfor broadcasters

President Carter signed into lawon Monday, October 13, the PrivacyProtection Act of 1980 (StanfordDaily Law) which prohibits unan-nounced police searches. The lawalso requires authorities to obtain asubpoena, which provides stationswith the opportunity for a courthearing.

The law was introduced followingthe police search of the StanfordDaily newspaper offices.

Lisa Friede appointedvice president

Lisa Friede, formerly NRBA'sdirector of operations, has beenappointed vice president by theNRBA Board of Directors. Friede

joined NRBA in 1977 as projectsmanager and held the positions ofadministrative director and directorof operations before being appointedvice president.

NRBA board meets inLos Angeles

On October 4 the NRBA Board ofDirectors elected officers for thecoming year, charted an expansionof NRBA's activities and instructedthe staff and legal counsel toprepare drafts of comments to befiled on radio issues pending at theFCC.

As a result of the expansion ofNRBA regions from nine to 15, theNRBA board now totals 36 boardmembers: 15 regional directors, 20directors -at -large and an electedpresident. Nearly one-third of thecurrent NRBA board is first-timeboard members elected by popularvote in their regions.

Officers elected were: Sis Kaplan,president, WAYS/WROQ, Charlotte,NC; Robert Herpe, board chairman,General Communications Corpora-tion, New Haven, CT; StephenTrivers, vice president, East, Fair-field Broadcasting; Lynn Christian,vice president, Midwest, CenturyBroadcasting, Chicago, IL; BillClark, vice president, West, KABL,

San Francisco; Bernard Mann, sec-retary, Mann Media, High Point,NC; and Ted Dorf, treasurer,WGAY AM/FM, Silver Spring.

The board overruled a previousdecision of the executive committeeand voted to hold to long -scheduledSeptember -October dates for NRBAconventions in future years.

The board voted to reconstituteall association committees and tointegrate the work of these commit-tees into the planning and decision -making procedures.

The state directors organizationwill be reorganized to operate underthe association's three regional vicepresidents and the regional direc-tors.

The board instructed the execu-tive committee to form a new legalcommittee that will couple at leastone NRBA member to each memberof the new Congress that willconvene in 1981.

The staff was directed to preparea schedule of local and regionalseminars and workshops to be heldthroughout the United States duringthe coming year. Sales, managementand programming are to be themain subjects covered.

General counsel was instructed toprepare for board approval a draftof comments, opposing, in general,

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The Audiolechnicaphilosophy:

EQ should be used toimprove the sound...not to fix the mike!

Introducing affordable smooth sound.The remarkable AT801 and AT811 ElectretCondensers. With curves so smooth youwould have to pay a bundle to match themanywhere else.

Response like this has a number ofbenefits. First, your EQ is used only to touchup the sound, not to correct built-in errorsof the microphone. Which leaves moreleeway to control the overall sound.

And without unwanted peaks you havemore usable headroom. That's vital whenyou're working near the dynamic limit of apreamp or line amp. Sound stays clean andsharp. Compressors or limiters sound lessforced, because they are controlling peaksin the sound, not peaks in the mike!

But perhaps the biggest advantage isthe versatility of these A -T condensers.Because they have just the right amount ofpresence for today's recordings, they're notlimited to just one kind of instrument...justone type of voice. Put them anywhere in themix: brass, reeds, percussion, chorus, orstrings. Then listen. What you hear in thestudio you'll hear at the console. Which is agreat place to start in miking any session.

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Circle (101 on Reply Card

Association News

the FCC's proposed "postcard li-cense renewal."

The board voted to support anNRBA proposal to eliminate theFCC's requirement for submission of324 financial reporting forms andreferred to the Legal Committee forstudy and submission of recom-mended actions the FCC's proposalto end 1st Class Radio Operator'slicense requirements.

It was decided that the wintermeeting of the board would be heldin mid -February, 1981.

The board heard reports fromstaff members on the association'sall-time high in membership and onthe record -breaking annual conven-tion held in Los Angeles.

NRBA elects directors -at -largeThe NRBA board has elected nine

directors -at -large to serve two yearterms. Several of the directors -at -large will be serving their firstterms. The new directors are: KentBurkhart, president, Burkhart/Abrams/Michaels/Douglas, Atlanta,GA; Ted Dorf, general manager,WGAY AM/FM, Silver Spring, MD;New Latto, president and generalmanager, WAKX, Duluth, MN;

Stephen Trivers, president, FairfieldBroadcasting, Kalamazoo, MI; Thur-man Worthington, general manager,WKEZ, Norfolk, VA; Jim Connor,vice president, WWSH Radio, BalaCynwyd, PA; Tom Hoyt, president,Heftel Broadcasting, Chicago, IL;Dave Raven, president and generalmanager, WIFC/WSAU, Wausau,WI; Gary. Worth, president, WoldCommunications, Arlington, VA.

Karl Eller leaves CharterAfter a brief union Charter Co.

and Karl Eller jointly agreed todissolve their venture, Charter Med-ia Co., which made up both Eller'sand Charter's media holdings. Ellersays the decision to split wasbecause of the "demands on mypersonal time, present economicconditions and the long-term interestof several properties involved."

According to the settlement agree-ment, Eller will retain ownership ofK101 -FM, San Francisco, the Phila-delphia Bulletin and the New YorkAdvertising Company. Charter hasagreed to buy back Eller's interestin Charter Media and will withdrawits application to the FCC to shiftthe radio licenses to Charter Media.

Pending stockholder approval,Charter will reorganize its mediaproperties back into Chartcom. Fred

Denneman will remain with Charterand move up to become Chartcom'schairman; James P. Smith willbecome president. Both Charter andEller have expressed interest inretaining John Bayliss, previouspresident of Charter Media's RadioDivision.

NRBA questionsFM station increases

In its comments filed in BC DocketNo. 80-90, the NRBA questioned theproposal to form two new classes ofFM stations, which would create anundetermined number of FM sta-tions. The NRBA has "significantreservations about the commission'sapproach to this proceeding, whichapparently sets proliferation of FMstations as the quid pro quo forradio deregulation." The NRBA fur-ther pointed out that it appears thecommission has prejudged the in-stant proposal is in the publicinterest, "because it will lead to anincrease in the number of availableFM stations."

The NRBA recommended thewhole matter be referred to thenewly established Government -In-dustry Committee on AM and FMbroadcasting, which was created todeal with such far-reaching alloca-tion proposals. 0

Dane Jubera On Harris

Broadband Phasor Design

Dane Jubera, Lead Engineer, Antenna andMedium Wave Network Product Development

"Harris engineering has been instrumental in promotingexcellence in broadband phasor design. This is especiallyimportant as the industry prepares for AM Stereo. Ourcustom broadband designs provide low envelope distor-tion levels and wider frequency response, without com-promising stability and adjustability. At Harris, we com-bine the talents of a select professional engineering staffwith the technology of computer -assisted design tech-niques. Consequently, our product delivers improvedperformance in directional as well as non -directionalmodes."

Harris stands ready to assist stations and consultants inachieving maximum performance through innovative de-sign techniques. For more information, contact HarrisCorporation, Broadcast Products Division, P.O. Box4290, Quincy, Illinois 62301, 217-222-8200.

HARRISCOMMUNICATION ANOINFORMATION PROCESSING



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The BCC -20 DigicamEdge. An EFP Camerathat's100%.Ampex.The best of Ampex technology has beendesignec into our computer controlled EFPcamera. 3uilt by Ampex in our new Cali-fornia facilities, the Digicam was designed toproduce the highest quality picture bothon location and in the studio.

A Computer In a Portable Head.The BCC -20 Digicam's computer -in -the -head technology combines a micropro-cessor and digital memory with a powerfulsoftware program to give you full-time digitalcontrol of the camera.

Even with the power turned off, theDigicam's memory -in -the -head stores theoperating parameters.

New to Camera Technology.Unique with Digicam is Spatial Error Correc-tion, which can achieve 0.05% registration inany of 182 zones of the picture. Using theSpatial Error Correction Cursor System, youcan zero -in on any area of the picture andcorrect an error in seconds.

The Spatial Error Correction Systemallows the operator to easily overcomedifficult distortions such as "bowing", "S"distortion and off -axis corner registrationerrors and quickly achieve perfectregistrat on.

The MSP. Total Control Manually orAutomatically.The MSP (Master Set -Up Panel) is thecontrol terminal for the Digicam System. Itcontrols manual set-up of the Digicam, orautomatic set-up when the ASU (AutomaticSet -Up Unit) is used.

With the MSP and the ASU in use youcan set-up as many as 8 cameras in far lesstime and with oetter results than a single,conventional camera.

In the self-contained mode, the Digicamhead memory permits the MSP to bedisconnected for true portable operation.And yet the operator can still usethumbwheel selector switches inside thecamera head to make any operational lastminute adjustments.

You'll find the Digicam by Ampex to bethe most advanced portable cameraavailable today. Call your Ampex repre-sentative and tell him you're ready for theDigicam edge!

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Update 1981

We are barely launched into the1980s, but already the decade ismarked with controversial issues inbroadcasting-even in the face ofexceptional industry prosperity.

Take a look at 1980: NAB '80 inLas Vegas was a record -settingevent; the same was true for NRBA'80 in Los Angeles and for SMPTE'80 in New York. All these majorindustry shows set attendance andexhibitor registration records thisyear, breaking last year's records-and that speaks well for advancesin broadcasting.

Take a look at new equipment:the three major shows-NAB, NRBAand SMPTE-all featured newequipment to help every facet ofbroadcasting. And manufacturersare already alerting us to look fortheir new products emerging fromR&D that will be introduced at NAB'81 in Las Vegas.

Take a look at the issues andopportunities: AM stereo that may

By Bill Rhodes, editorial director

go to the marketplace; the 9kHzproblem that will peak in 1981;expanded satellite usage; the FirstClass License requirements; stereoTV; the clear channel pressures;continued deregulation; teletext; vid-eodisc; accelerated usage of 1 -inchVTRs, captioning for the deaf, andcontinued pressure to reduce theFCC backlog. There seems to be noend to the issues and growth -relatedproblems-but that is also a part ofthe picture of prosperity for broad-casters. Thus, as 1980 draws to aclose, broadcasters find themselvesin an active industry surging aheadinto a young decade.

Last December we posed thefollowing questions: "And what willthis new decade bring forth? AMStereo? Of course; it's already here,but far greater progress is steamrol-ling ahead. Digital video? Of course;but don't be too anxious. Expertsagree that video standards areyears away-mid 1980s at least."

There have been notable advancesthis year, but major changes arestill progressing slowly.

Last year our December issuecontained five separate articles inwhich broadcasters peered ahead tosee what factors would shape ourindustry's future. This year werepeat this theme of What's Aheadand have asked leading broadcast-ing authorities to talk about changesthey anticipate as we move ahead inthe 1980s. An article on this themealso appeared last month as areport from NRBA. That article, byKarl Eller, begins on page 72 of theNovember issue and gives a re-sounding acclaim for the brightfuture of radio. This article, byrights, should be considered inconjunction with this issue to roundout the topic of What's Ahead.

Broadcast Engineering takes thisopportunity to wish you happyreading and a prosperous newdecade.


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Update 19E11

The impact of digital technologyBy Julius Barnathan, presidentBroadcast Operations and Engineering, ABC, New York

Digital television recording andtransmission are destined for futureuse. This use will take advantage ofcomputer technology and solid-stateadvances. This will mean increasedquality of transmission and couldreduce tape or program storagerequirements for space and size.

Developments in computer tech-nology are moving so swiftly that itis premature to consider standardsfor digital television. Consider thatfive years ago a computer chip held1000 bits. Today that figure hasclimbed to 64,000 bits, but withinfive years, it is conceivable that amemory chip suitable for televisioncould hold 512,000 bits. The implica-tions of digital television go beyondimprovements in transmission andaffect storage of pictures for editingand future use. A digital system willultimately mean a new technologicalstructure for the industry. Althoughthis change won't seem as dramaticto the viewer as some of the newvideo systems for home use, theimprovements in our technologicalcapabilities will be dramatic froman engineering perspective.

Digital improvementsPutting aside the critical question

of standards, here's how digitaltelevision will change the industryas we know it. The place to begin isthe easily distorted analog voltagewaveform produced by the conven-tional television camera. The qualityof the viewer's picture depends onthe accurate reproduction and sta-bility of that waveform. Digitizingthe camera signal, which meansconverting the light signal variationsinto numbers (or digits) instead of

analog voltages, begins the processof improving the picture.

Degradations of the televisionanalog signal and image tend tobuild up as the signal moves alongthe transmission path through thestudio facilities, recording, editingand, finally, to the home receiver.One example is signal nonlinearityin which each repetition produces agreater loss of intermediate rangesof contrast. Any wideband systemcontends with the cumulative prob-lem of phase distortion, and this isespecially a problem with highresolution television systems. Theresult is fringing because of unequaldelay (or phase shifting) of differentfrequency components within thesignal passing through the differentimpedance elements.

In trying to solve these and otherproblems, television engineers haveoften found that resolving oneproblem makes another one worse.Even with the most sophisticatedgear, impairments caused by phasedistortion and modulation productscontinue to cause picture distor-tions. Digital handling of signals willreduce distortions caused by trans-mission links and do so withoutpossibility of introducing new distor-tions.

Digital vs. analogAt this point, it may be helpful to

underline the basic difference be-tween analog and digital systems.Analog devices operate with contin-uous data; digital devices deal withdiscrete or stepped data. The reso-lution of any analog device relatesto the exactness of the analogy thatis used and could depend on theestimating (artistic) skills of :he

Barnathan: ABC's coverage of theWinter Olympics involved extensiveengineering planning and the latest inbroadcast equipment.

operator. The resolution possiblewith a digital device depends exclu-sively on the number of significantfigures or samples. The accuracy ofa readout from a digital device isnot dependent on an operator'sestimate.

One of the most significant ques-tions in the development of digitaltelevision relates to how many digitsor samples will be used. Making thedecision on how many samples to beused involves bandwidth, electroniccomplexity and money.The 8th Inter-national Broadcasting Convention inEngland held in September consid-ered different proposed digitaltransmission standards. The Euro-pean Broadcasting Union has con-ducted tests on 12M1-Iz for lumi-nance and 4MHz for the two colordifference channels. This is knownas the 12:4:4 standard. One of thereports found that this proposedstandard did not produce accepta-ble quality in chroma-key when thechroma-key function was performedafter the original taping. This fea-ture, which gives fair to poorresults with current analog equip-ment and tape recorders, is one ofthe possibilities for improvement inthe digital system.

Cost vs. performanceCost and performance trade-offs

must be made in establishing newdigital standards. New innovationsversus conventional operation mustbe studied to see what impact theyhave on the standard.

Any decisions at this stage mayserve to impede the future sophisti-cation of digital equipment. What isevident is that no changes are being

continued


DEFLECTIONLESS.

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Backlash often occurs at theend of a pan when the legs ofthe tripod tend to "unwind"slightly, jerking the camera theother direction. This backlashcreates an image deflectionsubjecting audiences to a visualwhiplash. The use of a telephotolens will tremendouslyaccelerate this problem.

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Panasonic was awardeda 1979-1980 EngineeringAchievement Emmy forthe introduction of digitaltechniques in video specialeffects production.

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When one network execu-tive first saw the specialeffects produced by thePanasonic AV -7000 videosqueezer, he couldn'tbelieve his eyes. But thenhe'd never seen a specialeffects generator that com-bines digital techniqueswith microprocessor tech-nology. The members ofthe National Academy ofTelevision Arts and Scienceswere equally impressed.So impressed, they present-ed Panasonic with an Emmy.

The same innovativeengineeering that createdthe AV -7000 is availablein a new line of Panasonicbroadcast equipment.

Take the Panasonic 700B-2 time -code editing sys-tem. The AU -700 editingrecorder, the AU -A70 pro-grammable editing control-ler and the AU -J10 multiplesource adapter. Togetherthey add speed and accu-racy to 3/4" time -code edit-ing by letting you do whatother systems don't: Per-

form up to 20 automaticinsert and assembly editsfrom multiple sources. Howdid we do it? By combiningmicroprocessor technol-ogy with the precision ofdirect drive.

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The Panasonic AK -750Balso gives you three -tubePlumbicon performancealong with a lot of extrasthat don't cost extra. Liketwo-line vertical enhance-ment, a $2,000* option lastyear. Plus genlock, re-chargeable battery withcharger, microphone, and

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chroma key generator andthe AS -1000 color syncgenerator. And, of course,you can look forward toeven more Panasonicbroadcast equipment inthe future. But take a goodlook at Panasonic broad-cast equipment now. Afterall, you never know: May-be the same innovativeengineering that won usan Emmy can help youwin one.

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Coverage of the Winter Olympics provided a proving ground for the latest invideo and audio equipment for broadcasting-field experience valuable inplanning for the '80s.

ABC: digital

planned or contemplated in theconventional home receiver becauseof the sizeable investment alreadymade by the public. What willhappen during the coming decade isthe increasing use of digital tech-niques to increase performanceand/or reduce the cost at variouspoints in the system.

Computerized graphicsAt ABC, computer technology has

already changed the presentation ofgraphics. Use of the Quantel 5000Plus digital manipulator began atthe Lake Placid Winter Olympicsand continued with election cover-age. This is the most recentlydeveloped unit for providing digitalvideo effects through five separateframestores. The Vital Squeezoomwas also used. Another digitaldevice used was the Ampex Elec-tronic Still Store (ESS-2), which iscapable of storing 1600 individualTV frames or pictures and enablesmany of the television show ele-ments to be prepared in post -pro-duction form.

Graphics are a natural for digitaltechnology. Television graphics haveprogressed from the use of acamera to take a picture of a

hand -produced art card to sophisti-cated computer graphics. What thecomputer can produce and store interms of graphics gives a hint ofhow much computer technology cando for the entire television system.By using digital technology in thegeneration, manipulation, recordingand transmission of television im-ages, many of the problems experi-enced by engineers would be solvedor greatly reduced. There would beexpanded possibilities in the accur-acy of transmission and the en-hancement of picture quality.

Much has been written in recentmonths about the video revolution inthe home, and new technology isgoing to affect the types of deliverysystems that will ultimately be usedfor the television screen. Computertechnology, if given room to grow, isgoing to alter the behind -the -scenessystem at every stage from thecamera to the picture transmitted tothe home set. The technical differ-ences between analog and digitalwill ultimately be so dramatic thatour current system may seem asantiquated as Matthew Brady's sys-tem of developing photographs doesin our age of instantly developingfilm. But ultimately the quality oftelevision depends not only on theresolution of the picture but onwhat's in front of the camera.


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Update 1981

Radio: responding toa challenging future

An interview with Ralph Green, vice president, engineering, CBS Radio, New York

In the following interview con-ducted by Broadcast Engineer-ing, Ralph Green takes a lookat what effect advancing tech-nology has had on changes atCBS Radio.

BE: How do you see the 9kHzdecisions affecting broadcasting,both technically and economically?

Green: First of all, let me stressthat we at CBS Radio are notagainst 9kHz per se. And I don'tbelieve that most of the industry iseither, except for the people con-cerned about increased competitionfrom another few hundred stationscoming on the air.

But I don't think that is the mainconcern. The real concern is thatthe FCC and the NTIA have notreally studied the impact of thesechanges in sufficient detail to forma reasonable conclusion. They reallydon't know what the impact ofreduced channel spacing is going tobe, particularly on service areas.

There is the adjacent channelinterference problem, and that in-terference is probably going toincrease in most cases. One of thethings that the commission hassuggested is to consider limiting theoccupied bandwidth for each stationand channel-that tends to defectAM stereo. If you're going to haveAM stereo, you need a reasonablefidelity, which implies reasonablebandwidth. Restricting the band-width of the transmitter signalwould have a negative impact onAM stereo.

Another thing that hasn't beentalked about too much, but was avery serious proposal at the BuenosAires (WARC Region 2) conference,

is the use of nighttime interferencecurves based on 500/o of the time asopposed to the 100/0 curves used inthis country. If the ITU treatyrecognizes 500/0 curves as standard,that means that the interferencecoming from foreign stations is goingto increase rather dramatically, andthe real impact will be felt in theSoutheastern states.

However, even though the overalltreaty may recognize the 500/0curves, it may be that multilateraltreaties with neighboring countrieswould recognize, for the purposes inthis particular part of the world, a100/o curve. It is a possibility, butright now the 50% standards are aserious matter.

Both at CBS Radio and in the NABAllocations Task Force it is thoughtthat these kinds of studies reallyhave to be completed before thenext session, which is in Novemberof next year. In fact, they should becompleted, if you look at the FCCtimetable, by the end of this year,which really doesn't give themenough time.

At CBS we really think that it isincumbent upon the government,either the FCC or NTIA, to do theirstudies and in sufficient depth sothat they can have enough data onwhich to form a reasonable conclu-sion. What we fear is that thecommission is rushing forward intothis thing without full regard as towhat its impact will be on thepresent system. Basically, whatwe're talking about here is thepotential for loss vs. gain of service.If the balance swings toward moreloss than more gain, it's the wrongway to go. So, we are not against9kHz per se, but we just think thatnobody really knows enough to pushforward on this issue at the presenttime. Until the studies are done

Ralph Green

where we can really make aninformed judgment, we as a nationought not be pushing forward soquickly.

Another factor is the shift itself-4kHz as originally suggested by theUnited States or 9kHz recommendedby the Canadians. The Canadianshift offers the advantage of cluster-ing the stations together, whichhelps somewhat on the adjacentchannel interference problem, andit may open up some channels in thelarger markets. Neither systems'costs have been adequately ex-plored. Right now at CBS we aredoing a cost study on a station -by -station basis to see how much it willcost us, but the results are notcompleted.

In short, we're saying that thestudies to determine the gains andlosses and total impacts on thepresent system have not been done.We think it should be done thor-oughly, and we think that thegovernment is the one to do itbecause it is very expensive-prob-ably a couple of hundred thousanddollars.

Technologically, from the equip-ment standpoint, the switch to 9kHzis not formidable. There's probablyenough tolerance in components toadjust transmitters without majorreplacements. Hardware is not theproblem. The high costs will be inconsultant help (for most stations) toachieve the shift, and for partialproof of performance measurementsin directional arrays, loss of airtime and costs of staff traveling.

But in considering economics,don't overlook the receivers-abouta million synthesized receivers areoperating now, mostly in higher -priced automobiles. If 9kHz is imple-mented, those receivers will beobsolete. Owners will be able to


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CBS: radio's futuretune the channels that happen toremain right on the 10kHz basicfrequency, but that's probably lessthan half the channels. So what domanufacturers do, knowing thatonce the public becomes aware ofthis change it will be reluctant tobuy an old receiver?

BE: How do you see the cancella-tion of the First Class Licenserequirements affecting broadcast-ers?

Green: I've held a First ClassLicense for more than 30 years, so Ihave some emotional attachment.But I've got to agree with thecommission (FCC). The thing reallyhas not worked. They cite theGeorgia Tech study that the presentexamination and procedures do notreally ensure that the applicant istechnically competent. So it hasn'tworked, and at CBS Radio we feelthat the commission should do awaywith this whole licensing procedure.

Now under the CommunicationsAct you must have some sort ofpermit / certificate / license - andthat's why they're going down to the.Restricted Operator's Permit rightnow. And until the statute ischanged, they'll have to continuethat way-but that's a no -license,no -examination program.

Basically, we think that the sta-tion licensee should have freedom toexercise his judgment as to thequalifications of technical personneljust as he does for the programdirector, the sales manager andeverybody else on the staff. Whyshould the technical department beany different, requiring some kindof government license?

Another aspect is that maybe ifthe commission decides that thereought to be some kind of license foradjustment, maintenance and repairof the equipment, it could come upwith a series of tests that couldrealistically demonstrate an appli-cant's qualifications. If they couldadminister such a test, they couldissue a technician's license, whichwould be a meaningful title andimply what it meant.

Our practice at CBS Radio is totell an applicant that he must havea First Class License only for legal,practical reasons. We're union, andwhen a union technician goes on abreak at a remote control point,he's got to be replaced with alicensed person or you've got aproblem. So we require a license,but that's where the considerationstops. Beyond that we look exten-sively to determine if the person isreally qualified.

BE: Do you see the FCC as havingthe capability to formulate a mean-ingful exam and provide a meaning-ful certificate of some sort?

Green: I don't know why theycan't if they really wanted to. Afterall, the Society of Broadcast Engi-neers (SBE) has a certificationprogram that has a very meaningfulseries of examinations, and theyhave been able to keep it from beingcompromised.

BE: If the FCC could not developan examination program, could theSBE or NAB step into the gap andfill the need?

Green: I don't think there shouldbe any exam, but I would bebothered by a private organizationdetermining who could or could notwork in this industry. Because of myconservative thinking, I think ifthere is going to be an examinationand any kind of certification, itreally should be by a governmententity.

BE: How will the advancingtechnology in digital affect radiobroadcasting?

Green: Well, digital audio is verygood for master recording in arecording studio because you canmake many generations with essen-tially no degradation of the material.But it's not on the immediatehorizon for radio broadcasting. Firstof all, the cost has to come way,way down. It's very expensive rightnow. So I don't see a big changewithin the next few years.

The real impact of digital, I think,in radio broadcasting is going tocome in distribution, as far asnetworks are concerned.

BE: How will satellites affect thefuture of radio broadcasting?

Green: At our affiliates conven-tion in Phoenix, in October, weannounced a study presently underway to identify current distributionsystems and our future require-ments in the next 10 years or so.This study will develop technicaland functional specifications so thata system will do all the things thatwe envision, that we might want todo realistically. It will come up witha clear set of specifications so thatwe can approach the various satel-lite carriers and say, "Here's whatwe want, can you do it and howmuch will it cost."

Basically, we are interested onlyin end -to -end systems. We do notwant to own earth stations and wereally don't want to get involved inany of the satellite system opera-tions. What we want to be able todo is hand programs to the carrier



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CBS: radio's future

and have him hand them back toour affiliates.

When this study is complete, wewill have a good understanding ofthe cost vs. benefit equation, andwhen those two curves cross wewill probably get into satellitedistribution.

Now, going back to the earlierquestion on digital, the only realway to go is digital in my opinion,because with digital you can usetime division multiplexing. If you dothat you can do a lot of neat thingsover and above just carrying theaudio signal.

BE: Do you see broadcasterstaking advantage of computers?

Green: Well, we certainly are.We are presently installing a newcentral control switching systemthat's 100 input by 20 outputs. It's adual -computer base system with thedual on-line computers tied into adata center that is the wholecorporate data center. Basically theconcept starts out with availabilitiesthat the salesmen use: Once theysell, all the contractual informationgoes into the big IBM computers.Then the data necessary for ma-chine assignment and switching isdumped into the on-line switchingcomputers, and those computersthen actually run the switcher.(There's two of them because weuse redundancy to avert failure.)

My feeling is that the system isgoing to be almost too complex tooperate manually. It has somemanual capabilities as far as thehardware is concerned, but I amnot sure that people will be able tokeep up with it. The computers lookahead for the next 20 invents on 20buses, and they do that everysecond. Any changes are updatedevery second. I never really thoughtI would have a time problem with acomputer for switching, but it gotdown to whether or not the comput-er could do everything it had to doevery second.

BE: What about station automa-tion?

Green: Six of our seven FMstations were program -automated inthe early '70s. The system used wasthe IGM 770, which we at CBSRadio worked very closely with IGMto develop. I think that system, eventoday, is still one of the mostsophisticated and flexible systemsavailable. Initially our criterion wasthat the system had to be able toaccommodate any foreseeable pro-gram format, except "all news,"

where you're constantly updatingyour news product. But before anyother program format envisionedwas to be accommodated, and overthe last seven or eight years thathas pretty well held true. We havenot really had anything asked of thesystem that it hasn't been able tohandle.

The reason for this early effortwas that at that time we were justbeginning to develop the FM sta-tion's programming, managementand sales staffing and station up-grading. At the same time we werealso trying to hold costs down. Wedecided to automate, but with asophisticated system. The initialcost of those systems was ratherhigh, but they paid for themselves inthe saving of technician labor withinthe first 15 to 18 months. After that,we were ahead of the game.

Then in early 1979, our contractbecame effective, whereby we nowhave combo rights in FM. So, inmost cases, we are not fullyautomated in the strict sense ofthe term because we now have alive jock, but the jock is using theautomation system as an operatorassist. Thus, all the commercialsand announcements are still on thesystem; it is still doing the loggingfunctions, except he's running thesystem rather than the systemrunning him.

This system was set up initially sothat it could do that-or could bejust a straight automation systemwill all the fades and everythingelse programmed into the computer,and it would run strictly in automa-tion. Then it was set up whereby wecould put a live jock in the studioand the system would run him: Alight came on when his mic cameon, and it was programmed to givehim so many seconds to talk. It wasalso programmed such that he coulduse a hold button to put the systemin a hold mode. When he finishedtalking he released the button andbased the system to automation.Now the system can run the jock orthe jock can run the system.

BE: How much effort is beingdevoted to station upgrading, evenin the face of rising costs?

Green: First of all, let me say thatat CBS Radio our prime concern iswith performance and reliability inequipment and operations. Thatmeans that budgets must be de-tailed, money must be investedwisely and schedules must be wellplanned.

One of my responsibilities iscapital forecasting every year forall facilities in this division, and thisgoes back more than 11 years. At

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CBS: radio's futurecontinued

that time we embarked on aprogram in San Francisco of movinginto the Embarcadero Center. But,basically, our first major, long-termprogram was to develop the FMsystems-and that meant developingan automation system, building of-fices, staffing stations, upgrading oftransmitter facilities, getting all thetransmitters up to maximum powerallowed by the FCC, new transmis-sion lines and new antennas-allcircularly polarized.

That transition in San Francisco

took a couple of years. At the end ofthat program, we began to upgradeall the AM transmitter plants, someof which were pretty old. Forinstance, in 1978 we put in a newtransmitter in Philadelphia to re-place an RCA 50E that went on theair in the summer of 1941; yet itwas operating well, doing a fantas-tic job. In this program we have twostations to go, with the Los Angelesone now under way. Next summerwe will do a job in Boston on ourantenna system; the following yearwe will do a new transmitter herein New York and that will completethe program.

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We've also been looking at satel-lites for distribution for the networkand at installing a large switchingsystem at the radio network. It'sbeen a phased operation because ofmoney allocations each year, jobpriorities and the objective to getthe entire facilities up to date.When these present programs arecompleted, we will probably startthe cycle again.

BE: Do you anticipate an in-creased emphasis on audio proces-sing?

Green: At the radio network wedo use audio processors basicallyfor programmed leveling, and weuse the dynamic presence equalizerto give us a little more presence.They're used very conservatively. Ingeneral, audio processing at ourstations is a subjective programdepartment judgment. Our positionis that we will not permit basebandclipping in FM. I think its verywrong. Once you start that, and ifyou go along with what the FCC hassaid just to prevent overmodulation,it never stops there. People want topush, push, push-and the nextthing you know you're doing allkinds of bad things.

I repeat, at CBS Radio, the topicof processing is one of programmingjudgment-strictly subjective. Bas-ically, I tell our people that if you'reinterested in some black box we'llgive you a clean, sanitary system.Then, if you want to open thesystem and insert a black box togive an effect, fine; just don'tviolate any FCC rules as far asovermodulation is concerned andyou can do anything you want.You're the programming guy. If theprogramming doesn't produce theaudience response needed, you'rethe guy that has to explain it. Ofcourse, engineering does get intoother things-like evaluating hard-ware for quality performance, butotherwise we don't get deeplyinvolved in audio processing.

BE: What are your views on CPantennas?

Green: For FM, circularly polar-ized antennas are the only way togo.

But I have other thoughts on FMantennas as far as receiving anten-nas are concerned, particularly inautomobiles. We feel that manufac-turers ought to put two antennas onthe car front and rear. Then in thereceiver put in a comparator andhave a diversity receiving antenna.Such a system would probablyimprove the FM signal reception-as far as dropouts are concerned-substantially.


Ikegami has its eye on the 80'sIn 1976, two pioneering ENG cam-

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In 1977, Ikegami made a major con-tribution to the performance of studiocameras-the first microprocessor -controlled automatic -setup camera, theIkegami HK -312. With hundreds ofHK -312's now in use, Ikegami hasexpanded microprocessor control to itsHK -357A field/studio and HL -53 EFPcameras.

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Update 1981

Home video delivery systemsin the 1980sBy Charles D. Ferris, chairman,Federal Communications Commission, Washington, DC

In the past the only way to delivervideo programming to the home wasthrough the local television station.Even now, broadcasting is the onlysystem universally availablethroughout the country for homedelivery of live video programming.Prerecorded videotapes are herebut, being a physical delivery medi-um, cannot provide live, real-timeprogramming. For that, an electron-ic communication system is re-quired.

This situation, however, is rapidlychanging. Several electronic deliv-ery systems are emerging that mayprovide alternatives to broadcast-ing. These include cable, multipointdistribution service and directbroadcasting satellites. Like broad-casting, each of these systems ispotentially capable of deliveringmultiple channels of video program-ming, live and prerecorded, directlyto the home, with an acceptablequality and at a cost most peoplecan afford.

What role will each of thesesystems, including conventionalbroadcasting, play in the videomarketplace in the 1980s? No onecan say for certain. But the morethought given to the future in thecontext of present trends, the morelikely certain outcomes appear.

Probably the most significant re-cent trend that may indicate adirection for the future is the rapidgrowth of cable as a distributiontechnology. Cable now reaches 400/0of all television homes in the UnitedStates; that number is predicted toreach almost 600/0 by 1985. Much ofthe recent growth has been inurban areas where viewers havelong received a relatively largenumber of off -the -air program chan-nels. Because monthly charges gen-erally range from $12 to $25, thisgrowth shows that consumers findsomething of value not presentlyavailable over the air.

Three attributes of cable make itparticularly attractive to urban

viewers: superior picture quality;elimination of troublesome receivingantennas; and a wider selection ofprograms, including premium payprogramming without commercials.Apparently, a number of urbanviewers consider these benefits tobe significant and, if the past is anyindicator, it is possible that cablewill continue to expand to the pointthat it reaches a large percentageof urban and suburban homes.

Regulation a factorTwo forces that could intervene in

this process are regulation and theintroduction of alternative distribu-tion systems. Some effects of regula-tion are discussed later. But first,look at the characteristics of theother video systems that may pro-vide alternatives to cable.

One potential alternative to cablewould be an augmented broadcast-ing system. Recent FCC proposals topermit the use of low power UHFand VHF stations and additionalVHF assignments could significantlyincrease the number of broadcastingchannels available in a given area.These developments, coupled withincreased use of broadcasting sys-tems for pay television service-STV-can greatly expand the di-versity of video programming pro-vided to the home via broadcasting-type systems. Whether such ex-panded use of broadcasting willreduce the potential market forcable remains to be seen.

Broadcasting does have one seem-ingly inherent disadvantage relativeto cable-the home receiving anten-na. Consumers generally lack theskill, and possibly the desire, toinstall and maintain antenna sys-tems capable of making full use ofsignals available from broadcaststations. This difficulty is furthercompounded by local zoning ordi-nances that prohibit outside anten-nas in some areas, transient propa-gation anomalies, and other envi-ronmental effects that create ghost -

Charles D. Ferris

ing and other picture distortions ineven the best antenna systems.

A further problem arises from thenoncollocation of TV stations insome areas, which makes properantenna orientation more difficult.These factors create what may be aserious signal reception handicapfor broadcasting relative to cable.This handicap might be reducedsomewhat if viewers had moreinformation to assist them in theselection, installation and main-tenance of receiving antenna sys-tems. The government may have animportant role to play in providinginformation concerning antennas toconsumers. Broadcasters also havea large stake in this activity. Theseservices perhaps could be includedin the service package provided bySTV operators, whose viability de-pends on a clear off -the -air signal.Whether that is economically viable,or just how important this signalquality factor may ultimately be inthe marketplace, is difficult toassess.

Another alternative video distri-bution system recently introduced ismultipoint distribution service(MDS). MDS is operationally closeto broadcasting except that it trans-mits at microwave frequencies(around 2GHz), which necessitatesthe use of a receiving antennasystem separate from that requiredfor broadcast reception and specialelectronic equipment to down-con-vert the signal to an unused UHF orVHF TV channel.

Because of the extra receivingequipment required and the higherfrequencies used, MDS would ap-pear to suffer somewhat of adisadvantage relative to broadcast-ing in delivering video services overa wide area to single family dwell-ings. However, this disadvantagemight be offset to some degree bythe use of more efficient receivingantenna systems possible in thisfrequency range, which could avoidsome of the signal reception prob-


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FCC: home deliverylems associated with broadcasting.

However, MDS, and for thatmatter broadcasting, may have onedistinct advantage over cable inentering certain markets: they re-quire a smaller initial capital invest-ment per channel for a smallnumber of channels. The first MDS(or broadcasting) channel in anarea requires about the same capi-tal as the second, third, fourth, etc.A single channel cable system,however, would cost almost asmuch as one with 20 channels.Thus, in markets in which most ofthe demand can be satisfied with afew channels, the entry barriercaused by capital costs tends tofavor MDS or broadcasting as adistribution medium while a demandfor a large number of channelswould favor cable. Where thecrossover point occurs would de-pend on many factors-includingthe geographical distribution ofviewers, with denser populationsfavoring cable, less dense favoringMDS or broadcasting.

Direct broadcast satellitesAnother potential alternative sys-

tem for video distribution to homesis direct broadcasting satellites,

(DBS) This technology is still on thedrawing board in the United States,but such a system could becomeoperational during the next fewyears, as it is in Japan. Like theother distribution systems discussed,DBS could potentially provide multi-ple channels of video programmingfor direct home reception. Thedistinction of DBS, however, is itsability to reach essentially theentire continental population from afew transmitter points located ingeostationary orbit.

The initial capital investment re-quired to construct and launch amulti -channel DBS transmission sys-tem would probably be very highcompared with the start-up costs ofalternative systems. However, be-cause the cost of the space segmentof a DBS system could be spread outover a potentially very large popula-tion of subscribers, it is probablynot the critical cost element in thesystem. More significant is the costof the earth receiving equipment,which must be duplicated at eachdwelling. The projected price rangeof DBS receiving systems manufac-tured in large volume has beenestimated to run between $200 and$400.Current terminology is still evolving. DBS Isalso defined as Direct Broadcast Service.

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What kind of a market there maybe for DBS will depend not only oncosts but on what other systems arein place at the time it arrives on thescene. Looking three to five yearsahead, which is the time frameoften projected for DBS availability,there is a good possibility thatcable, MDS or an expanded broad-casting system, including proposedlow power VHF and UHF stationsand VHF drop -ins, will be availableto a majority of US homes.

The potential market for DBSmight consist of viewers who couldbe attracted away from cable orother systems and those not ade-quately served by such systems (it'squestionable whether a given homewould subscribe to more than onepay system). Perhaps a more likelymarket for DBS would be viewers inrural areas not fully served by theother systems. Another possibilityfor DBS would be to provide highresolution or otherwise technicallysuperior television service, whichwould distinguish it from othersystems in the marketplace.

Another means of video distribu-tion, although not an electroniccommunication system per se, is theuse of prerecorded tapes and video-discs. A rapid growth in the use ofvideotape recorders (VTRs) or disc

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FCC: home delivery

players could affect the ultimatechoice that the market makes amongcable, DBS, MDS or broadcasting.For example, if a large number ofviewers in a market were equippedwith VTRs, program diversity forthose viewers could be expandeddramatically with no addition ofchannel capacity. Programs couldbe transmitted and recorded at anytime of the day or night for viewingat the convenience of the consumer.Each broadcast station would thenbecome a potential source of prime -time programming 24 hours a day.Assuming this transmission capacitywas fully utilized, VTR -equippedviewers in a 10 -station marketwould be able to select each day'sviewing from up to 240 one -hourprograms or 480 half-hour pro-grams. Currently, viewers in a 10station market have only 10 pro-gramming choices at any given time.Expansion of programming diversityfrom existing broadcasting stationsmight provide an alternative to theuse of other distribution systemsoffering a large capacity.

Videodiscs also hold the promiseof greatly expanded program diver-sity for viewers. Discs appeal toconsumers who wish to build homevideo libraries, as is now done withLP records. One can envision video-disc stores carrying thousands ofhighly specialized programs cateringto diverse personal interests. How-ever, although discs are cheaper tomanufacture than prerecorded tape,they may not be the cheapest wayto deliver programs that are viewedonly once. For this, electronicdelivery of a program viewed whenreceived or recorded by a homeVTR for later viewing is moreefficient.

Regulatory impactLocal and federal regulations can

affect the consumer's choice of DBS,MDS, broadcasting and cable forhome video delivery. Broadcasting,MDS and DBS all depend on anavailable supply of spectrum. Howmuch and how quickly spectrum isallocated by the FCC for thesesystems will affect how fast theyenter the market based on their costand capabilities relative to eachother, and relative to cable, whichdoes not require the use of spec-trum.

Of the three delivery systemsrequiring spectrum, broadcastinghas the most generous allocation:402MHz in the VHF and UHF bands,which provides 67 channels, eachchannel 6MHz wide. However, all of

these channels cannot be used ineach area because of potentialmutual interference and FCC rulesdesigned to apportion availablechannels equitably among the statesand communities. Thus, there are atmost 21 broadcasting channelsavailable in any given market. Thisnumber could increase, however, ifthe commission adopts the proposalsallowing low power VHF and UHFstations at closer geographical spac-ings than now permitted for fullpower facilities. Still, broadcastingwill not have the channel capacityof cable systems, which can cur-rently deliver as many as 50channels to the home and canexpand even further without theneed for spectrum.

Spectrum allocation for DBS, al-though also seemingly large, maynot afford as many channels in amarket as is available over terres-trial broadcasting. 400MHz of spec-trum is presently allocated for DBSin the 12.3-12.7GHz range (it maypossibly receive another 100-to-200MHz). If channels are to beapproximately 20MHz wide, as isnow under discussion, only 25channels are likely to be availablefrom a single orbital position. De-pending upon the selectivity ofreceivers, adjacent channel interfer-ence may allow only half of these tobe used in any geographical area.

It must be noted that the orbit/spectrum resource must be sharedwith neighboring countries. Theallocation for DBS in the UnitedStates will not be made final untilafter the 1983 Regional Administra-tive Radio Conference, which willplan the use of the spectrumallocated to the broadcasting satel-lite service in North and SouthAmerica. What spectrum and orbitallocations are ultimately madeavailable to DBS in the UnitedStates will also determine DBSsystem design options among con-ventional, high resolution or otherenhanced video services.

MDS has the most limited spec-trum allocation of the three radio -based video distribution systems.Operating in the 2150-2162MHzband, MDS is now limited to onlyone or two channels per area. In arecent rulemaking proceeding, how-ever, the FCC has proposed openingadditional channels for MDS typesystems in the 2500-2690MHz band.These channels would be sharedwith other types of systems. Thequestion of adjacent channel opera-tion in the same area is unresolved.Thus, it is difficult to say how manyadditional channels would be avail-able for MDS in a given area as theresult of this action. Unless a large


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FCC: home delivery

number of channels became availa-ble for MDS type systems, it isunlikely they would be developed asa full alternative to cable orbroadcasting.

In addition to spectrum allocationpolicies, the authorization processesused by regulatory bodies-localand FCC-will affect the speed andmanner in which new video distribu-tion systems enter the marketplace.Operators of cable systems, forexample, are subject to local fran-chising, which can delay entry andadd costs. MDS, DBS and broad-casting operators, while not subjectto local franchising, are subject toFCC licensing and channel authori-zation procedures. If there are moreapplicants than channels available,a comparative hearing may benecessary to decide who gets theassignment. Such hearings add costsand delay the entry of these systemsinto the marketplace. The FCC isconsidering auctions and lotteries asquicker, cheaper procedures to se-lect among competing applicants.

The regulatory structures imposedon the operators of the variousvideo distribution systems will alsobe an important factor in determin-ing their success. Although each

system either provides or is capableof delivering essentially identicalsoftware, each one is subject to adifferent regulatory structure. Cablehas essentially been deregulated bythe FCC, although still heavilyregulated at the local level. MDS isregulated by the FCC as a commoncarrier service. Broadcasting has itsown unique set of regulations. AndDBS may be regulated as neitherbroadcasting nor common carrier,but as a hybrid with altogetherdifferent requirements.

Imposing widely differing regula-tory approaches on systems thatserve essentially identical functionsimpairs the ability of users to selectfrom among those systems the onethat may be most efficient andeconomical in each application. Allthese systems are essentially pipe-lines that can carry video and otherinformation to the home. However,each has special characteristicsthat may make it the best choice ina particular application. One typeof system may be well adapted tourban areas; another is best suitedto rural coverage. One may beoptimum in markets where there isdemand for a large number ofchannels, another for areas thatcan support only a small number.One may be particularly well suitedwhere low costs are the primary

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concern, while another may be bestfor special, high quality services.

It is becoming increasingly appar-ent that the US video consumermarket is anything but homogene-ous. In light of new technology,programming with a wide range ofcontent, and with varying technicalquality and costs, will be availableto meet consumer demand. Efficien-cy is served when program suppli-ers and distributors have freedom tochoose the distribution system thatprovides the most cost-effectivemeans of delivering their product tothe market segment they wish toserve.

Ideally, how the programs arepaid for by the consumer-eitherdirectly, through advertising or byother means-should in no wayrestrict the choice of delivery sys-tems available to the supplier. Norshould the choice of delivery sys-tems be restricted by the manner inwhich a supplier wants to pay forhis delivery service; for example,whether the supplier purchases thesystem for his private use or rentstime on a system owned by someoneelse. Regulations that restrict theuse of the various video distributionsystems-broadcasting, MDS, DBSor cable-to only certain service orpayment arrangements prevent sup-pliers from choosing the optimumsystem for their market and raisescosts to both suppliers and consum-ers of video products.

A more efficient regulatory ap-proach might be one that permitsany of these video delivery systemsto be used for any type of videoservice and to be privately owned,shared or operated in a commoncarrier mode. Thus, a microwavemultipoint one-way delivery system(such as now used for MDS) couldbe operated as a common carrier orprivately owned, could carry video,voice or data of whatever qualitythe market demands. The samereasoning applies to VHF and UHFbroadcasting systems, DBS systemsand cable systems.

The question of how these ser-vices should be regulated in thefuture is not settled. Each servicedelivered through these systemsshould be subject only to as muchregulation as the public interestmay require. For example, tradition-al "broadcast" type regulationswith provisions for fairness or equalopportunity, could be applied toentities that provide the kind ofservice for which such regulation isappropriate. The removal of need-less regulatory restrictions on videodelivery systems would reduce costsand broaden service choices toconsumers.




Update 1981

Challenging transitionsin television and radio

Vincent T. Wasilewsk Chris Payne

By Vincent T. Wasilewski, president, and Chris Parie, assistant to the senior vice president for engineering,National Association of Broadcasters, Washington, DC

If 1980 is any indication, thebalance of this decade will be atime of intense cooperation betweenmanagers and technical experts. AtNAB the big issues largely aretechnical, and there is no change insight. Managers, who in the pastleft technology to the technicians,are often finding themselves in ahuddle with their technical advisors,trying to come up with businessplans based on rapidly developingtechnology.

The scope of concern has ex-panded from our own backyard, tothe satellite in the sky, to othercountries of the region, and to thewhole world. In late 1979 welearned of the outcome of the WorldAdministrative Radio Conference.The results included 110kHz addi-tional spectrum in Region 2 for theAM broadcast band. The conversionof this spectrum from its presentinhabitants to broadcasting willbegin with a planning conference in1985 that will determine how thevarious segments will make thechange. When the plan takes effect,1605-1625kHz will become exclusive-ly broadcasting.

Sometime after July 1, 1987, the1625-1655kHz band will becomeallocated to broadcasting as aprimary service, and sometime afterJuly 1, 1990, 1665-1705kHz convertsover with broadcasting as a primaryservice. If the Senate ratifies theWARC treaty and the FCC completesa domestic rulemaking, we canexpect broadcasting stations to beon the air on some of these newfrequencies in the 1980s.

Although the US governmentviewed the outcome of the WARC assubstantially a success, one of themajor US attempts, land mobile

sharing in these bands, will besubject to an agreement with bordercountries and a domestic rulemak-ing.

DBSDirect -satellite -to -home broad-

casting (DBS) is definitely a 1980sissue. At the 1979 WARC, a finaldecision on the entire 11.7-12.7GHzband was not reached. 11.7-12.3GHzwas allocated to the fixed satelliteservice, and 12.1-12.7GHz was allo-cated to the broadcasting satelliteservice, resulting in the 12.1 to12.3GHz overlap. This conflict isexpected to be resolved in the 1983Region 2 satellite conference, whichalso will develop a plan for satellitebroadcasting in Region 2.

Comsat has announced plans tocreate a direct -satellite -to -home ser-vice. The FCC has asked forcomments on DBS in a Notice ofInquiry concerning planning for the1983 conference. At a meeting of theNAB Board of Directors in Septem-ber, a resolution was passed statingthat DBS poses a host of fundamen-tal policy questions that must beresolved by Congress. DBS shouldnot be authorized unless Congressfirst approves this mode of programtransmission and determines theterms and conditions under which itmay become operational.

The board also stated that DBS isinconsistent with the locally basedsystem of television and radiobroadcasting. While urging thatCongress make the rules for DBS,the NAB board encouraged theDepartment of State to seek theallocation of sufficient frequenciesand orbital slots to assure thefullest potential technology resource

available to the American people.Because the technology is alreadyhere (Comsat, the FCC and othersare showing a strong interest), DBSis one of those big issues hotlydiscussed between managers andengineers.

Program and information deliveryto the home TV set continue toexpand. The TV screen that used tobe VHF only and in black and whitewill be loaded with choices. Thechannel selector now contains VHFand UHF and some have cablesuper bands and subbands, all incolor. Teletext, the generic title fortext and graphic information trans-mitted in the TV vertical interval, isalso expected to be an '80s innova-tion. Hundreds of pages of informa-tion can be transmitted and storedin the TV receiver for ready accessat any time by the viewer. Togetherwith telephone interfacing, the sys-tem becomes interactive with com-mands and input generated by theviewer from a personal keyboardand the response conveyed back viathe television station's teletexttransmissions. In the 1980s, the TVset becomes a terminal. The NABBoard of Directors in Septemberalso urged the FCC to initiate arulemaking looking toward adoptionof technical standards for a teletextservice in the United States.

The TV terminal will not only be asource of facts, figures and informa-tion but also a new source ofpleasant entertainment. The BOs willbring stereo sound to television.Already, fixed satellites and theexisting nationwide terrestrial TVrelay system can distribute stereo-phonic sound along with the colorpicture. An industry committee is

continued


DC control and th

Introduced by Ramkoin early 1975, DC controlof all audio attenuation answitching has since provenitself so superior to conven-tional methods of audio controlthat most manufacturers of consolesare still trying to catch up.

The three major advantages are:1. The DC controlled console

exhibits far less susceptibility toRF pickup and external interfer-ence than conventional consolesthat control audio directly. Theconventional console must routeall of its audio from the inputs tothe various controlling elements(mixers, switches, etc.) and thenfinally to the console output. TheDC controlled console, on theother hand, eliminates all of thisaudio wiring and thus reduces thepickup of outside interference.

2. It is also less prone to be affectedby mechanical malfunctions orproblems such as those fromscratchy pots or noisy switches.

3. Since all audio switching is donethrough DC control (+6V or-6V), all internal and externalfunctions (mute, on air lights,remote equip. start/stop) areprogrammed by simply settinginternally located switches. Onlyone pot is needed to controlboth left & right channel audiosimultaneously (stereo ); thus thetracking error normally asso-ciated with dual ganged pots iseliminated.

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No soldering or internal wiring isnecessary to set up or change the "ONAIR" light relay, muting, or AUXMUTE relay. All of these functions areprogrammed through internally locatedswitches, which can be changed atany time.

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decimal point, which lights wheneverthat mixer is potted down into CUE, isalso a blinking warning light wheneverthis channel has a live microphoneactivated. The second function of thisdisplay tells the operator whether he isin the Program ( P), Audition (A), Cue(C) or Off (blank) mode. It is importantto note here that the operator has 2 sep-arate means of initiating the Cue mode.One in the normal fashion of pottingdown and one via the output mode selectswitch (C). Thus he may go directly toCue by pushing ( C I without having tochange the mixer setting.

The exclusive patch panel for selectinginput gain offers extraordinary flexibility.At any time, any input can be made toaccept anything from a mic level througha line level signal. Not just mic or linelevel but anywhere in between. Thus onour 10 mixer model you have a minimumof 4,194,304 combinations of mic throughline level inputs. And you can accom-modate mics and high level inputs orthe same mixer simultaneously. Yousimply plug in the prescribed resistor(s),which are included with your console,and that's it.

All the push -buttons on the consoleare super -quiet. Not the usual loud, clank-ing, short-lived mechanical switches.The push -buttons switch and route theaudio through solid-state logic, error-

free, in less than 2 tenths of 1 millionthof one second. No pops, clicks or momen-

superior console.

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Features Dual channel 5, 8, & 10 mixer versions 4 inputs per mixer Patch panel gain select inputs Back -lit status displays Built-in talk back Solid state led VU meters Mono/phase meter on stereo consoles Mono output on stereo consoles Custom lettered input push buttons Two cue modes (push button and/or pot down)

Plug in electronics Differential balanced inputs and outputs DC control-no audio on front panel Zero tracking error on stereo consoles 3 power supplies w/AC line filtering High Z bridging inputs Switch selectable cue and mute on all inputs Optional digital clock and production timer Optional remote equipment start/stop 4 year parts and labor warranty 2 week trial period

tary feedback with partially actuatedswitches.

The pure clean difference.It all comes down to a marked differ-

ence in reproduction.FIRST, all inputs and outputs are solid-

state balanced. Unlike transformersthey are quite insensitive to impedancemismatches. In fact the mismatches canbe millions of times. And can be morethan the specified impedance withoutany noticeable effect on distortion orresponse. Not so with the average audiotransformer as even a couple timesmismatch can invalidate the console'sperformance.

SECOND, our solid-state devicesexhibit far less distortion and flatterresponse than even the finest trans-former available today.

THIRD, since the solid-state devicesare purely resistive they are much lesssusceptible to hum, RF and otherexternal interference.

A FOURTH and very large consider-ation is the LED "VU" meter. This solid-state meter ( SSM) has an exceptionallyfast response and you can actually seeovermodulation peaks. With a mechani-

cal meter you can't. Couple this with theelectronic circuit that gives the SSM

"VU" ballistics on the decay and youend up with a tighter, cleaner sound thanever before. At the same time, yournormal audio power level is still main-tained. In addition, the bright red andyellow LED display is legible up to 30feet away.

Although the mono DC -38's have ameter for each output, we took the stereoversions a step farther. In addition tothe left meter and the right meter(switchable, Aud. or Prog. I, we includeda third to monitor the stereo mix(mono) output.

By throwing a switch located next toit, this meter is converted to a phasecheck meter and may be used to checkthe stereo phasing of any and all of theconsole input sources.

Reliability particulars.All of the LED's and lamps have a

life expectancy of 11 years. The push-button select switches are spec'd by themanufacturer at 20,000,000 operations(1 actuation every 30 seconds, 24 hoursa day for over 19 years). The mixer potsare a custom design using glass -hard,conductive plastic. The mechanicalconstruction of these pots is so sturdy

that they tolerate even the heaviesthanded operator.

In addition, all of the quad operationalamplifiers are burned in for 3 days toinsure reliability. Since the power supplyis the backbone of your console, youwill find not one, but three separatesupplies! One for the main audio, one forthe monitor amplifiers, and one for thedisplays. These supplies are fully pro-tected against shorts and over -heatingand utilize massive heat sinking ratedmuch higher than necessary.

The two week trial.Put the DC -38 on trial for a full 2

weeks. Put it through a battery of testsor on the air, or both. You'll find thatwith all that sophistication it's a breezeto use and amazingly rugged.

Write Ramko Research,11355 Folsom Blvd., RanchoCordova, CA 95670. Or if youcan't wait for the mail, con-tact your nearest rep or call(916) 635-3600 collect andarrange for a 2 week free trial.

©Ramko Research 1980

RAMKOCircle (36) on Reply Card

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now performing laboratory andover -the -air testing of several sys-tems of TV stereo. The conversionof the television stations and theavailability of new TV receiverswith stereo will occur rapidly afterFCC approval.

Change and excitement in radioMeanwhile, radio, the mature

medium, is about to go through areincarnation. As was mentioned,the WARC spawned 110kHz of newspectrum for AM. The FCC is busilygrouping and regrouping the posi-tion on the US proposal to changethe AM channel spacing to 9kHz.The NAB has not opposed conver-sion to 9kHz but has recommendeda careful study before any finaldecision. After several months ofcorrespondence with the FCC, NABfinally convinced the commission tocreate a government/industry advis-ory committee on radio. The com-mission just recently amended thecharter of the previous advisorycommittee to become the AdvisoryCommittee on Radio Broadcasting.

At this time, the commission is notsure whether the US proposalcontemplates a maximum frequencyshift of 4kHz or 9kHz if theconversion of 9kHz spacing is made.The International Frequency Regis-tration Board (IFRB) needs to knowwhat the proposal is so it can makethe study promised for the Novem-ber 1981 meeting of the Region 2Administrative Radio Conference. Atthis point 9kHz for Region 2 isuncertain.

9kHz or not, stereophonic trans-mission for AM broadcasting iscompatible. NAB has been a strongsupporter of AM stereo for anumber of years and recentlyadopted a position in favor ofadopting a single technical stan-dard instead of a marketplacechoice. We have offered to coordi-nate the latest round of tests,required by the commission toprovide uniform data for the com-mission to analyze and help reach afinal decision. We think we can seethe light at the end of the tunnel forAM stereo and hope it isn't anothertrain.

FM radio is anything but stag-nant. Because of its phenomenalgrowth in listenership, FM is nowformidable competition for AM. TheFCC is also looking for ways toincrease the number of FM stationsthrough changes in the technicalrules. The technique includes Class

A's on B and C channels, reducedmileage spacing and new classes:B1 and Cl. Also, the NationalTelecommunications and InformationAdministration has suggested theuse of terrain shielding and direc-tional antennas for FM, as well asreduced frequency spacing andstandards for receivers. Whetheryou look at these ideas as a threator an opportunity, the 1980s will bea period of controversy.

And FM quad? The commissionhas a pending rulemaking lookingtoward adopting the 4-4-4/4-3-4methods of transmitting discretequad and toward a hands-off posi-tion on matrix quad. It is likely thatthis proceeding will be final withina year.

For both AM and FM radio, the'80s will bring a strong involvementwith satellites. Because of thegeneral equating of high qualitysound with stereo, expect a fullconversion of the major networksand several new networks to highfidelity stereo sound. Since the be-ginning of television, radio networkshave changed from full entertain-ment to almost exclusively news andinformation. In the '80s, however,the satellite full fidelity stereocapability will naturally inspire mu-sic networks much like the syndi-cated programming now bicycled bytape. Expect to see beautiful music,country, rock and classical musicstereo networks. Markets that can-not now support a full-time locallyprogrammed classical music stationwould easily be able to adopt theformat through affiliation with asatellite network. Live broadcasts ofmusic festivals, rock concerts andother special performances andevents from around the world willbe heard in stereo and quad.Networks will use transportableuplinks at the originating locationand the majority of radio stationswill have satellite earth terminalspermanently set up for their net-work connection. Radio in the '80swill be an exciting and dynamicentertainment form.

The excitement in our industrycontinues to be inspired by the workof the scientists, engineers andtechnicians who are continuallyinventing, designing and implement-ing new methods of communicatingwith large numbers of people. Andregardless of the other forms ofelectronic mass communication thatmay be born, both radio andtelevision continue to be vital andexciting to the people in our own

industry and to the millions ofpeople around the world who de-pend on us for information andentertainment in their daily lives. 0



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Update 1981

Network TV: The mainmass -audience mediumBy Fred Silverman, president and chief executive officer, NBC, New York

Excerpted from remarks presentedto the Hollywood Radio andTelevision Society, September 9.Used with permission of NBC.

Leaders of the production corn-munity share a common goal, tosupply television with information,education and entertainment-thebest programs combine all three.

We do have much in common.Sometimes it takes adversity, likethe screen actors' strike, to remindus just how much we do share.

The strike has been hard on all ofus, the negotiation tough. But itturns on something we've all seenbefore here in Hollywood.

In the current strike, the artistsare thinking of money-the moneythey think will flow from the millionsof people who will see their work inthe new arenas opening in ourbusiness-cable, pay television, vid-eocassettes, videodiscs. They arethinking of more money for moreexposure. Theirs is a simple, butmistaken, premise.

Home videoLike so many people in the

industry, they see a bottomless potof gold at the end of the rainbowthat's called the home video revolu-tion.

Rainbows with pots of gold aremake-believe. Make-believe is muchof our business. But, for the sake oflong and prosperous lives ahead forall of us, make-believe is not, andcannot be, the way we do business.

I want to shed more light on that

rainbow. As rainbows must, it willfade away, along with this assump-tion about the so-called home videorevolution: that it will open up vastnew markets for programming andproduction and that this will makethe studios and soundstages lessand less dependent on broadcastand network television for theirbusiness.

For all of our sakes, I want to bevery clear about the double strandsof that assumption. So let me repeatthem. One: the expansion of videomarkets will yield endless access toinfinite wealth and programmingopportunities. Two: studios andproducers will need broadcast andnetwork television less and less-less, in fact, than the broadcastersneed the Hollywood suppliers; it willbe a seller's market.

Quite simply, the two assumptionsare false.

First, there are very real limits tothe opportunities for wealth formost producers from the new videomarkets, be they cable, pay televi-sion, videocassettes or videodiscs.

And second, broadcast television,especially the networks, will contin-ue to be your major customer andthe primary outlet for originalprogramming. There will be change.But there is no revolution. There isno rainbow. There is no bottomlesspot of gold.

The realitiesInstead of chasing fantasy, we

would all be better served bylearning how to work together in thenew reality of our industry.

What is the new reality? Well, itis not quite what some of theJeremiahs of journalism would haveus believe with their gloom -and -doom predictions for broadcast tele-vision and the networks. In fact, thenew reality is a lot like the oldreality.

Fred Silverman

NBC's own corporate planners, aswell as many people in the cablebusiness, believe that the new videodelivery systems will not replacefree broadcast television. They willcomplement it. Broadcast television,especially the networks, will contin-ue as the leading home entertain-ment service.

However, with the increasedavailability of satellite distribution,increased financial investment bymajor companies and the FCC'sderegulation of cable, there is noquestion the new video deliverysystems will enjoy larger slices ofthe home video pie. And morepower to them.

The point is that the pie isgrowing larger and larger all thetime. And the largest slice of thatpie will continue to belong tobroadcast television-at least forthe next decade and likely longer. Inabsolute numbers, our audience willbe larger than it is today. Betweennow and 1990 television homes willgrow by about 20%, and totalnetwork viewing hours will increaseby about 80/0. Network televisionwill remain the mass audiencemedium.

This growth that we see aheadfor network television is not bluesky or wishful thinking. It's soundanalysis. Indeed, we've made somehighly optimistic projections for ourcompetitors over the next decade-total cable penetration at 500/0, paycable at 350/o, subscription televi-sion at 80/o, videocassette at 170/0,videodiscs at 280/0.

Even with these assumptions, theeffect on network television's mar-ket share will be slight. Networktelevision will continue to be as it istoday, the largest deliverer of massnational audience by far. We willstill be the only home video mediumcapable of reaching 1000/o of theviewing public day in and day out


The PoweiN Paradox:The AC power your computer needs in order to operate is also amajor cause of computer error, malfunction and damage.

The computers that control youroperations (and therefore yourprofits) are designed to operate froma clean, steady supply of ac power.

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In fact, the U.S. Department ofCommerce states that "if acomputer's voltage exceeds 120% [ofthe rated voltage] for a duration asshort as 1 to 10 milliseconds, thecomputer will make errors."'Unfortunately, interruptions anddisturbances of this nature arecommonplace occurrences withinmost computer facilities.

A comprehensive study of powerline disturbances which affectsensitive computerized equipmentwas conducted by two IBMresearchers. They concluded thatsuch disturbances occur on an

average of 128 times each month.,For users of computer -basedequipment, power disturbances canand do create a variety of costlyproblems.

Effects upon dataprocessing computers.

When these power disturbancesoccur in your data processing centerthey can cause entry errors, programchanges or loss, head crash, data loss,the generation of false or garbleddata, the need to rerun programs,and computer downtime.

Effects upon computerizedprocess control equipment.

Process control equipment is alsovulnerable to power disturbances.Common problems created by these

References:1. U.S. Department of Commerce, "The Effects of Electrical Power Variation Upon Computers: an Overview."

2. George W. Allen and Donald Segall, IBM Systems Development Div., "Monitoring of Computer Installations for

Power Line Disturbances," presented to the IEEE Power Engineering Society.

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disturbances include improper batchtermination and even programchanges. The program changes canresult in the repetition of processerrors and in downtime whileequipment is being reprogrammed.

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NBC: network TV

10 years from today. We willcontinue to receive the vast majorityof national television advertisingdollars. And those dollars, inciden-tally, are growing. And with thosedollars we will continue to supportthe large volume of expensive,quality programming that is the lifeblood of your business and mine.

I am not suggesting that some ofthe other video services won't havesubstantial revenues from monthlysubscription charges, and in thecase of videodisc and cassette, fromthe direct sale of their products. Iam suggesting, however, that thedollars they will spend with you onthe kinds of programs you producewill be small in comparison to whatnetwork television will spend onprogramming. Let me explain way.

Many of the new services aredesigned to serve highly targetedaudiences and will add diversity tothe medium. However, those audi-ences will clearly not yield thevolume revenues which supportyour kind of mass appeal program-ming. A few of the new services, ofcourse, will try to program forlarger audiences, some of pay cableand videodiscs, for example. Theirability to tap those larger audienceswill be constrained, however, by thenumber of homes they can reach.

Penetration isn't the only problem.Most of the new services also haveproblems because of the way theymust commit their revenues. By andlarge, the new delivery systems areeither hardware intensive industriesor have heavy overhead costs. Thebulk of their revenues must be spenton equipment purchase, installationand maintenance, customer billingand transmission costs. Videodiscand videocassette have manufactur-ing and marketing costs to contendwith. All of these factors willfurther reduce the dollars they haveavailable for original program pur-chases.

These new systems simply will nothave the 600/0 of their revenuesavailable to spend on original pro-gramming-as the networks do.Basic cable, for example, as agroup will be able to spend only100/0 of their revenues on originalprogramming. Even the pay cableoperators, who will have the largestrelative program budgets of thesenew services, as a group shouldhave available only one -sixth thedollars which all commercial televi-sion will have to spend in 1990.

The revenues that will be flowingto the production community fromthe new distribution systems will not

be all new dollars. What is added toyour revenues from the new systemsmay be subtracted from the amountof revenue you receive from broad-casters.

For example, pay cable has builtitself almost entirely as a mediumfor premium movies. The movieproducers' dream is to greatlyaugment revenues from those moviesby licensing them first to pay cable,and then to the networks. But withthe growth of pay cable, thepotential network audience for thosemovies will be continually reduced.And the networks are not going tocontinue to pay top dollar for thosefilms when they come around to us.Producers reaching into this partic-ular pot of gold may very quicklyscrape their knuckles. Sports pro-moters who try to sell to both cableand commercial television will facethe same problem. You cannot robPeter to pay Paul.

The bottom lineThe bottom line on all this reads

clear to me: the absolute amount ofbroadcast television viewing will beincreasing over the next decade,and so will our advertising reve-nues, which are directed mainlyinto programming. The new distri-bution services will continue toincrease their penetration levels,but not enough to match networktelevision's delivery of the massaudience. And the bulk of revenuesgained by the many new serviceswill be directed largely into over-head costs, not into programming.

It all comes down to one singlehard fact-taking new television vs.established television as buyers ofprograms, ABC, CBS and NBC willstill be your best customers.

Our projections show that by 1990network and other sectors of broad-cast television will be spendingnearly twice as much on program-ming as all the major new servicescombined.

The three commercial televisionnetworks with their broad -appealprogramming will continue to be themajor player on the video scene fora long time to come.

It is likely that you will continueto supply the entertainment pro-gramming we need and that ouraudience has come to expect fromus. And we are the only outlet thatcan consistently support your kindof $600,000 -an -hour series program-ming. But there's one hook. In thismarriage of true minds, we betterlearn to live with each other.

The issuesThe secret of success in any

partnership is open, honest discus-

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NBC: network TVsion of the issues before us. I amarguing that there is no rainbow, nopot of gold, not even much revolu-tion in the so-called video technolo-gy revolution. It's really business asusual in the face of some newrealities.

If wealth has its limits in the newservices-and it does-I assure youthat there is also no bottomless potof gold in the commercial networks.This is no leprechaun talking to you.I am a corporate manager of aprofit center-I repeat-profit cen-ter for a major corporation. Thesame thing is true of my counter-parts at the other networks. Un-questionably, our first responsibilityin this business is to the public. Butwe cannot serve the public withoutmaintaining our profit margins.

Those profit margins are nowbeing seriously threatened by theinordinate escalation of programproduction costs. While our reve-nues are increasing, and will contin-ue to increase over the next 10years, our program licensing costshave been rising at a much fasterrate.

Between 1975 and 1978, programlicensing costs for the three net-works have been escalating at a

compound annual rate of over 240/0,outstripping the growth of ourrevenues. And this is occurring at atime when the competition foraudiences by new distribution ser-vices is just beginning to have ameasurable impact.

The problem is a little like the onewe used to have in high schoolalgebra. You remember, if train Aleaves the station traveling 30 milesan hour and train B leaves threehours later traveling 60 miles anhour, how long will it take beforetrain B catches train A.

The problem for us is that ourtrains-revenues and costs-are ona rear -end collision course. I assureyou, I am no Casey Jones. If costsdon't slow down, we'll be forced toswitch to another track. Despite thespeculation in the press, I am notsuicidal. And I don't really thinkyou are either.

You and I can read a ledger aswell as a script. We both know thatprogram costs simply cannot keeprising at the current rate withoutseriously damaging profitability. Weknow, too, there is a limit to whatthe advertisers who support com-mercial television will pay. And,finally, we know that pretty muchall we have is each other. If we atthe networks have trouble support-

ing these cost increases, there is noway in the world that the new videooutlets, with their lesser program-ming budgets, can support them.

I would like us to stay together. Idon't relish being put in the positionof looking for alternative forms ofprogramming simply because someother kind of producer is better attaking care of business. I reallydon't want us at the networks tohave to substitute economy modelprogramming for your quality work.We do not want to cut corners thatwould cheat our audiences.

I am confident, though, that wewill not have to make those choices.I have faith that the men andwomen of the production communityare wise enough, shrewd enough,efficient enough to bring costs underreasonable control, like any otherbusiness in this country.

There is gold in television, plentyenough goad for all of us, whetherwe're in broadcast, cable, paytelevision, cassette, disc or in pro-gram supply. But it's not gold wewill find at the end of a rainbow. Itis gold we will earn by work,imagination, energy and, perhapsmost crucially, by mutual concernand support. That's how it must bedone. That's how we will doit -together .

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Update 1981

National Public Radio:surging aheadBy Richard Cassidy, director of engineering, andJohn Kean, senior engineer, National Public Radio, Washington, DC

Broadcast technology is undergo-ing dramatic growth, and NationalPublic Radio (NPR) is especiallyinterested in applying this technolo-gy in support of diversified, high -quality radio that will be of maxi-mum benefit to the public. Discussedhere is some of the new technology,but more important, its value toinformation, entertainment, culturaland special -interest programs in thepublic radio system will be demon-strated.

NPR's satellite interconnectThe greatest technical develop-

ment in public radio in recent yearsis the satellite interconnection sys-tem. This multi -channel network of17 regional uplinks and 219 down-links is increasing specialized andregional distribution of programs, isallowing more public radio stationsto become members and is makingsignificant improvements in programaudio quality delivered to the listen-ing public.

Since the early planning phase ofthe public radio satellite system, itwas expected that the system ofearth terminals and satellite chan-nels would be used to distributeprograms produced by stations,independent producers and syndica-tors, and offered directly to publicradio stations for their own selec-tion.

17 satellite uplinks make up theNPR interconnection system, includ-ing NPR's Main Origination Termi-nal in Washington, DC. They areassociated with these stations in thefollowing cities:KUOW SeattleKCUR Kansas City, MOWBEZ ChicagoKSJN St. PaulWNYC New York

WABEKUSCKQEDKCFRWGUCWOIWKARWLTRWGBHKUTWFSU

Eachmittingaudio channels to all other stationsin the system, making these regionaluplinks individual networks. This isa big change from the days of NPR'sland -line interconnect, when pro-grams of a timely nature had tocompete for the time and equipmentof a single 5kHz audio circuit.

AtlantaLos AngelesSan FranciscoDenverCincinnatiAmes, IAEast Lansing, MIColumbia, SCBostonAustinTallahassee.uplink is capable of trans -at least two high-fidelity

Public benefitsWhat does regional uplinking

mean for the listening public? Itmeans increased variety and techni-cal quality of programs. For exam-ple, many live pickups of newsevents, concerts and music ordrama festivals are carried regular-ly via satellite. A number of stationshave built sophisticated productionstudio complexes, and some havebuilt remote vans to go on locationfor live broadcasts. We can expectto see the number of high -qualityremote facilities grow as producerstake advantage of the nationaldistribution capabilities of the satel-lite system.

In the past year alone theintroduction of many national cul-tural events via network radio,including the San Francisco Opera,Minnesota Orchestra, Vienna StateOpera and the Cincinnati Symphony,among others, have occurred. Inter-national live stereo broadcasts in-

cluded ones from London's RoyalAlbert Hall and from Brussels.

Although the technical quality ofcultural and entertainment trans-missions has been high, it has oftenbeen limited by the performance ofterrestrial interconnections from theremote location to the nearest NPRuplink. To resolve these problems,some NPR stations use Dolby A ordbx compandors to improve thesignal-to-noise ratio of a telephonecircuit to the nearest uplink. Still,circuit availability and quality prob-lems not solved by noise reductionpersist. NPR is currently examiningsolutions to these first mile prob-lems, including digital program mo-dems on T -carrier facilities, devel-opment of high -quality RPU (remotepickup) equipment and deploymentof portable satellite uplinks that canbe taken to the point of organiza-tion.

Portable uplinks have alreadybeen tested in several broadcaststhis year. Minnesota Public Radioand KUSC, Los Angeles, success-fully transmitted several concertslive from the Aspen Music Festivalin August using a portable 4.5muplink provided by the Public Ser-vice Satellite Consortium. NPR cov-erage of Republican and Democraticnational conventions was alsobeamed via satellite using a Satel-link transportable terminal. Theeventual system being plannedwould be dismantled, packed,shipped by air freight to anotherplace and set up by two technicians.Because of Westar I's large "foot-print" for receiving and retransmis-sion, uplinking will be possible fromanywhere in the 48 mainland statesto the entire NPR system.

Growth in NPR stationsThe 239 member stations of the

public radio system are capable ofbringing public radio services toabout 650/0 of the US population.Ideally, NPR would like to reach thepublic with an eventual network ofpublic radio stations sustaining atleast the minimum requirements of aclearly receivable 18 hours a day ofpublic radio services, providing1000/0 of the population with theopportunity to hear public radio andoffering the majority of Americans asimultaneous variety of public radioprograms from which to choose.Realistically, in the next five years,NPR will be aiming to reach about90% of the population and to offeraudiences in the top 100 radiomarkets possibly two or three publicservices.

Noncommercial radio limitedThe expansion of public radio in


NPR: surging ahead

larger markets has already beenseverely hindered as a result ofhaphazard assignments of frequen-cies reserved for noncommercialradio. Many significant populationcenters are prevented from obtain-ing adequate public radio service inthe noncommercial portion of theFM band. The top three marketsillustrate the problem: in New York,Los Angeles and Chicago, publicradio stations cannot serve theirentire metropolitan area with an

adequate signal.Since broadcasting's beginnings in

the 1920s, legislative attempts tosecure reservations for noncommer-cial stations in the AM spectrumhave failed, with predictable re-sults. To this day there are no suchreservations, and only about 25noncommercial AM stations in thecountry remain, compared withmore than 4500 commercial AMstations.

In its comments to the FCC on aproposed Table of Assignments forthe noncommercial portion of theFM band, NPR suggested the follow-ing priorities for matching available

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frequencies with system expansionpriorities:

1. One channel for high-poweredstations for each of the top 100markets.

2. One service for every part ofthe United States.

3. A second channel for high-powered stations for each of the top70 markets.

4. A second service for every partof the United States.

5. A local transmission service forevery city with a population inexcess of 100,000.

NPR will also be looking formethods of combining satellite cap-abilities with nonbroadcast car-riage, retaining to the greatestextent possible the integrity of localbroadcast services. Some alterna-tives for delivery of public radioservices might include the low -pow-er unattended transmitters or cableFM signals where local radio ser-vice is not possible, either fortechnical or economic reasons. NPRwill also explore contractual possi-bilities whereby existing local ser-vices have priority or programmingcontrol or both over services bysecondary distribution. For example,should NPR have a satellite channelfully programmed for off -air recep-tion and retransmission, it would beimportant to existing public radiostations and their audiences thatthe additional signal not duplicateexisting services in a given market.

Public radio in new formsUpstaged for years by the school

slide projector or TV, radio produc-tion is once again earning a place inthe classroom as an effective teach-ing medium. Drawing on the re-sources of NPR's news, publicaffairs and cultural production, theEducation Services staff is assem-bling programs, often with print orvisual texts, as background materialfor educators. The development of ateacher's guide and audiodisc onthe SALT II issue, the marketing ofa multi -media package on WilliamShakespeare, and the developmentof a minidocumentary recording onthe Afghan crisis mailed to 14,000teachers are examples of NPRprograms reaching beyond the gen-eral radio audience. In the futureincreasing use of public radio ma-terial will be seen in the communitylibrary, the local school district,museums, hospitals, junior collegesand universities.

Extension of programs for specialgroups is most evident in the NPRnational print -handicapped service.This service extends to about 50Radio Information Services, the ma-jority of which are on the SCAsCircle (44) on Reply Card


(subcarrier broadcasting) of publicFM stations. Present programmingincludes information of interest tothe print -handicapped, includingdaily reading of the New YorkTimes and Wall Street Journal livefrom New York.

SCAs offer new distribution pos-sibilities in a world of crowded RFspectra and growing needs forspecialized programming. SCA isnow being combined with computersso that data transmission, facsimileand even audio/slow-speed videoservices are possible.

NPR supports development of SCAfor community services. To thatend, it operates the SCA MobileLaboratory to improve SCA trans-mission quality and spur technologyin this area. Through good planningand engineering. SCA can become aresource for the public radio stationthat wants to be a complete radio/audio community information center.

Audio quality in the '80sBroadcast audio quality is an

issue that deserves great attentionin the '80s, and NPR will continue topromote it actively. Several factshave led NPR to its position:

1. After several years of work,NPR has developed a satellite distri-bution system with high audioquality. It is an analog FM system,but various techniques (thresholdextension, companded processing,low -distortion demodulators) used inthe design give audio performancethat rivals some digital audio sys-tems, including greater than 70dBdynamic range, less than 0.10/0THD, negligible noise -reduction side -effects and precise channel match-ing.

New standards of audio qualityare continually being reached inconsumer equipment. The use ofdigital and direct record mastering,noise reduction systems, metal cas-sette tape and PCM audio recordersare exposing the public to ever -high-er fidelity.

2. Although some public radiostations have built (or are planning)admirable production and broadcastfacilities using the finest equipment,many stations have limited funds toupgrade their station equipment.Improving processing and modula-tion equipment often must take alower priority to other neededequipment, such as tape recorders,consoles and turntables.

3. There are a lot of audioprocessors for FM, but many aredesigned for battle in the commer-cial "loudness race." Thus, one maypay for capabilities not neededwhen good dynamic range and

minimal processing effects are de-sired. On the other hand, havingeffective modulation capability ismade difficult by the strict modula-tion limit imposed by FCC rules.

NPR hopes to relieve this complexsituation for broadcast audio inseveral ways: to encourage discussion by NPRand member station engineers onimportant topics, through its techni-cal newsletter Engineering Update; to provide a forum on broadcastaudio quality as a regular part ofthe Public Radio Conference, tocompare ideas, uses and perfor-mance of new and old broadcast

audio equipment; and to advocate, on behalf of itsmember stations, standards, proce-dures and funding that uphold highbroadcast standards, for instance,avoidance of composite clipping,desirable processing for varioustypes of programs and SCA trans-mission performance.

NPR thinks public radio muststand behind these ideals of quality.After all, sound is our first, last andonly product. How the public per-ceives us in this age of high fidelitywill determine whether we gainlisteners and their respect as amedium for listening enjoyment.

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feedbackAddendum to "Worldwide Color TVStandards: Similarities and Differ-ences." The paper by Pritchard andGibson, published in the August andSeptember issues of BE on the NTSC,PAL and SECAM color televisionstandards and their many variants hasreceived many favorable comments.The following letter is by MichaelRobin, Studio Systems Department,Engineering Headquarters, CanadianBroadcasting Corporation, 7925 CoteSt., Luc Road, Montreal, P.Q. H4W1R5, Canada. It points out that thisarticle could be enhanced with someadditional comments. With approval ofone of the authors (Pritchard) and withpermission from the SMPTE, thefollowing letter is offered.

I read with interest the articleWorldwide Color Television Stan-dards Similarities and Differences,*by D. H. Pritchard and J. J. Gibson.I would like to point out a fewstatements in this article that couldbe interpreted as inaccuracies.

August, p. 50 col. 3: "The conceptof providing horizontal interlace forreducing the visibility of the colorsubcarrier(s) is followed in allapproaches." This is true for NTSCand PAL but is untrue for SECAMbecause of the frequency modulationof the subcarriers. Various at -

0M

tempts, detailed elsewhere in thearticle (see September, p. 117, col.1, last paragraph) have been madeto achieve reduced subcarrier visi-bility. There is, however, no lumi-nance/chrominance interlace inSECAM, except when there is nochrominance information and thesubcarriers are at rest.

August, p. 51, paragraph 1:"simple PAL" and "standard PAL"are mentioned at the end of thisparagraph. Standard PAL (actuallyPAL -Delay line or PAL -Deluxe) asopposed to PAL -Simple is just an-other way of decoding the PALsignal. The impression is given thatthere are two PAL systems, namely:PAL -Simple and PAL -Standard. Re-gardless of the transmission stan-dards (PAL -I, PAL -B, PAL -G, PAL-M, or PAL -N) there is only onemethod of PAL color encodingcommon to all standards. Hence thestatement "The standard PAL sys-tem has been adopted by numerouscountries..." may be misleading.The countries adopt the transmis-sion standard; manufacturerschoose the decoding method bestsuited for the price category of theirproducts.

August, p. 53, col. 2, followingequation (2): It should be pointedout that, strictly speaking, the I and

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September, p. 44, col. 2, para-graph 3: With regard to the"wideband systems available inFrance and the USSR," it is worthmentioning that the same SECAMsignals are used in East Germany,Egypt, Greece, Lebanon, etc., whichuse the "narrowband" B, G, sys-tems.

With regard to the next para-graph, it should be pointed out thatSECAM is a color encoding systemthat can be used with any transmis-sion standard. The method of soundtransmission is specified by thetransmission standard and not thecolor encoding standard. The follow-ing three are examples:

1. France uses the L system forits 625 -line, SECAM-encoded trans-missions. System L specifies an8MHz transmission channel, AMsound, positive picture carrier mod-ulation, 6.5MHz intercarrier spac-ing.

2. East Germany, Greece, Egypt,Lebanon, etc., use the B systemwith their 625 -line SECAM-encodedtransmissions on VHF. System Bspecifies a 7MHz transmission chan-nel, FM sound, negative picturecarrier modulation, 5.5MHz inter-

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carrier spacing. On UHF, thesecountries use the G system, which isidentical to the B system, exceptthat it is transmitted in an 8MHzchannel.

3. The Soviet Union, Poland,Czechoslovakia, Hungary and Bul-garia used the D system for their625 -line SECAM-encoded transmis-sion on VHF. System D specifies an8MHz transmission channel, FMsound, negative picture modulationand 6.5MHz intercarrier spacing.System K, identical to system D, isused for UHF transmissions.

Hence, it is erroneous to implythat for the transmission of soundSECAM employs amplitude modula-tion only.

September, p. 46, Fig. 18: Withregard to L III SECAM, the followingshould be kept in mind: L is atransmission system and III refers tothe third chronological version ofthe SECAM color encoding system.As a matter of fact, since it wasfirst conceived in the 1950s, theSECAM concept has undergone thefolowing changes: SECAM I, linesequential AM modulation of asingle subcarrier. This was droppedbecause of poor compatibility;SECAM II, line sequential FM modu-lation of a single subcarrier. Thiswas dropped because of poor com-patibility; and SECAM III, linesequential FM modulation of twosubcarriers.

SECAM 'lib, also called optimized,is the same as SECAM III butwith the addition of high frequencysubcarrier pre -emphasis (BELL) andperiodic phase change of the unde-viated subcarrier frequencies in aneffort to improve the compatibility.This latter version is now known asSECAM (no suffix).

In addition, there are two types ofSECAM decoding methods (not un-like PAL with PAL -D and PAL -S).They are as follows:

SECAM V, where the line switch-ing sequence synchronizing signal isderived from the identification sig-nals transmitted during the verticalblanking interval. This method isslowly becoming obsolete, especiallyin countries using negative modula-tion, because of its susceptibility tonoise and, hence, the possibleoccurrence of full wrong colorfields.

SECAM H, where the line switch-ing synchronizing signal is derivedfrom the nondeviated subcarrierpresent on the horizontal backporch. This method allows a line byline correction, (as opposed to afield by field correction as inSECAM V) and is favored by the



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newcomers to the SECAM worldwho all use negative modulation.

With regard to the chrominancebandwidth in the system identifiedas L III SECAM in Fig. 18, thefollowing applies: The chrominancebandwidths shown are apparentlynot intended for accurate frequencyscaling purposes. Essentially theSECAM chrominance information iscontained in a spectrum extendingfrom 3.9 to 4.8MHz, as a result ofclipping of the color differencesignals after pre -emphasis and priorto frequency modulation of therespective carriers. (See also Fig.24 under SECAM chroma and burstsdeviation). This explains whySECAM can be transmitted in 5MHzsystems like B and G withoutdifficulty.

September, p. 46, Fig. 19: The"N" in this figure is not an NTSCstandard, but rather it is a 625 -line,50Hz standard with reduced lumi-nance bandwidth (4.2MHz) trans-mitted in 6MHz channel conformingto the practice used on the Ameri-can continents. (See page 48, topparagraph.)

September, p. 48, Fig. 21: The"E" in this figure is not a SECAM E

system. System E is a monochrome819 -line, 50Hz standard transmittedin a 14MHz channel. It happens tobe used in France where theSECAM encoding system was in-vented.

Perhaps it is not accurate to notein Fig. 21 and in text on page 52,column 3, that this system isbecoming extinct; it is radiated bysome 1200 transmitters in the VHFbands I and II and carries the mainFrench program, but in monochromebecause of lack of compatibility withSECAM. Its extinction is still far inthe future when the third UHF625 -line network will achieve fullcountry coverage.

The "L" (III) in Fig. 21 is not asystem, as explained earlier. Fur-thermore, Russia and other EastEuropean countries are standard"D" on VHF and standard "K" onUHF. Both standards use negativemodulation and FM sound.

September, p. 48, point (4):"Some systems use positive polarity(luminance proportional to voltage)modulation of the video carrier..."Now, positive modulation is general-ly defined as occurring when theamplitude of the modulation enve-lope of the radiated picture carrierincreases with increasing light inthe scene before the camera.

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September, p. 48, Fig. 22. In thisfigure, as well as in the text,mention is made of "sound carrierfrequency" in megahertz. I believethat what the authors mean is"sound carrier to picture carrierspacing" in megahertz. All of themegahertz frequency values shownin Fig. 22 refer, of course, tobaseband values (spacing in the RFdomain).

September, p. 52, bottom of page.I don't know of any televisioncamera chains manufactured tooperate at "625 lines and 48 -fieldrate..." Rather, the Europeans oper-ate their telecine chains slightlyfaster, at a 50 -fields rate, andaccept the associated 40/0 soundpitch change and movement acceler-ation as inherent and generallyunnoticeable.

(With regard to this point, thefollowing authors' comment wasreceived: "In the US users oftelevision -to -film conversion systemshave modified broadcast camerasby replacing the conventional stan-dard sync generator with a specialsync generator chip to operate at655 lines, 48 fields. Note that 655lines is correct, not 625, as errone-ously given. Europeans operate theirtelecine chains with another tech-nique, as stated by Robin.)

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Color monitorA high line -rate color monitor

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Pacific Recorders & Engineering Corporation11100 Roselle Street, San Diego, California 92121 714) 453-3255

ERRE


New products

over a dynamic range of 40dB,Bright-VUs have the range andaccuracy to meet the requirementsof broadcasters and recording engi-

neers. Bright -VU displays arestocked in mono and stereo models.


Ultra -IsolatorsTopaz Electronics has introduced

its series of enhanced Ultra -Isola-tors. These new noise suppressorsfeature UL listed models, low coup-ling capacitance and guaranteednoise -free power output. They pro-vide considerably better perfor-mance than any of the earlier TopazUltra -Isolators and yet they are

GORILLAS BEWARE!Teatronics' new heavy-duty, low-cost stage -lighting dimmer -packs for portable or fixed installations are rackmountable,

light weight with heavy-duty RFI filtering, overvoltage andshortcircuit protected (you can even "hot patch"), remotecontrollable via inexpensive compact 8 to 32 channel con-solettes with A -B & X -Y mastering, pile -on, 2 -scene preset,

blackout and computer controllable via Teatronics' Datacue.Some dealer territories open for these rugged, "gorilla -proof"

state-of-the-art stage and studio lighting systems.

ExclusiveDistributor to the video world.

telaudio centreP.O. BOX 921 BEVERLY HILLS

CA 90213 2131 276-2726


Wasted

STACKEDVTRsFor easy

operating

access!

The console holds all sizes of 3/4" VTR equipment. An ideal setup for videotapeduplicating. Shelves adjust on 1" increments. Sliding pullout shelves pluscaster -mounted mobility for easy maintenance and total access to VTR s. Stackup to 5 VTR drawers on a single console. For full -line catalog of videoconsoles, tape and film trucks, film and videotape storage systems,call toll -free or write:

THE WINSTEO CORPORATION 8127 Pleasant Ave. So., Minneapolis, MN 55420(612) 888 1951 Toll Free Number- (800) 328-2962

Winsted

priced approximately 600/0 less,according to the manufacturer. Ad-ditional protection from transientnoise is provided by solid-statelimiters set to clip any voltageexceeding the peak level of135VRMS.


Antenna rangeScientific-Atlanta has introduced

model 5752 compact millimeter an-tenna range. Operating in thefrequency range between 4 and60GHz, this product extends thecompact range capability into themillimeter frequency region. Eightyears of compact range productionexperience have allowed the compa-ny to develop techniques that yielda reflector of sufficient quality tooperate in the millimeter region.


LPRECISION

0MAGNETIC

TEST TAPES

STANDARD TAPE LABORATORY, INC.26120 EDEN LANDING ROAD *5 HAYWARD. CALIFORNIA 94545 14151 786-3546



MORE BANGFOR THE BUCK

FROM UTAH SCIENTIFIC

CSP-1605 FIVE -BUS ALPHANUMERIC PARTY LINE CONTROLAR - $1,700

The CSP-1605 panel is one of a new series of routing switch2r controllers fromUtah Scientific. Each of these new models features alphanumeric Preset/Statusdisplays with up to 1600 assignable name/number combinations to let youroperator address sources by their actual name - VT 14, CM 3, etc.

The CSP-1605 model pictured here can control five matrix busses and providescurrent status readout instantaneously as busses are addressed. Input selectionis made by either one, two, or three keystrokes. Separate audio switchingand statusing is standard and, as with all Utah Scientific party line panels,connection to the matrix is via a single coax.

ALPHANUMERIC DISPLAY - 1600 NAME/NUMBER - SINGLE 'COAX CONNECTION

TRY THAT ON YOUR GRASCOMFERNSAMDYNATEK SWITCHER!

"gy.j4S-IJTFII-1 sciErs 7"/FlaTHE ROUTING SWITCHER COMPANY

2276 So. 2700 W. Salt Lake City, UT Phone 801-973-6840TWX #910-925.4037


business newsITA board elected

Six new directors were elected tothe board of ITA at the association'sannual membership meeting in NewYork City, October 21. ITA alsovoted to amend its corporate nameto International Tape/Disc Associa-tion Inc. but to continue using ITAas its initials.

The new board, which met im-mediately following the membershipmeeting, then elected a slate of newofficers to serve for the comingyear.

Elected as members of the boardwere: Maria Curry, Agfa-Gevaert;James Jimirro, Walt Disney Telecom-munications; Al Markim, VideoCorp. of America; Al Pepper, Memo-rex; Robert Whitehouse, Sharp Elec-tronics; and Larry Trerotola, E.I.DuPont.

The newly elected officers are:chairman of the board, Irwin Tarr,Matsushita Electric Corp. of Ameri-ca; vice chairman, Ed Khoury,Capitol Magnetics; president, SamBurger, CBS Columbia Records;senior vice president, John Povolny,3M; vice president, planning, Gor-

don Bricker, RCA "SelectaVision"Videodiscs; east coast vice presi-dent, K. T. Tsunoda, Sony VideoProducts Co.; midwest vice presi-dent, Anthony A. Mirabelli, QuasarElectronics Co.; west coast vicepresident, Steve Roberts, 20th Cen-tury -Fox; European vice president,Arnold Norregaard, Bellevue Studio,Copenhagen; vice president mem-bership/events, Larry Finley, LarryFinley Associates; secretary, BillOrr, Orrox Corp.; and treasurer,Gerald Citron, Intercontinantal Tele-video.

Henry Brief, who has been serv-ing as ITA's executive director, waselected executive vice president.

Maganavision videodisc playeravailable nationwide

The Magnavision Optical Video-disc Player, from the MagnavoxConsumer Electronics Company,achieved nationwide availabilitywhen it went on sale in thefollowing markets November 9: NewYork, Houston, Philadelphia, NewOrleans, San Francisco, Sacramentoand Baton Rouge. With the addition

of these seven major metropolitanmarkets, Magnavision will be avail-able in 32 cities across the country,including Los Angeles and Chicago.Now 600 Magnavox dealers, with2000 outlets are selling Magnavisionto consumers.

Matsushita licensed to use dbxnoise reduction circuitry

Matsushita Electric Industrial Co.Ltd. has consummated a licensingagreement with dbx Inc., Newton,MA, via dbx's parent companysubsidiary, BSR Japan Ltd., for thedbx tape noise reduction system.Matsushita plans to market its firstproducts employing dbx noise reduc-tion technology under its Technicsbrand name, with initial distributionin Japan followed by worldwidedistribution.

Microdyne to supplyantennas to SSS

Microdyne announced an agree-ment with Satellite Syndicated Sys-tems to supply up to 100 12 -footantennas for use by SPN affiliates.

SSS is the owner of Satellite

Beaveronics, Inc. Write or phone for details.

8 Haven AvenuePort Washington, New York 11050Tel: (516) 883-4414

STUDIO PRODUCTION VIDEO SWITCHING SYSTEMSFOR REMOTE Et SMALLPRODUCTION FACILITIES '11.""MODEL J Et D 712

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busses with cut bar, RGB chroma key

(Also available in PAL and PAL -M versions/

Standard Features 12 inputs including Black -burst and Color

Background Built-in Black Burst Generator

Built-in ColorizerBuilt-in RGB Chroma keyer

Four Switching busses Downstream Preset and Program Busses

with cut bar Rack -mounted electronics Adjustable Soft Wipe Adjustable Border edges Color Matte Vertical Interval switching thru-out Illuminated Momentary Contact push buttons Internal, external, Chroma-key, and matte

inputs to keyer

Built-in pattern modulator with frequencyand amplitude controlsFull Tally

Pattern symmetry control Illuminated Momentary contact push buttons

for effects selection Normal / Reverse/ Normal -reverse wipe transi-

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Prices and Specifications Subject to Change Without Notice.

FOR MODERATE SIZE FACILITIESMODEL B1-154$12,990.00

15 -input, 4 -busmix/eff /key amp with

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FOR SOPHISTICATED FACILITIESMODEL B1-156

$21,795.00


.1,-

All Beaveronics Switching Equipment Carries a Two Year Warranty

104,.;;',..

15 -input, 6 -buswith two full mix/

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options available, DSK, quad. etc.

Master control switchers AFVwith audio breakaway

Routing switchers with AFV

CHECK BEAVERONICS FOR: Specialized custom switchers Selected terminal equipment

OTHER ITEMS AVAILABLE FROM BEAVERONICSFAVAG MASTER CLOCK SYSTEMS

Available with accuracybetter than 1 second/yr.

Electro-Voice'sGreg Silsbytalks about

the Sentry100studio monitor

In all the years I spent in broadcastand related studio production work, mygreatest frustration was the fact that nomanufacturer of loudspeaker systemsseemed to know or care enough aboutthe real needs of broadcasters to designa sensible monitor speaker system thatwas also sensibly priced.Moving to the other side of the con-sole presented a unique opportunity tochange that and E -V was more thanwilling to listen. When I first described toElectro-Voice engineers what I knew theSentry 100 had to be, I felt like the prover-bial "kid in a candy store." I told them thatsize was critical. Because working spacein the broadcast environment is often lim-ited, the Sentry 100 had to fit in a standard19" rack, and it had to fit from the front,not the back. However, the mountinghardware had to be a separate item sothat broadcasters who don't want to rackmount it won't have to pay for the mounting.

The Sentry 100 also had to be very effi-cient as well as very accurate. It had to bedesigned so it could be driven to soundpressure levels a rock'n roll D.J. could behappy with by the low output availablefrom a console's internal monitoramplifier.In the next breath I told them the Sentry100 had to have a tweeter that wouldn'tgo up in smoke the first time someoneaccidentally shifted into fast forward withthe tape heads engaged and the monitoramp on.This meant high -frequency powerhandling capability on the order of five

Production S udo, WRBR-FM, South BencL Indiana.

times that cf conventional high frequencydrivers.Not only did it have to have a 3 -dB -downpoint of 45 Hz, but the Sentry 100'sresponse had to extend to 18,000 Hzwith no more than a 3 -dB variation.

And, since it's just not practical in the realworld for the engineer to be directly on -axis of the tweeter, the Sentry 100 musthave a uniform polar response. Theengineer has to be able to hear exactlythe same sound 30'off-axis as he doesdirectly in front of the system.Since I sell nad the floor, I decided to goall out and cover the nuisance items andother minor requirements that, whenadded together, amounted to a major im-provement in functional monitor design.I wanted the Sentry 100 equipped with ahigh -frequency control that offered boostas well as cut, and it had to be mountedon the front of the loudspeaker where itnot only could be seen but was acces-sible with the grille on or off.

I also didn't feel broadcasters shouldhave to pay for form at the expenseof function, so the walnut hi-fi cabinet wasout. The Sentry 100 had to be attractive,but another furniture -styled cabinet witha fancy polyester or die -cut foam grillewasn't the answer to the broadcast in-dustry's real needs.And for a close I told E -V's enoineersthat a studio had to be able to purchasethe Sentry 100 for essentially the samemoney as the current best-selling monitorsystem.That was well over a year ago. Since thattime I've spent many months listeningcritically to a parade of darn good proto-types, shaking my head and watching

ElectroVoicea quitan company

600 Cecil Street, Buchanan, Michigan 49107

In Canada.Electro-Voice. Div. of Gulton Industries (Canada) Ltd..345 Herbert St.. Gananoque. Ontario K7G 2V1.

some of the world's best speaker engi-neers disappear back into the lab totweak and tune. And, I spent a lot of timeon airplanes heading for places like LosAnge es, Grand Rapids, Charlotte andNewyork City with black boxes under myarm testing our designs on the ears ofbroadcast engineers.The year was both frustrating yet enjoy-able, not just for me but for Ray Newmanand the other E -V engineers who wereworking on this project. At this year'sNAB show it all turned out to be worth it.The Sentry 100's official rollout wasuniversally accepted, and the pair ofSentry 100's at the Electro-Voice boothwas complemented by another 20 Sentry100's used by other manufacturers ex-hibiting their own products at the show.

What it all boiled down to when I firststarted the project was that I knew thatthe Sentry 100's most important char-acteristic had to be sonic integrity. I knewthat i1 I wasn't happy, you wouldn't behappy. I'm happy.

Market Development Manager,Professional Markets


Business news

Program Network. SPN will switchits programming from Satcom I toWestar III this December. To ac-commodate the change, the SPNaffiliates therefore must purchase asecond antenna to view Westar III.

SSS is proposing to the 600 plusSPN affiliates desiring additionalthreshold margins the Microdyne12 -foot antenna as a cost-effectivemeans of expansion.

KLRA soldDallas businessman and broad-

casting executive Philip R. Jonssonhas agreed to purchase Little Rockradio station KLRA for $2.3 millionfrom KLRA Inc.

The transaction, which was an-nounced by Jonsson and Toby Coe,president of KLRA Inc., is subject toapproval by the FCC.

SAECO movesto larger quarters

SAECO, as of October 1, has

When accuracy Counts...Count on Belarfor 1111/FM/TII MONITORS

9 9

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r.

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BELAR CALL ARNO MEYER (215) 687-5550ELECTRONICS LABORATORY, INC.LANCASTER AVENUE AT DORSET, DEVON. PA 19333 BOX 826 i 215) 687-5550


taken over the premises and opera-tions of Medico Electric Labs (MelAudio), one of the oldest distribu-tors in the area.

SAECO will continue to servicethe trade formerly handled by MelAudio, as well as their ownoperations, which is primarily theassembly and export of completebroadcast video and audio systemsworldwide. The products are Am-pex, Conrac, Hitachi, Grass Valley,Tektronix and many others.

Malrite buys KNEWCarl E. Hirsch, president of

Malrite Broadcasting Company, an-nounced the acquisition of KNEWradio, Oakland/San Francisco andthe appointment of Steve Edwardsas general manager.

Edwards comes to KNEW fromKFOG, where he was general man-ager. He is also serving as presidentof the Northern California Broad-casters Association. His previousaffiliations include CBS -TV in LosAngeles and Cox Broadcasting's KFIand KOST Los Angeles, whereEdwards served as general salesmanager.

Continental Electronics,Rockwell conclude sale

Rockwell International Corpora -

FRONTPANELCONNECTORS

Specify Lemo for front panel applicationswhere appearance, ease of connection anddisconnection, ruggedness and miniaturesize are important. Coax and multicontacttypes with 2-18 contactsare available.

Superb design andworkmanship make Lemo

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P 0 BOX 6626, SANTA ROSA, CA 95406 707/523-0600

PROTEGECARRY

SHIPPAMIf you're constantly on themove, with no time forrepairs, a Fiberbilt case orshipping trunk will protectyour equipment and get itthere safely...ready to set upand use. Cases and trunks instock for most A/Vequipment. Send for our"Going Places Cases"Catalog G.

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Shootingin a

Tight Spot?

THE NEWELEVACK CRICKET

FITS INNARROWER SPACES,

TIGHTER CORNERSAND BRINGS YOUCLOSER TO THE ACTION

The CAMERA MART, Inc.456 W. 55 St.

New York, N.Y. 10019(212) 757-6977

Exclusive East Coast Distributor

The new Cricket lets you go whereno dolly has ever been before. Andwork in areas that are inaccessiblefor more conventional equipment.Cricket smoothly elevates any sizecamera-without bumps orvibrations. A new triangular designprevents twisting.Precision roller bearings and anelectric hydro -drive system glide youup or down while you shoot, reachingelevation and stopping softly.Ruggedly built, yet lightweight (only300 lbs.) Cricket has the same wheelconfiguration as the Spider and can

be used with or without dolly track.The Elemack Cricket. One of the

lightest, mostcompact hydraulicdollies available.

Elemack Cricket Accessories:Jonathan Jib Arm, Mini Job Arm, Low Boy forAngle Shots, LS/6B, Track Wheels for Curved

Track Operation.Write for free brochurefor all the details.

ALAN GORDON ENTERPRISES, Inc.1430 N. Cahuenga Blvd.Hollywood, Calif. 90028

(213) 466-3561Exclusive West Coast Distributor



Business news

tion and Continental ElectronicsMfg. Co. jointly announced theyhave concluded sale of Rockwell'sCollins broadcast products businessto Continental.

The sale includes Collins' line ofAM and FM radio transmitters,audio consoles and other relatedradio broadcast equipment.

Datatron reportsrecord earnings

Datatron Inc. reports its net

income for the fiscal year thatended June 30, 1980, as the largestin six years.

Sales for fiscal 1980 were$6,312,439 against $5,058,810 forfiscal 1979. Net income was$574,046 compared to $231,108 atJune 30, 1979.

Per share earnings were $.23 asagainst $.13 for the previous year.

American Research andDevelopment invests in

Image ResourceAmerican Research and Develop-

ment, a division of Textron Inc., has

1" VTR togsRent Hitachi's HR -100 VTR from Miller.It's lighter than you think.

Lighter on youPick up Hitachi's new HR 100 You'll be sur-prised so much 1" video recording reliability(meets SMPTE Type C standards) can bepacked so compactly and weigh so little (lessthan 42 lbs I Rugged enough for location

ENG/EFP use, low -power consumption; in-cludes automatic assemble -edit. video confi-dence, built-in time code generator.

Lighter on your budgetFind out how little it costs to rent a new HitachiHR 100 from Miller - the video specialists

L.MATTHEW MILLER Assoc -Ltd.Ruili.J Suite 1316. 205 East 42nd Street, New York, NY 10011

Telephone: (212) 687-1168 (800) 223-0620, Cable VIDEOUSA Telex 238917

VIDEO EQUIPMENT RENTALS SERVICE/REPAIRS VIDEOTAPE EDITING


The

electronic

graphics

people

CIHNTUIN TELESYS I h MSDIVISION OF CHYRON CORPORATION

265 Bethpage-Spagnoli Road, Melville, New York 11747Telephone: (516) 249-3296 Telex:144522 CHYRON MELVAmpex International is exclusive thstnbutor for Chyron Graphics Systems outside the U S A

joined with a private group to investa sum "...well in excess of $1million" in Image Resource Corpora-tion of Westlake Village, CA. ImageResource's Videoprint System pro-duces hard copy records of colorvideo output.

North Supply announcesdistributor agreement

North Supply Company, Lenexa,KS, has announced the signing of adistributor agreement with UnitedStates Tower Company of Afton,OK. USTC has produced the firstlow-cost efficient spherical satelliteantennas enabling users to receivesignals from as many as 11 satellitessimultaneously with a single anten-na.

Akai America movesAkai America Ltd. moved to a

larger corporate headquarters thatwas specifically designed and builtto meet the present and futuregrowth needs of the company.The new address is 800 WestArtesia Boulevard, Compton, CA90220.

The mailing address continues tobe PO Box 6010, Compton, CA90224. The customer service mailingaddress will remain PO Drawer 13,Compton, CA 90224. 0

New information: The following information updates listings in BroadcastEngineering's 1980 Buyers' Guide issue. Please correct your records.

ATI-Audio Technologies Inc.. 328 W.Maple Ave., Horsham, PA 19044

Ed Mullin (215) 443-0330

REGIONAL SALES CONTACTS:Auchotechniques. 652 Glenbrook Rd.Stamford. CT 06906 (203)359-2312 Mi-chael FaulknerAllied Broadcast Eqpt. 635 South E St.Richmond. IN 4 7374 (317) 962-8596Roy RidgeAVC Systems. Inc 1517 E Lake St Min-neapolis, MN 55407 (612) 729-8305Doug OrdomAudio Distributors. Inc 2342 DivisionAve.. S Grand Rapids. Ml 49507 (616)452-1596 Dave VelsmeAudio Innovators, Inc 5001 Baum Blvd.Pittsburgh, PA 15213 (412) 471.6220Norman J. ClearyAudio Associates. 3130 Chalforte AveBethlehem, PA 18017 (215) 865.6013Art WhileBroadcast Comm Products 8179 SecondAve. Leyden. CO 80401 (303)424.3231Greg PineBroadcast Eqpt & Supply Co.. P 0 Box3141. Bristol. TN 37620 (675) 878-2531 Clifton DrokeCramer Video/Audio Systems. 120Hampton Ave.. Needham, MA 02794(617) 449-2100 Jim RittermanCrouse-Kimzey Co, P.O Box 9830 FtWorth, TX 76107 (800) 433-2105 MarkBradfordBroadcast Supply West. 2711 Locust AveW, Tacoma. WA 98466 (206) 565.2301Bill ColglazierFlanner and Hafoos. 2500 N Mayfair Rd.Milwaukee, WI 53226 (414) 259-9665John LoeperFull Compass Systems, 6719 Seybold Rd.Madison. WI 53779 (608) 271.1100Jonathan LippGray Comm. Consultants, Inc.. 5401Southern Comfort Blvd, Tampa. FL 33674(813) 885-1411 Dave Orient,David Green Broadcast Consultants, P 0Box 590. Leesburg, VA 11075 (703)777-8660 David GreenGuaranteed Radio 1374 Iturbide St. La-redo. TX 78040 (512) 722-3233 Rick

ReyesH.M Holzberg Associates. P 0 Box 321Totowa, NJ 07511 (207)256-0455 HerbHolzbergMidwest Corp . 1011 West 8th St Cincin-nati. OH 45103 (513) 651-1904 JayAdrickNortheast Broadcast Labs. Inc. 15 CharlesSt.. South Glen Falls NY 12807 (578)793-2181 Bill BinghamReflection Audio, Inc. 1078 Central AveCharlotte. NC 18204 (704)375-7053 CalWalkerSinger Products Co Inc 875 MerrickAve. Westbury. NY 11590 (516) 333-2000 John HayesSonics Associates. 237 Oxmoor Circle Bir-mingham. AL 35209 (205) 941-9631Lynn McCroskeySound Solutions. Inc . 7647 79 Mile RdSterling Hgts . MI 48078 (313) 739-7020Dave HillWestec A/V. Inc. 1841 Broadway. NewYork. NY 10023 (212) 586-7662 RichardMaitlandWestlake Audio, 637 I Wilshire Blvd

. LosAngeles. CA 90048 (213) 655.0303 CJFlynnVViltromx, Inc 16850 Oakmont AveWashington Grove. MD 10880 (301)258-7676 Dwight WilcoxLinrose Electronics. 12132 Colwick SanAntonio, TX 78216 1512) 341-8849Toby Tobias

Audiomedia Associates. P 0 Box 29264New Orleans. LA 70189 (504) 586-0140Corey Meyer

JNS Electronic Industries, P 0 Box 85,Rosanna, Victoria 3084 Australia 439-1430 John N Stannard

Beyer Dynamic, Inc., 5-05 Burns Ave.Hicksville, NY 11801

Norm Wieland 1516) 935-8000Bird Electronic Corp.. 30303 Aurora

Rd., Cleveland, Ohio 44139Herbert H. Heller (216-248-1200)REGIONAL SALES CONTACTS:Bird Electronic Corp.. 621 W Ojai. Suite FOjai CA 93023 (805) 464.7255 GeorgeChurpeckBird Electronic Corp. 802 Old Hickory Rd.Lancaster. PA 77601 (717) 569.0467



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Send us your

station-to -stationideas. We'll pay you cash

or send you the NABEngineering Handbook.

If your equipment tips orother operating ideas areselected by Broadcast En-gineering to appear in Sta-tion -to -Station, you will re-ceive a $30 minimum pay-ment or a free copy of theprestigious NAB EngineeringHandbook.

The latest Handbook con-tains over 1.000 pages and1,000 illustrations coveringevery aspect of AM, FM andTV operation and mainte-nance: recommended proce-dures, fundamentals, stan-dards, rules and how-to in-structions.

Station -to -Station affordsyou an opportunity to shareyour expertise with readersthroughout the industry: howyou solved a nagging tech-nical or production problem,modified a circuit for moreflexibility, redesigned astudio or facility, developednew test procedures or em-ployed an operating idea tosave time and money. Bysharing your knowledge,you'll share in the wealth ofinformation contained in theHandbook.

Send your items to: Sta-tion -to -Station editor, Broad-cast Engineering. P.O. Box12901. Overland Park, KS66212. Please indicate if youwant to receive the Handbookor prefer to receive a check.

The Handbook can also bepurchased directly from theNAB at $40 a copy for NABmembers and $80 a copy fornon-members. Write to: Sta-tion Services Dept., NAB,1771 N Street, N.W., Wash-ington, D.C. 20036.

peoplein the newsDr. Vladimir Kosma Zworykin, 91-year -old TV pioneer,was honored by the Eduard Rhein Foundation ofGermany for his many contributions to "fullyelectronic" television. Eduard Rhein, a Germanwriter, publisher and physicist, personally presentedthe first "Rhein Ring" to Zworykin, honorary RCA vicepresident. Rhein's foundation has established the ringas a "prize of honor" for persons "who have madesignificant contributions to audio-visual techniques."

Cy Leslie, president, CBS Video Enterprises, washonored by New York University with the first"Creative Leadership in Music Business Award" at adinner at the university on November 5.

Larry Kenward has been named chief engineer for theJenel Consultants Corporation of Dallas. Kenward'smajor responsibilities are to design both television andcable studio facilities, as well as develop processcontrol and computer automation systems.

B. J. Jones has been named engineering servicesmanager for the Jenel Consultants Corporation ofDallas. Jones' major responsibilities are mechanicaldesign of both television and cable studio facilities,mobile units and earth stations.

Gilbert R. Kesser, chairman of the board ofMicrotime, has been named president and CEOfollowing the resignation of David E. Acker.

The Oktel Corporation, Campbell,the appointment of Frederick L. Bones as vicepresident and general manager. Bones, formerlygeneral manager for the Broadcast and Communica-tions Division of Marconi Electronics, will beresponsible for the development and direction of allmarketing activities relating to the Oktel line ofmagnetic disc recorders and related products.

David Archer has accepted the position as "TheWorld of People's" technical supervisor at theproduction center in Sausalito. Archer came fromViacom of San Francisco, where he was the chiefengineer.

Panasonic has announced the appointment of TomMizuno as vice president. Mizuno, who will continueto serve as general manager of the Panasonic FinanceDivision, will be responsible for company widefinancial affairs.

Panasonic has announced the appointment of Victor F.loppolo, as vice president of Panasonic West Inc.loppolo has also been elected to the Board ofDirectors of PWI.

Kusuo Hirata was elected chairman of the board ofFuji Photo Film. Hirata had served as president andchief executive officer.

Bernie K. Yasunaga was appointed executive vicepresident of Fuji Photo Film USA, the Americanmarketing arm of Fuji Photo Film Co. Yasunagareplaces Fred M. Nakamura who is returning to Japanto become general manager of the Domestic MarketingDivision.


advertisersindex 0 ADM Technology 3

Ampex Corp. 18-19

Asaca Corp. of America 7

Audio-Technica U.S. Inc. 15

Audio -Video Engineering 62

BTX Corp. 54

Beaveronics 70

Belar Electronics Lab Inc 72

Beston Electronics Inc .62Broadcast Audio Associates.... 75Broadcast Electronics Inc. 9

Canon U.S.A. Inc. 21

Chyron Corp 74

Cinema Products Co 13 International Tapetronics

Composite Video 52

Continental Electronics Mfg. 42, 64Control Video 14

Convergence Corp 39

Cortland Lines 26

Crosspoint Latch 56

Peter W. Dahl IncDatatekDynasciences

48

6353

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Advertising Sales Offices

NEW YORK, NEW YORKJoe Concert, 4 West 58th St.New York, NY 10019,Phone (212) 888-1977

KANSAS CITY, MISSOURIJan Winters, P 0 Box 12901,Overland Park. KS 66212,Phone (913) 888-4664

LOS ANGELES, CALIFORNIAHerbert A Schiff3055 Wilshire Blvd., Suite 630Los Angeles, CA 90010Phone (213) 387-0639

LONDON, ENGLANDJohn Ashcralt 8 Co., 12 Bear St.,Leicester Square, London, WC2H 7AS,England;Phone: 930-0525Telex: 895-2387

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TOKYO, JAPANinternational Media Representatives, Ltd2-29 Toranomon 1-chome, Minato ku,Tokyo 105. Japan,Phone 502-0656

ESE 11

Electro-Voice Inc 71

Fiberbilt 72

John Fluke Mfg. Inc 27

Fuji Photo Film U.S.A. Inc. .. 17

Alan Gordon Enterprises 73

HSC, Inc. 32

Harris Corp. 16

Hitachi Denshi IFC-1

Howe Audio 65

Ikegami Electronics Inc 37, 43Inovonics 79

36

Leitch Video Ltd. 33

Lemo U.S.A. 72

3M Mincom 4-5

McMartin Industries 58

Maxell Corp. 49

Micro Control Assoc 30

L. Matthew Miller Assoc. 74

Modular Audio Assoc 60

O'Connor Engineering Labs 23

One Pass Video 44

Opamp Labs lnc. 79

Pacific RecorderEngineering 67

Panasonic 24-25

Phelps DodgeCommunications IBC

Philips Broadcast Equip 61

Polyline Corp. 48

Potomac Instruments 60

Ramko Research 46-47

Russco Electronics 64

SWR, inc. 76-77

Sescom Inc 64

Sony Video Products 34-35

Standard Tape Laboratory 68

Studer Revox America Inc. .. 59

Telaudio Centre 68

Television Equipment Assoc.Inc. 42

Telex Communications, Inc. .6, 29Thompson CSF Broadcast Inc. 41

Topaz Electronics 51

Toshiba 31

Utah Scientific 69

Ward -Beck Systems Inc. BC

Will -Burt Co. 57

Wilkinson Electronics Inc...10, 40Winsted Corp 68

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professional classifiedservices

VIR JAMES P.C.CONSULTING RADIO ENGINEERSApplications and Field EngineeringComputerized Frequency Surveys

4940 E. 39th Ave.Phone: (Area Code 303) 393-0468

DENVER, COLORADO 80207

Member AFCCE & NAB

RALPH E. EVANS ASSOCIATESCONSULTING COMMUNICATIONS ENGINEERS

216 N. Green Bay RoadSuite 208

ThlensvIlle, WI 63002Phone: (414) 242-6000 Member AFCCE

MIDWEST ENGINEERING ASSOCIATES

C0121liftii1j Er191,1EVIS

6934 A N UNIVERSITYPEORIA. ILLINOIS 61614

1309) 692-4233Member AFCCE

SMITH and POWSTENKOB(0,40( ,3t,ng and 1 elecomm un icat,ons

Consultants

2000 N. Street, N.W.Washington, D. C. 20036

(202) 293-7742

FRANK S. COLLIGANTelecommunications Consultant

Field technical services: A.M. directionals,broadbanding, proofs, rehabilitations, feedsystems, custom components, instrumenta-tion, reradiation, transmitters.

5111 WESTPATH COURTWASHINGTON, DC. 20016

(301) 229-5577

D. L. MARKLEY& Associates, Inc.CONSULTING ENGINEERS

206 North BerganPeoria, Illinois 61604

(309) 673-7511Member AFCCE

CHARLES F. KOCHER, P.E.Consulting Radio and TV Engineer

Allocation EngineeringAntenna Systems

27235 Berkshire DriveSouthfield, Michigan 48076

(313) 357-2304Member AFCCE

McCLANATHAN & ASSOCIATES, INC.Cwebull,nci Ereyonerrs

APPLICATIONS & FIELD ENGINEERINGTURNKE f INSTALLATIONS-RADIO & TV

DIRECTIONAL ANTENNA DESIGNP.O. Box 750

PORTLAND, OREGON 97207Phone 503/246-8080 Member AFCCE

TWX 910-464-6112/Frontlet

Advertising rates in Classified Section are 50cents per word, each insertion, and must beaccompanied by cash to insure publication.

Each initial or abbreviation counts a full word.Minimum classified charge, $4.00.

For ads on which replies are sent to us forforwarding (blind ads), there is an additionalcharge of $5.00 per insertion, to cover depart-ment number, processing of replies, and mailingcosts.

Classified columns are not open to advertisingof any products regularly produced by manu-facturers unless used and no longer owned bythe manufacturer or a distributor.

TRAINING

ELECTRONICS DEGREE by correspondence. EarnA.S.E.T., then B.S.E.T. Free brochure. GranthamCollege, 2550 South La Cienega, Los Angeles,California 90034. 2-79-tfn

FIRST PHONE through cassette recorded lessonsat home plus one week seminar in Boston,Philadelphia, Detroit, Atlanta or Seattle. Ourtwentieth year teaching FCC license courses.Bob Johnson Radio License Preparation, 1201Ninth, Manhattan Beach, Calif. 90266. Telephone21 3-379-4461 . 8-78-tf

SAN FRANCISCO, FCC License, 6 weeks,1/12/81. Results guaranteed. Veterans TrainingApproved. SCHOOL OF COMMUNICATIONELECTRONICS, 612 Howard St., SF, CA 94105,(415) 392-0194. 12-80-1t

SERVICES

ONE STOP FOR ALL YOUR PROFESSIONALAUDIO REQUIREMENTS. Bottom line oriented.F.T.C. Brewer Company, P.O. Box 8057, Pensa-cola, Florida 32505. 7-71-tf

HELIAX-STYROFLEX. Large stock-bargainprices-tested and certified. Write for price andstock lists. Sierra Western Electric. Box 23872,Oakland, Calif. 94623. Telephone (415) 832-3527.

1-73-tf

TRANSMITTER TUBES REPROCESSED-Save 40to 50%. 3CX2500, 4CX5000, 4CX15000 and manyothers. Write for details. FREELAND PRODUCTSCO., 3233 Conti St., N.O., La. 70119, (504)822-9222. 6-79-tfn

COPPER STRAP, Ground Screens and #10 wire,BCA, (404) 487-9559. 1-80-tfn

BROADCAST CRYSTALS for AM, FM or TVtransmitters, frequency change, repair or replace-ment of oven types. Also vacuum types for RCA,Gates, Collins etc. transmitters. Quality prod-ucts, reasonable prices and better delivery! Don'tbe without a spare crystal. Frequency change andservice for AM and FM monitors. Over 30 years inthe business. Eidson Electronic Co., Box 96,Temple, Texas 76501. Phone (817) 773-3901.

7-80-tf

FIELD ENGINEERING SERVICES-Facility de-sign, construction, maintenance. Twenty yearsexperience: TV, FM, AM, international short-wave. Jim Cason Electronics, POB 1254, NewBern, NC 28560, (919) 638-5956 or leave message(919) 745-3367. 12-80-1t

Professional Services (Cont.)

Wt@chrdca--u®,STATION DESIGN & CONSTRUCTIONTECHNICAL SERVICE APPRAISALSEQUIPMENT DESIGN & MANUFACTURING

402 Tenth Avenue, Haddon Heights, NJ 08035

(609) 546-1841

EQUIPMENT FOR SALE

PHILIPS LDH-1 CAMERA $9500. NEW ITETRIPOD AND DOLLY $900. Camera recently refur-bished by Philips including new Plumbicons. Has10-1 Schneider zoom lens, both local and remoteCCU, cam head, arms, cables and manual. Wepack. Prices FOB here. AUDIOACTIVE INC.,Delaplaine, AR 72425. 12-80-1t

800 FEET BRAND NEW Cablewave 1-5/8 Foamlow VSWR Wellflex Transmission Line with Con-nectors. Price $3990. H. M. HOLZBERG ASSOC.,INC., P.O. Box 322, Totowa, NJ 07511, (201)256-0455. 12-80-1t

GE -240 TELECINE CAMERA: Like new conditionand picture quality. CBS 8400 enhancer, spareencoder, Eastman 250 projectors, Telement colorbar generator. A steal at $8,500.00. CMX-50 EDIT-ING SYSTEM: Excellent off-line system. IncludesTTY, 999 events of memory, three Sony VO-2860machines, computer keyboard, Interfaces.$25,000.00. CMX-300 EDITING SYSTEM: Inter-faces for AVR-1 (two), VR-2000, HS -100, MM -1100(which has adapter box for AVR-2 or BVH-1000).GVG-1400 switcher, TTY, computer, plus alloriginal equipment. $15,000.00. Wayne Caluger,WSM, Box 100, Nashville, TN 37202, (615)749-2225. 12-80-2t

16mm TELEVISION FILM CAMERAS: 7 -CanonScoopics, 1 -Beau Lieu, 1-Auricon Pro -600 soundcamera in excellent condition, and 4-CP-16 soundcameras. Contact Robert Swayze, WJRT-TV,Flint, MI (313) 233-3130. 12-80-1t

COMPLETE CH 45 Transmitter Site Package. In-cludes Bogner omnidirectional slot 14.7 dB gainantenna, Comark Diplexer, CCA CTU-55BT Trans-mitter. All one year old and in mint condition.Available in April, 1981, when new higher ERPfacility is put on air. James R. Seaman, P.O. Box148, Norfolk, Va., 23510, (804) 622-3333. 12-80-1t

COMPLETE TOW FM TRANSMISSION SET-UP!CBS Audiomax, Volumax, AEL2202A Exciter withcoupler and meters, 75 feet RG218U and con-nectors, and Phelps -Dodge HFM-LP-1 Antenna.All in good working condition. $3500, best offer.WSRN-FM, Swarthmore, Pennsylvania 19081.(215) 447-7340. 12-80-2t

HELP WANTED

LOOKING FOR GOOD ASSISTANT chief engi-neer, familiar with RCA transmitter-TR 600, TK630 Sony, Phillips engineer. Contact: JimRobinson/WECA-TV, 904-893-3127. 6-80-tfn

VIDEO TAPE EDITOR. Minimum three yearsexperience, operation and maintenance. Sendresume to the Personnel Director Broadcasting,P.O. Box 100, Nashville, Tennessee 37202. AnEqual Opportunity Employer. 11-80-2t

EXPERIENCED MAINTENANCE ENGINEERS:AM, FM, TV and translator. First Class FCCrequired. Send resume to: A. L. Ladage, XYZTelevision Inc., P.O. Box 789, Grand Junction,Co. 81502. (303) 242-5000. 11-80-2t

ASS'T CHIEF for January 1981 hire. Good mainte-nance experience required, preferably with RCAcameras and videotape machines. Must havemanagement potential. Competitive salary withbenefits. Send resume to: WEVU-TV, P.O. Box6277, Fort Myers, FL 33901. Equal OpportunityEmployer. 11-80-3t

SOUTHERN CALIFORNIA OPPORTUNITY-Ex-perienced videotape maintenance engineer forrapidly expanding successful postproductionfacility. Knowledge of 2" Quad, 1" VTR's andCMX editing systems required. Salary negotiable.Send resume or call Dick Wellman, The PostGroup, 6335 Homewood Avenue, Hollywood,California 90028, (213) 462-2300. 12-80-2t

Have yourblood pressure checked.

Give Heart Fund (t)American Howl


HELP WANTED (CONT.) HELP WANTED (CONT.) HELP WANTED (CONT.)

ENGINEER/BROADCAST MAINTENANCE. Mini-mum 5-7 years immediate experience in thisfield, preferably within a large scale industrialteleproduction facility. Extensive corrective andpreventive experience on studio and ENG camer-as, Helical recorders, TBC's and associated pro-duction, distribution and monitoring equipment.Starting salary $24,000. Send resume in confi-dence to Sherrill Malloy, 11800 Sunrise ValleyDr., Reston, VA 22091. 12-80-1t

PRODUCER DIRECTOR. Minimum 7-8 yearsimmediate experience in the field of large scaleindustrial teleproduction activities. Experience indesign, development, production and evaluationof video programming to support in-housepersonnel development and communication ob-jectives; operation of state-of-the-art studio andremote teleproduction equipment. Salary upper20's. Send resume in confidence to SherrillMalloy, 11800 Sunrise Valley Dr., Reston, VA22091. 12-80-1t

MAJOR TV STATION in New York needs SENIORPROJECT ENGINEER experienced in design ofstudios and up-to-date TV facilities. 7 Yrs. priordesign experience desired. Excellent salary andbenefits. Submit resume, including salary historyto Broadcast Engineering, Dept. 521, P.O. Box12901, Overland Park, KS 66212. Equal Oppor-tunity Employer. 12-80-1t

MAJOR TV STATION in New York needs DESIGNENGINEER. 5 Years experience in design of TVfacilities desired. Excellent salary and benefits.Submit resume and salary history to: BroadcastEngineering, Dept. 522, P.O. Box 12901, OverlandPark, KS 66212. Equal Opportunity Employer.

12-80-1 t

TELEVISION ENGINEER/MEDIA PRODUCTIONSPECIALIST: Install, operate, maintain educa-tional microwave television system; facilitateteaching classes and producing educationallyrelated programs. $26,760-$32,292. Starting assoon as possible after appointment. Apply byJanuary 2, 1981. For position announcementlisting qualifications write or or phone SamuelOppenheim, Coordinator Instructional Television,California State College Stanislaus, Turlock,California 95380, (209) 633-2111. Equal Opportuni-ty/Affirmative Action Employer. 12-80-1t

VIDEOTAPE OPERATOR/TECHNICIAN WANTED.Must be experienced with Ampex and RCAVTR's. Contact W. Fenn, C.E., WNVT-TV, 8325Little River Turnpike, Annandale, Virginia 22003,(703) 323-7000. EOE. 12-80-1t

TELEVISION ENGINEER: Staff engineer for newPBS station operating on Channel 6. DutiesInclude installation, bench repair and somemaster control operation with some limitedswitching duties. Qualifications are: Graduate ofelectronics technical school, military schooltraining or experience required. Must have FCClicense and training in digital electronics isdesirable. Types of equipment include: 1" type Cvideo tape machine, 3/4" video tape machine andstudio electronics new gathering camera. Sendresume to: Personnel Office, AdministrationBldg., Room 108, CMSU, Warrensburg, MO64093, or call Jack Lockridge at 816/429-4257.Central Missouri State University is an EqualOpportunity/Affirmative Action Employer. M/F.

12-80-1 t

POSITION OPEN: TV BROADCAST ENGINEER-Position open at growing Southern Minnesotapublic television station for a TV BroadcastEngineer to operate and maintain moderntelevision production studio and transmittingequipment. Renewable 12 month contract with abase salary of $11,000 to $11,500 plus excellentbenefits. Minimum requirements: 1st class FCClicense, two (2) years of formal electronicschooling, two (2) years of experience in mainte-nance of television systems (including operationof a TV master control and troubleshooting), andexperience with Sony BVU equipment highlydesirable. Send cover letter and resume to Mr.Wendell Nelson, Chief Engineer, KAVT-TV, 19008th Avenue N.W., Telephone 507-433-6000, Aus-tin, Minnesota 55912. KAVT-TV, owned andoperated by Independent School District #492, isan equal opportunity employer. 12-80-1t

ORAL ROBERTS UNIVERSITY seeks AssistantInstructor, Instructor, or Assistant Professor toteach broadcast production. Professional experi-ence required; Masters preferred. Broadcastnews experience helpful. Begin August 1981.Salary 12,000-20,000. AA/EEO employer. ContactChairman, Communication Arts, ORU, Tulsa, OK74171, 12-80-1t

MAINTENANCE SUPERVISOR: Expandingsouthern Minnesota Public Television Stationneeds an individual to do supervision and mainte-nance of radio and television equipment. Mini-mum requirements: First Class FCC license, two(2) years of formal electronic schooling, four (4)years of experience in television maintenance.Experience with Ulic transmitters and Sony BVUequipment highly desirable. Base salary $13,000plus excellent benefits. Send cover letter andresume to Mr. Wendell Nelson, Chief Engineer,KAVT-TV, 1900 8th Avenue N.W., Austin, Minne-sota 55912. Telephone 507-433-6000. KAVT-TV,owned and operated by Independent SchoolDistrict #492, is an equal opportunity employer.

12-80-1t

VIDEO MAINTENANCE ENGINEER: Minimum tenyears experience in maintenance or design of TVProduction equipment, cameras, video tape anddisc, switching, sync and computer. Sendresume to Personnel Director, Broadcasting, P.O.Box 100, Nashville, TN 37202. An Equal Oppor-tunity Employer. 12-80-2t

MAINTENANCE ENGINEER, TUCSON, ARI-ZONA: Mlnimurr requirements-FCC 1st Phone,3-5 years TV maintenance experience. Dutiesinclude maintenance and routine alignment ofstudio equipment. Experience on ACR25, AVR2,VPR1, TR60 is desirable. If you want to drive towork this winter 1,n shirtsleeves, this Tucsonstation would like to hear from you. Send resumeto Chief Engineer, Box 50307, Tucson, AZ 85703.An Equal Opportunity Employer. 12-80-1t

CHIEF ENGINEER-NY surburban AM -FM facilityseeks full-time experienced radio engineer withtransmitter, studio equipment & automationrepair/maintenance background. Salary commen-surate with experence. Contact S. Spengler,914-241-1310. 12-80-1t

DiSCCIVISON711A JOINT VENTURE

IBM/MCAPROVEN TV

PROFESSIONALSNEEDED

Expanding post production facili-ty for advanced consumer enter-tainment, industrial communica-tion and interactive video -discprogramming operations.

TOP SALARY/BENEFITS

Work with the best people andequipment. California south coast,Newport Beach area.

CMX experience editors Systems maintenance and as-sembly engineers-AVR-3, IVC-9000, VPR-2, Rank Cintel Scan-ner. TV operations manager

Send your resume to: BOB CUYLERPersonnel Department

DISCOVISION ASSOCIATESBox 6600Costa Mesa, Ca. 92626

BroadcastEngineers

Times Mirror Cable Television, continuing its commitment to lead the industry in technicalcapability and expertise is offering excellent employment opportunities to seasonedbroadcast engineers. Our teleproduction facility has an opening for a Chief Engineer whohas "hands-on" maintenance experience and who would be responsible for supervising themaintenance staff, maintaining equipment and facilities, and assisting in planning anddevelopment A second opening exists for a Maintenance Engineer whose responsibilitieswould include maintaining RCA TR800, TR600 VTRS, 3/4" VTRS, time base corrections,Vital switchers, and Scientific Atlanta uplink facilities. Both positions require individuals withsubstantial broadcast maintenance experience and a first class FCC license.

As a communications subsidiary of the Times Mirror Company, we offer an excellentcompensation package, including incentives, along with al exceptional benefit program. If

you are a skilled and aggressive individual with the provenability to succeed, we would like totalk with you about your future in cable.Please sena your resume including salary history in confidence to Wrise Booker,Managerof Human Resources, Times Minor Cable Television, Inc., P.O. Box 19398, Irvine,California 92713.

We are an equal opportunity employer and encourage women and minorities to apply.

LZAA-_J

TIMES MIRRORCABLE TELEVISION


HELP WANTED (CONT.) HELP WANTED (CONT.)

HELP WANTED: Television Maintenance Engi-neer for nationally recognized, quality -mindedPublic Teleproduction Center utilizing RCA quadand 1 inch VTRs, RCA and CEI cameras, andCDL switching equipment. FCC 1st class licenseplus experience independently maintaining pro-fessional broadcast equipment at a beginningsalary of $18,400. Apply to Pam Thornburg,Personnel Office, University of Wisconsin -Stout,Menomonie, WI 54751. An Equal OpportunityEmployer. 12-80-1t

PLANNING NOW-BUILDING SOON! Qualityminded Chief Engineer with sales or announcingskills to build, and work thereafter, for class IVAM station going on air next March. Knowledgeof construction, automation and maintenancerequired. Live, work and enjoy life in ruralSouthwest Oregon. $1500.00 monthly plus,depending on ability and motivation. Reply PostOffice Box 758, Selma, Oregon 97538. 503-476-1527. EOE. 12-80-1t

FM RADIO/MAINTENANCE ENGINEER, forPublic Broadcast/NPR affiliate in Pittsburgh. Aminimum of 3 years must have been spent inrecording, dubbing, mixing and production work.Experience in maintaining state-of-the-art andolder production and automation equipmentrelated to radio a must. FCC First Class licenserequired. Please send resume and salary require-ments to Personnel Department, MetropolitanPittsburgh Public Broadcasting, Inc., 4802 FifthAvenue, Pittsburgh, PA 15213. Equal OpportunityEmployer. 1 2-80-1t

APPLICATIONS are being accepted by JEFFER-SON PRODUCTIONS, a full service productionfacility, from experienced computer Video TapeEditors and Sound Engineers. State-of-the-artfacilities and expanding business requires theaddition of qualified craftsmen. Apply in confi-dence to PERSONNEL DEPARTMENT, JeffersonPilot Broadcasting Company, Charlotte, N.C.28208, (704) 374-3603. An Equal OpportunityEmployer. 12-80-1t

VIDEO

MAINTENANCE

TECHNICIANResponsible for the maintenance,troubleshooting and repair of videoequipment and systems. Requiresgood working knowledge of electroand mechanical operating princi-ples of video reel to reel andcassette records, camera chains,MATV and other supportive equip-ment that make up a B/W andcolor TV studio and distributionsystems.

Candidates must be a graduatefrom a qualified technical schoolwith a minimum of 2 years'experience in the maintenance ofvideo equipment. FCC .2d classlicense a benefit. Stop by for aninterview 9am-11: 30am, Mon. -Fri.or call Richard Towle at 617/353-4484 for an evening interviewappointment. (Outside Boston areasend resume or call collect.)

BOSTONUNIVERSITY

19 Deerfield StreetBoston, MA 02215

An Equal Opportunity Employer

POSITIONSWe specialize in the placement of TVand Radio Engineers with BroadcastStations, Manufacturers, Industr'alTV, Production Facilities and Dealers;all level's, positions and locationsnationwide. Professional, confident al- no fee. Best Industry reputation -

over 1000 client contacts. To.discussyour employment possibilities phoneAlan Kornish at (717)287-9635 or sendyour resume' now. Employer inquiries

invited.

InrsystemsL NEW BRIDGE CENTER, KINGSTON, PA. I8704

N.Y. AGENTS for large Caribbean plants withfacilities to assemble any labor intensive activity,e.g., cable assemblies, P.C.B.'s, electronicproduction. Can save you up to 60% over presentlabor costs. Have liason office in U.S. tocoordinate and expedite. For immediate reply,write to Broadcast Engineering, Dept. 523, P.O.Box 12901, Overland Park, KS 66212. 12-80-1t

MAINTENANCE TECHNICIAN needed to jcin ourmaintenance team. Must be quality consciousself -motivating technician, with 1st phone andexperience in studio and remote maintenance.Top salary and benefits in beautiful Hawaii Sendletter and resume to: Harold Maupin, KHON-TV2,1170 Auahi Street, Honolulu, HI 96814. An EqualOpportunity Employer. 12-80-2t

TRANSMITTER TECHNICIANS- Voice of Ameri-ca has overseas positions available at supervisoryand operating levels for experienced transmittertechnicians. Duties include operation and mainte-nance of high power VOA transmitters andrelated facilities. Applicants must have 3 to 5years "hands-on" experience in technical opera-tion of broadcast, TV or military fixed -stationtransmitters. Must be available on a worldwidebasis to serve in VOA's radio relay stationsystem. U.S. citizenship required. Starting salarycommensurate with qualifications, plus housingand overseas allowances. Full federal fringebenefits apply. Qualified candidates should sendstandard Federal application form SF -171 toInternational Communication Agency, MGT!PDE,1776 Pennsylvania Ave., Washington, D.C. 20547.An Equal Opportunity Employer. 12-80-3t

BROADCAST ENGINEER TV-with first classlicense. Experience preferred. Working knowledgeENG, V. inch VCR, 2 -inch VTR, studio cameras,audio systems, switchers. Familiarity with trans-mitters helpful. Good opportunity for rightperson. Send resume and salary requirements:P.O. Box 7428, Shreveport, Louisiana, 71107,Attn. Engineering. Equal Opportunity Employer.

12-80-1t

OPERATING ENGINEER: Interviews will bearranged following receipt of resumes. Addresscorrespondence to Al van Dinteren, Chief Engi-neer, WATU-TV, P.O. Box 1526, Augusta, GA30903. Qualifications are: 1st Phone required.Experienced in Video Tape Editing, Productionand Studio Support. WATU-TV is an equal oppor-tunity employer. 12-80-1t

SENIOR MAINTENANCE TECHNICIAN-Positionnow available with Producers Video Center inKansas City, Missouri. Requires a minimum of 5or more years demonstrated experience in thedesign, building, installation and maintenance ofa wide range of broadcast television equipment,including videotape recorders, production switch-ers and allied audio/electronics equipment. Somesupervisory background would be helpful. Thisfacility is a subsidiary of Hallmark Cards, Inc.You will receive an excellent salary and art out-standing benefit package. Please submit confi-dential resume, including salary Informatior, to:P.R. Malone, Professional Staffing Department,Hallmark Cards, Inc., 2501 McGee, Kansas City,Missouri, 64108. An Equal Opportunity EmployerM/F/H. 12-80-1t

TV TECHNICAL OPERATIONS MANAGER, re-quires a dedicated, innovative manager whoseexperience and training (at least five years in theTV broadcast industry, preferably in a supervisoryposition) have prepared the applicant for networklevel responsibility and challenge. Washington,DC, location, excellent benefits; salary range$31,000 to $38,000/ANNUM to start; ample roomfor growth; equal opportunity employer. Resu-mes should be sent to Dept. 524, BroadcastEngineering, P.O. Box 12901, Overland Park, KS66212 12-80-1t

TELEVISION HELP WANTED-TECHNICAL:$40,000+ FIRST YEAR GUARANTEED. Ourcompany has grown so quickly in the past 5years, we are in desperate need of a very specialperson who knows broadcast equipment intim-mately and has aggressive sales ability. We arediversifying into other areas and need someoneto take over the equipment sales division. Re-sponsibilities include sales of new and usedbroadcast equipment and further development ofequipment sales division as business demands.We are a first rate company and believe in payingtop dollar for the right person. Call Bill Kitchen,Quality Media Corp., (800) 241-7878. 9-80-TFN

ENGINEERS, TV Systems Engineers, ElectronicTechnicians, Technical Supervisors, Maintenance.Immediate openings. Experienced. Full time, Fullbenefits, plus Pension. Excellent Salary pluscommissions. Send resume to Technical Oper-ations, Inc., P.O. Box 840, New Hyde Park, N.Y.11040, or call Personnel Mgr. (516) 352-2238.

9-80-tfn

TELEVISION BROADCAST MAINTENANCE ENGI-NEER. Transmitter experience preferred. Salarynegotiable. First Class License required. Call orwrite Chief Engineer, WMBB-TV, P.O. Box 1340,Panama City, FL 32401, (904) 769-2313. E.O.E.

10-80-3t

TELEVISION OPERATING ENGINEER for studiooperations. Primary duties-quality control ofsignals and light duty maintenance. First ClassLicense desired. Call or write Chief Engineer,WMBB-TV, P.O. Box 1340, Panama City, FL32401, (904) 769-2313. E.O.E. 10-80-3t

SITUATION WANTED

SAN FRANCISCO BAY AREA. Competant mainte-nance andlor production engineer with goodmanagement skills. Experienced as C.E., state-of-the-art audio and RF, digitals, etc. Bill Motley,231 Hartford, San Francisco, CA 94114. 10-80-11

WANTED

WANTED: Pre -1926 radio equipment and tubes.August J. Link, Surcom Associates, 305 Wiscon-sin Ave., Oceanside, Ca. 92054, (714) 722-6162.

3-76-tf

HIGHEST PRICES PAID for 112 Phase Monitorsand for clean, 12 year old or less, 1 KW and 10KW AM Transmitters. All duty and transportationpaid. Surplus Equipment Sales, 2 ThorncliffePark Dr., Unit 28, Toronto, Ontario, Canada, M4H1 H2. 416-421-5631. 2-79-tfn

INSTANT CASH FOR TV EQUIPMENT: Urgentlyneed transmitters, antennas, towers, cameras,vtrs, color studio equipment. Call toll free800-241-7878. Bill Kitchen, Quality Media Corpo-ration (In Georgia call 404-324-1271). 6-79-tfn

WANTED: Radio Transcriptions 16" E.T.'s, anyEddy Arnold, or other Country 16" or 12" Trans-criptions. Will consider others. Interested inRadio Station Libraries to purchase, all speeds ofrecords. Boyd Robeson, 2425 W. Maple, Wichita,Kansas 67213. (316) 942-3673, 722-7765 Eve.

9-80-tfn

URGENTLY NEEDED12AP4 (1 80 3-P4)picture tubes and parts for R.C.A. TRK-12antique television. Arnold Chase (203) 521-5280.

9-80-5t


WHEN IT'SOUR NEW

WHENIS LESS

ANTENNAMOREANTENNA?

Finally, here's the answer to the need for highpower antennas using a minimum number of bays.Each of the three models in our new series ofcircularly polarized FM antennas features muchlower 0than the previous designs. And, each

has massive 31/8 inch two -tube balunshi di tChh do pmcuocuhp i dd tncsh band -

These new antennas actually offer a

FM BROADCASTANTENN

VSWR of 1.1:1 for approxi-mately 500 KHz, twc and onehalf times the bandwidth

Aof standard, circularly polarized low powerand high power antennas. What s moreI increased bandwidth minimizes thernpe-

dance change due to icing.Can we tell you more? Write today for all the details:

Phelps Dodge Communications Company, Route 79,Marlboro, New Jersey 07746.(201) 462-1880 PhelPsdadie

Communications C0111flallr


Contemporary reflections!A dazzling new performer has captured the spotlight in the sophisticatedworld of contemporary sound.Reflecting industry demands for comprehensive facilities, and studioreproduction quality in a transportable console, Ward -Beck presents theWBS T1202.Another classic example of Ward -Beck's flawless dedication to engineeringexcellence!

(was)First by Design.

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Ward -Beck Systems Ltd., 841 Progress Avenue, Scarborough, Ontario, Canada M1H 2X4.Tel: (416)438-6550.

Ward -Beck Systems Inc., 6900 East Camelback Road, Suite 1010, Scottsdale., Arizona 85251.

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