Engineer's Corner

• BCX3 by Barrcode
• CDAR / DACCartwall - Charlie's Digital Audio Replacement
• DARP and ProTrak
• How I Listen To Music
• IRN via Satellite - updated
• mAirList by Torben Weibert
• Microphone Pulley System
• Natural Music
• Phone Calls OnAir
• RPL Radionet MC2 Mixing Console
• SIP VoIP PBX Switchboard
• Sonifex Discart Wiring
• Sonifex microHS Cart Machine Wiring - details on the old cart players used everywhere
• Studio OnAir Lights - a bit of home-brew
• txIP - a broadcast application for sending audio/data over a LAN
• Visual Basic Examples - snippets of code that I have used

BCX3 by Barrcode
BCX3 is the latest release from Barrcode.  Originally known as BCX2 and used by various radio stations (such as Capital FM, Essex FM, Invicta FM) this software has evolved to include MP3 support, enhanced voicetracking, updated playlist and IP network commands.  BCX3 can read playlists compiled via a range of popular music schedulers.  There is now a "DJ" version of BCX3, aptly named BCX-DJ - click here for the website.

It is important that your StationPlaylist categories start with MU - So MU DISCO would be an example of a Disco group of songs.  BCX3 allows playlist triggers to determine what type of audio appears on each playlist line... This could be Music, Jingles, Adverts or Liner/Text Notes.  Jingles should have ID preceding any Spot Group name and Adverts should have the letters AD.  This is how I have arranged my configuration, but you are free to choose your own BCX triggers (although these seem like the most obivous ones!).  If you're not really fussed about having Music, Jingles, Adverts and Liner Notes appear in differing colours - Simply select :\ at the start of the filepath and set that as a "Music Trigger" - all audio will then be coloured as "Music".

...and here's how you tell BCX how to read those playlists:

click the images for a bigger version

	In BCX, hit Ctrl-C to open the config screen and navigate to the playlist tab.  Click "Load Test Playlist/Adlog" and find one of your generated playlists. You should see something similar to the screen on the left, but with 1 playlist item per line.  Select the word SONG and click STORE under the word Trigger.  This tells BCX that this line contains a SONG... Simple, eh?
	Next, highlight the Arist/Group text and select STORE (under Artist).
	Next, highlight the Title of the song and click STORE (under Title).
	Same again for Duration - I hope you're getting the hang of this now!
	...and lastly, the filename. If you need more space for the filename, you can change this value in the playlist string: %160u If you've followed these instructions correctly, you should now be able to Save the config screen, click Playlist twice, and open up today's playlist...

Here's how StationPlaylist Creator's configuration screen looks with this arrangement:

BCX now handles voice-tracks and level-ducking of music - You simply double-click the song you wish to voice-track into on the playlist.  If you are scheduling playlists, you can either schedule "break notes" to indicate where your presenters should record VTs, or just let them insert VTs as they see fit.  The voice-track filenames actually relate to the playlist filename, so scheduling voice-tracks from your scheduler is not technically supported.  You'd have to save the playlist as a .pltxt file and manually alter each voice-track to PlType=13 in the playlist file.

The .bcx info files reside in the same folder as the actual audio file.  This can be a pain if you have a single folder of all your songs and then another folder (with sub-folders) of your playlist songs.  In order to copy only the relevant .bcx files to each sub-folder - Use XCOPY via the START-RUN CMD MS-DOS screen...  Simply use the following command: xcopy *.bcx c:\playlist\current /u Use this for each destination folder and only the existing .bcx files will be copied.  You MUST first load the folder in Button Box/Detail Dir so that the basic "blank" .bcx files are created - Then you can XCopy your proper ones with all the timing info etc.

CDAR - Charlie's Digital Audio Replacement
This is an on-going project to create a radio playout package.

...more to follow

DARP and ProTrak- by Chris Oakley
A semi-official support forum (with downloads) can be found at DarpZone... DARP and ProTrak can also be downloaded from my Downloads area...  For those who wish to be really adventurous, you can import an AudioEnhanceDPS library into DARP (or Chris Moses' RSPlayer) by exporting the Library to a txt file and importing manually into the relevant MDB database file.  You may notice that DARP carts database is password protected - This is simply to prevent it from being edited outside of DARP.  The password is moogmoog

You will need to convert the timings using PasteSpecial as the values will be in seconds and DARP uses milliseconds.  Generally, you'd import the data into Excel and perform the conversion, then paste the columns into the database.  The advantage of this is that if your DPS library has intro/outro points set, DARP will also see these and you'll have an almost perfect automation-ready system!

How I Listen To Music
My music player is WinAmp - It has 2 plugins running: Adapt-X and Sonos1/MBL4.  The Adapt-X program allows DirectX plugins to be used within WinAmp... This allows me to "beef up" the sound of my music using the MBL4 processor (and avoid having to run VAC or 2 sound cards).

Download Adapt-X here ... Download Sonos1/MBL4 here ... Download my processor preset - your tastes may differ to mine!

You can also see what songs I play via my Last.FM profile - this image shows my recently played tracks:

IRN via Satellite
IRN via Sirius
The main IRN and programme feeds can be found on the Sirius satellite at 4.8'E (that means you aim the dish in a rough southerly direction!).  I have successfully received Sirius on a Zone2 minidish although you are advised to use a dish that's at least 1m in diameter for a good, strong signal in all weather.  A generic digibox is also required - these can be picked up from Maplin or a specialist satellite web-store for between £30-60.  As usual, a simple satellite meter is a valuable tool!

Frequency: 12.111GHz
Polarization :Horizontal
Symbol Rate :27500
FEC : 5/6

Other Parameters
Transponder : 21
SID 273
PMT 4368 - 4369
Audio PID 4369 (1111 hex) , 4370 (1111 hex), 4371 (1112 hex), 4372 (1113 hex)
Multiplex Data 4625 (1211 hex)
Clear Text 4360 (1216 hex)
Video PID 8191

IRN180 is on the left carrier, IRN90 on the right. Both carry news/sport audio clips/feeds.  You should be able to select via your remote which channel is output from the IRN channel (ie: left to output, right to output or both/stereo).  You'll also be able to hear the main Fresh40 and Hit40UK feeds.  There is also an ad-hoc channel which IRN lets broadcasters lease - it's currently got a networking cleanfeed courtesy of The Local Radio Company.

IRN via Hotbird 7A
Community stations and RSLs can benefit from IRN's hourly news service using the IRN180 feed on Hotbird 7A.  The satellite is located at 13 degrees east - This means 13 degrees "from south", not north!  A standard Sky digibox has been used to receive this (ie: a Pace box).  If you are moving a Sky mini-dish, you will almost certainly need to raise the angle of the dish by a few degrees to receive a good signal - This is because (at my location), the Sky Digital Astra2A at 28'E is at 25' whilst Hotbird is 29'.  The slightly larger Zone2 dish (for Scotland) is recommended for more reliable reception over a basic dish.

If you're using a Pace digibox, simply select "Add New Channel" and enter the following details:
Frequency : 10.949 GHz
Polarisation : Vertical
Symbol Rate : 27500
FEC : 3/4
Other Parameters
Transponder : 122
SID 7449
Audio PID 5811
Video PID 5301
Network ID 318

Finding the Satellite!
If you've never aligned a satellite dish before, be warned that the signal displays built into most satellite receivers are rubbish (ie: they're too slow).  Even for a one-off job it is worth spending £10 on a simple satellite finder meter.  These are powered by the digibox and offer an analogue meter plus a tone which varies in pitch according to the strength of the signal.  A sensitivity control allows you to wind down the level (as it'll go off the scale!) and move the dish each time to get the best reading from the meter.  A 1m F-type patch lead is essential here - simply plonk the meter onto the satellite bracket where you can see/hear it, move the dish accordingly and keep adjusting the knob so the reading is "5" until you can't get any more signal.  Expect to find several satellites if you swing the dish around - with a satellite meter you can be aligned in a matter of minutes.

You can also get a double LNB that has 2 pickups - Allowing you to receive your normal domestic 28'E Astra (Sky Digital) and Hotbird 13'E.  These LNBs are ideal if you are only allowed 1 dish and need to receive Sky as well.

Satellite Alignment Calculator: http://www.uksatellitehelp.co.uk/2007/08/12/satellite-alignment-calculator-v2/
Kingofsat Listing for 13'E: http://en.kingofsat.net/pos-13E.php
Kingofsat Listing for 4.8E: http://en.kingofsat.net/pos-4.8E.php

mAirList Automation/Live-Assist Playout Software
mAirList is fantastic program written by Torben Weibert and offers a variety of facilities for live-assisted and automated radio stations.  You are able to configure the screen layout and options to your own design and use only the facilities you require.  For instance, you can enable 1 Playlist and only 1 assigned Player to it - Or (if you have a multi-channel sound card), you can assign 3 Players to that Playlist.  Unlike many system, mAirList is flexible in that a Player can overlap audio whilst in Automation (so a simple automation machine need only 1 Player).  A Cartwall is also available - the Ramp/Outro markers can be shown in the progress bar of each Cartwall button which means that even songs can be fired from a touch-screen and include the vocal countdown.

mAirList can also send/receive commands within itself and over IP - You could have a setup with 3 Playlists (1 for Automation and 2 for split Adverts/Jingles) and insert "commands" into your main Playlist to start Playlists 2+3 whilst waiting for them to play upto the next Break Marker.  StationPlaylist can schedule for mAirList including the Break/Command options.

A certain US-written automation software supplier boasts that you can run multiple copies of their software on your on-air PC and split adverts or run more than 1 station from a single computer.  Of course, with mAirList - you can just add as many Playlists as you have radio stations/transmitters!  Now you can handle multi-way split advert breaks all from 1 program.  Simply create 1 Playlist and Player for each split and arrange the layout to suit.  You can schedule your main playlist to send an internal (or or network IP) command to start the Playlists and wait for them to finish - 1 split Playlist will obviously need a "return to automation" command at the end of each Ad Break.  Keyboard keys can be mapped to several commands allowing a single button (such as a Tipro keyboard) to start a 3-way split advert break.  The configurations are almost infinite.

Of of the screen layout, text font/size/colour and other attributes are controlled via the skin.ini file - The layout (size/position) of screen objects (Playlist, Players, Cartwall, Clock etc) are controlled by the main program which can open a layout window and allow you to move each object "live" and save the settings aftewards.  A dual-head graphics card is great if you wish to display a Playlist, several Players, Cartwall and File Browser.  Virtually any layout is possible, limited only by your imagination.

Click here for my mAirList Download folder, containing layouts, screenshots and other goodies...
 

mAirList  DualScreen - using a dual-head graphics card

mAirList - Titlebar Set to resemble RCS Master Control

mAirList Split Playout Screen This is a typical 2 Playlist config allowing 2 transmitters to receive different adverts/branding	mAirList Configuration Program The main aspects of the mAirList software can be controlled here

Split Advert Help
Here are some tips for split adverts and multi-platform distribution (that sounded quite posh).  Using a hidden feature called "Regional Containers", you can define several sound devices (a multi-channel or surround-sound card is a must) and give them names ie: "Hot Hits FM West" and "Hot Hits FM East".  By adding some custom commands to your scheduler (Natural Music and StationPlaylist Creator are 100% compatible), you can create split adverts and jingles very easily.  The #mAirList commands can be entered as BreakNotes (or Clock Text) and your audio inserted in-between them using the following format:

#mAirList BEGINREGIONCONTAINER container title
#mAirList BEGINCONTAINER Container
C:\Audio\Region 1 - Jingle 1.mp3
#mAirList ENDCONTAINER
#mAirList BEGINCONTAINER Container
C:\Audio\Region 2 - Jingle 1.mp3
#mAirList ENDCONTAINER
#mAirList ENDREGIONCONTAINER

The above example is a 2-way split, here's a 3-way:

#mAirList BEGINREGIONCONTAINER container title
#mAirList BEGINCONTAINER Container
C:\Audio\Region 1 - Jingle 1.mp3
#mAirList ENDCONTAINER
#mAirList BEGINCONTAINER Container
C:\Audio\Region 2 - Jingle 1.mp3
#mAirList ENDCONTAINER
#mAirList BEGINCONTAINER Container
C:\Audio\Region 3 - Jingle 1.mp3
#mAirList ENDCONTAINER
#mAirList ENDREGIONCONTAINER

You can add as many regions as you have sound devices.  A pro multi-channel or surround-sound card is essential - You can utilize the front/rear outputs to create your splits if you wish.  In mAirList, the Regional Container will appear as a single item and play within the main Playlist.  Although it'll appear to "play" via one of the main Players, the sound of each regional audio file will be sent to the specified device.  This negates the need for a separate Playlist/Player per split - saving system resources.

Configuration
Add this bit to mairlist.ini, the description can be whatever you like:

[Regions]
Item0=Hot Hits AM
Item1=Hot Hits FM

more soon...

Microphone Pulley System
This device is used at many radio stations (BBC Radio 1, Capital FM, Kiss100, Virgin Radio) as a means of controlling the presenter's microphone without using a traditional anglepoise (lamp arm).

COMING SOON: Images of the counter-balance weights.

This has several benefits:-

• Reduces clutter on work-surface

• Noise-free movement

• Can be moved when not needed

• Can be positioned anywhere within a 3-dimensional area

• Download the Clyde Broadcast PDF Document for their version of the Mic Pulley

Screenshot

It's only real drawback is that it can only really be used for the presenter, it cannot easily be swung around for others to use. The pulley works by using counter-weights, the Microphone acting as the "load" - It is suspended by 3 cords (nylon or fishing line) from the ceiling and routed to a corner of the studio where they drop down alongside the wall with the 3 counter-weights on the end.

Once balanced, the mic pulley will allow the presenter to move the microphone just by "picking it up" and placing it where they need it. The Mic Pulley works best with a split-desk configuration - A console with 2 fader banks angled away from the Presenter and allows the centre of the desk to be used for notes and scripts.

Construction & Details
The Microphone mount is made out of a turned piece of wood (Grandad helped here), this has a metal 5/8" thread glued into it which screws directly onto the Mic holder. I have reproduced the image below, I am no artist so I hope that this is understandable! There are 3 small holes drilled (vertically) through lip of the wooden holder, and these have the nylon cord (or fishing line) threaded through them. The top of the holder can hold a Microphone flag (as seen on reporter's microphones).

            =====
           |           |
           |           |    |----< small hole here - in triangle formation
   ------------------------------
   \                            /   
     \                        /
       \                    /
         ------------------
               |==|
               |==|
               |==|
          5/8" thread

All 3 suspension wires travel up to a metal eyelet, which is screwed into the ceiling. These are availabe in most DIY stores. If using fishing line, then movement of the Microphone is virtually silent. All of the 3 wires are then routed to a corner of the Studio, and each pass through a further eyelet (6 required in total), which distance each counter-weight so that they do not bang against each other.

The counter-weights are made out of 3 pieces of water-pipe, about 1.5cm diameter. At the bottom of each piece of pipe, I have wedged half a wine-cork (in plentyful supply!) which stops the metal ball-bearings (or marbles) from falling out. The ball-bearings are probably the easiest objects to use as weights, since you can place them one-by-one until the system balances. An alternative is sand, but it could get messy. Drill a 3mm hole through the top of the pipe (horizontally) and thread a tie-wrap through - This will support the nylon cord (I used fishing line) whilst the weight is hanging in the air.

The 3 wires are mounted in a triangle formation, 1 infront of the presenter, facing forwards and the other 2 each side and behind. The ceiling mounts need to have a diameter of between 2 and 3 metres to allow for proper movement of the Microphone. The only thing you need to do next is attach your Microphone and wire it up. I suggest making a special coily lead using as light-weight cable as possible. The coiled cable should travel about halfway up the centre-wire and then plug into a ceiling-mounted XLR socket.

XLR Connections
Pin1: Screen (black or screen)
Pin2: + Phase (red)
Pin3: -  Phase (white)

Natural Music
Natural Music is a scheduling package mainly used in the United States by radio stations who wish to control the rotation of their songs - It's a direct rival to RCS' Selector, Music1 and Powergold.

These import settings were created via MP3Tag which has produced a comma-delimited output file.  I use the Track field to denote an Hour Opener.  Note that I have also selected WEBAudioSource as an import field - This allows Natural Music to play the file in your default media player. You can use the "Test Next Song" button to check each line before you import.
Song Data - Title/Artist Here's the main information panel for a song card - You can edit/set various options here.  Most of this can be imported via your CSV/Library file.
Song Data - Music Coding This is where your music attributes are defined - Gender, Mood, Tempo etc. You can also specify whether a song belongs to a Style, DayPart ID and AlsoProtect code.  See my Rules info below for how these attributes can help scheduling. I use the ID3 Track field to denote an Hour Opener (a song with a powerful start).  This is shown by the asterisk * symbol.
Song Data - Internet Links By importing the filename as a WEBAudioSource, you can listen to your songs via Natural Music.  Here's where you can manually set the file.
Style Codes You can specify songs with a certain feel: Disco, Love etc.  These can be restricted using the Rules config (see below).
Also Protect Codes You may know this one as "Related Artists".  Here, you can specify groups and their soloists in order to keep them apart. My example here shows "Genesis" - which also has Peter Gabriel and Phil Collins assigned the AA AlsoProtect Code. Same with the White Stripes - I have also set the "Raconteurs" with the WS code.
Other Codes Another set of rules which can be used to aid scheduling. I use these to define my End and Fade songs - Because you cannot specify how a song ends within the Clock dialogue, you can use the Rule settings to limit how many of each type is played per hour (or played in a row). See the Rules screenshot below for details.
DataPart Codes I have 2 DayPart codes defined here - This shows the Explicit Songs group which are not allowed to be scheduled between 6am and 7pm.  Any song with rude lyrics has been assigned this DayPart ID. As you can see, I also have a "Love Songs" group, this is set to only play between 9pm and Midnight.
Rules Configuration These are the main rule settings.  Here you can see my Other and Style codes and how they are used in the scheduling process.  It's possible to define Artist and Gender rules, too. Artists are set to never play more often than every 3 hours, with an "ideal" of 5 hours. Because I like hearing bands, I've got the Gender rules for Male and Female soloists set to a maximum of 5 per hour, whilst up to 8 groups can be played. When Disco songs are selected, I've opted to prevent for than 3 disco tracks in a row from being selected as well as ensuring that a maximum of 8 per hour are played.   You can use more than 1 RuleSet if you wish - This enables you to assign a specific RuleSet for certain times of the day.  An example of this is perhaps a Saturday night where you wish for the majority of songs to be Disco tracks - So you'd want to change the Style-Disco rule to enable more songs to play and probably more in a row.

More details coming soon...

Phone Calls OnAir
One of the common issues with a small/budget studio is how to get telephone callers onair via the desk.  A few problems spring to mind: cost of telephone balance unit, line quality, and clean-feeds.  There are various telephone hybrid boxes available (the most common being Sonifex).  There are other makes that are not as pricey - Expect to pay at least £150 for a basic "passive" unit.  Another way is to take advantage of the internet and use voice-over-IP (SIP or Skype) - Personally, I prefer SIP as you can get a variety of software switchboards, phone clients and actual telephone hardware.  The "real" phones just need an ethernet connection and run without a PC (initial setup/admin is done via a web-browser).  3CX offer a free SIP-based PBX server that handles multiple lines, extensions and voicemails.  It even offers the "press 1 for sales" virtual receptionist.  Voicemails are saved in WAV format and can easily be edited+played live onair with little fuss.

See my SIP VoIP section for more info on this software. 

Clean Feeds: This is a common problem with budget mixers.  Luckily, we usually have an AUX bus to play with - this is exactly what we need.  A broadcast telephone system requires a clean-feed to be sent back down the phone line to the caller - There are 2 ways of achieving this:  Either by a special clean-feed output whereby the mixer does it for you, or by using an external box that takes a feed of the main mixer output and the telephone signal and phases the telephone out.  The former is the preferred way!  Using your AUX bus is simple: Plus the AUX output into your telephone hybrid, but turn down the AUX knob on the telephone channel - In other words, the caller gets the whole mixer EXCEPT their own voice.

You may wish to insert a signal processor between the hybrid and the desk - In the past, I've used a Behringer Multicom to provide a noise-gate and a bit of compression/limiting.  You can do the same for the AUX output if you wish - you'll need to experiment with a few calls to see/hear how it all sounds as landlines and mobiles tend to vary.

RPL Radionet MC2 Mixing Product Information
The models I had were made in 1997 and were originally in the SBN studios before being used on the short-lived station Zeta Digital.  I sold on the split-desk and kept the 12ch main frame console for a while.  After some assistance from a couple of radio colleagues, I was able to obtain plenty of information (along with a photocopy of the set-up guide).  Unfortunately, Roy Parsons of RPL Radio was no help at all and didn't even reply to any of my e-mails, nor did he bother to respond to my phone calls.  The following information is based upon my notes and details supplied by Iain Betson and Richard Lawley.

Noise Level -78dBu
Input Level 0dBu or -10dBu
Distortion 0.01%
Max Output Level +25dBu

Main PCB Cermet Trim Pots
Under the 2 master modules, you will find a raised PCB mounted above the main channels PCB for that section. Both boards contain trim pots.

Raised PCB: 4x grey trim pots, 2 trim pots mounted sideways
Grey Top pair: Desk Out Left/Right Trim
Grey Bottom pair: Record Out Drive Left/Right Trim
Sideways pair: Cue Level reference to Desk Output

To calibrate - Run a 0dB tone (Cool Edit) through a channel on PreFade, set the Cue Level reference so that the meters read PPM 4. Then adjust the top pair of grey trims to set the main desk output level. Now you can set the record output to match the main desk out.

(hint: alternatining between the desk/rec monitor will enable you to see the differing PPM values)

Bottom PCB: 10x blue trim pots
 

PGM Button
Allows monitoring of the local desk output.

REC Button
Allows the monitoring of the record bus. This is the whole desk output unless the Record Defeat button is selectedd.

Record Defeat
This button allows channels to be removed from the main mix and sent only to the record output - for off-air recording/production.  Pressing both the PGM+REC buttons together will create a mix of both
desk and record outputs, allowing you to voicetrack. ie: divert your presenter mic via the Record Defeat option, and still monitor the playout channels so you can talk in/out the music.  The Record Defeat also allows the local microphones and telco channels to interact with each other. ie: if you use Record Defeat with the presenter mic and telco channel, the caller is sent a clean feed of the record mix, allowing you to hold an off-air (recordable) conversation with them.

RPL 828 Router - an offer/accept unit
A transmission router using the "offer/accept" principle. It allows up to 4 stereo sources to be switched in this way, plus 2 more stereo inputs to be toggled on/off (such as news/sat feeds).  This configuration can allow 4 Studios to be routed on-air, or 2 Studio plus their stereo Playout feeds. The 8 Buttons for this config would be: Studio 1 / Auto 1 / Studio 2 / Auto 2 - offer+accept for each.

You'd then have 2 final stereo inputs that can be switched on/off via I/O signalling from your mixer  or playout system... Typical usage would be IRN/Hit40UK satellite feeds or remote sources that need
to be routed to air during automation.

Powers-up with LEDs 1+8 illuminated, therfore:

1: Automation
3: Studio 1
6: Studio 2
8: IRN/Satellie

Control Pin (to Gnd) Audio Input LED Low
6 1 18+23+25
7 3 18+23+25
9 6

Toggle - for IRN/Outside Source Feeds
10 8

Audio Connections
(pin-outs still being sought)

SIP VoIP PBX Switchboard
Using an account/s via the Sipgate website, you can direct a national/local/geographical number to your computer's VoIP software (such as X-Lite) or dedicated telephone hardware.  3CX off a great free PBX server which runs in the background on your PC and takes incoming calls from multiple SIP accounts, handles dialling out, DDI, voicemail and a digital receptionist ("press 1 for sales" etc).  Any internal SIP phone (whether software or a "real" phone) can dial out (subject to account credit) to an external BT number or make/receive calls within the local switchboard.  You can call an extension directly or dial a digital receptionist extension to go through the menu options (if you can't remember the extension number!).

Sonifex Discart Wiring
These machines were 3.5" floppy disk jingle players/recorders. They used 1.44MB(2MB) + 2.88MB(4MB ED) disks to play audio at various sample rates from 22KHz to 48KHz... A normal 1.44MB HD disk could fit 37 seconds of 44.1KHz, 16bit stereo audio - useful for jingles and adverts.

Sonifex microHS Cart Machine Wiring
Once the unit is powered and connected to a Mixer, you can insert a Cartridge - The machine will engage the Pinch Motor to bring the Capstan just behind the tape. The STOP light will also illuminate. If the interlink cable on Socket C is connected to another machine(s) then the Q LED will illuminate to show that Sequence is possible - To disable, press the STOP button twice.

You can disable the Primary Cue during Playback (loop mode) by pressing START while playing. This illuminates the L LED and the Cartridge will play continiously until you press PLAY to re-activate the Primary Cue, or STOP.

To Fast Cue a Cartridge to the next Primary Cue, just press the FAST button. The audio will mute and the cart will cue-up at 3x normal speed.

Pin Connections - Playback Unit
Socket A - Machine Remotes (6way Belling Lee Bleecon)
Pin1: Stop Switch
Pin2: Stop Lamp +
Pin3: Fast Switch
Pin4: Fast Lamp +
Pin5: Play Switch
Pin6: Play Lamp +
Screen: Common

Socket B - Record Unit Remote Link (7way Belling Lee Bleecon)
Pin1: Record Stop
Pin2: Common
Pin3: Right Head
Pin4: Record Enable
Pin5: Left Head
Pin6: Rec Fast Enable
Pin7: Cue Head
Screen: Screen

Socket C - Machine Interlink, Triple Stack (4way Belling Lee Bleecon)
Pin1: Common
Pin2: Secondary Cue
Pin3: Remote Play
Pin4: Tertiary Cue

Signal Outputs - XLR-3-32
Pin1: Screen
Pin2: + Phase
Pin3: -  Phase

FSK Output - XLR-4-32
Pin1: Screen
Pin2: + Phase
Pin3: -  Phase
Pin4: n/c

Pin Connections - Record Unit
Socket D - Machine Remotes (6way Belling Lee Bleecon)
Pin1: Tertiary Switch
Pin2: Tertiary Lamp
Pin3: Secondary Switch
Pin4: Secondary Lamp
Pin5: Record Switch
Pin6: Record Lamp
Screen: Common

Socket B - Record Unit/Replay Machine Remote Link (7way Belling Lee Bleecon)
Pin1: Record Stop
Pin2: Common
Pin3: Right Head
Pin4: Record Enable
Pin5: Left Head
Pin6: Record Fast Enable
Pin7: Cue Head
Screen: Screen

Signal Inputs - XLR-3-31
Pin1: Screen
Pin2: + Phase
Pin3: -  Phase

FSK Input - XLR-4-31
Pin1: Control Common
Pin2: Control FSK
Pin3: Common Input
Pin4: FSK Signal Input

Signal Outputs - XLR-3-32
Pin1: Screen
Pin2: + Phase
Pin3: -  Phase

Canford Audio stock the 2pin power connectors, and the mini-DIN remote plugs.

LED Displays
The front panel LEDs: P, S, T, L + Q are used to indicate the Cue conditions and the mode of machine operation. The Primary (or Stop) Cue P will illuminate when a Stop Cue is detected. Similarly the S or Secondary Cue indicator will illuminate when a Secondary Cue Pulse is detected. The T indicated will illuminate when a Tertiary Cue is detected. The LED L is an indication of the LOOP status of the machine and when L is illuminated, the Primary + Secondary Cues are ignored by the machine which will continue running but illuminating the relevant front panel LED. The LOOP status, enagaged by pressing the Play switch twice is useful when testing and aligning the machine. The LED Q when illuminated, indicates that the machine will automatically "sequence" when connected as a triple-stack player, ie: Machine #1 when playing will start Machine #2 at the Secondary Cue...etc... This mode can be disenabled by pressing the STOP switch twice before inserting the Cartridge.

Cartridge Fail
A faulty Cartridge having a back tension higher than normal will be detected by the X-2 sensor circuitry and drop the pinch roller from PLAY into the REST position, ie: fully down and flast the STOP lamp rapidly. The Cartridge must be removed from the Machine if faulty. A rapidly flashing STOP lamp indicates a Cartridge fail.

Timer
The digital timer fitted to the X-2 player has several functions. The timer illumination acts as an "ON" indicator, showing that the Machine is ready for use. The timer indicates 1/10th seconds, seconds, minutes and tens of minutes, and is reset to zero by re-inserting a Cartridge into the slot. When running normally in PLAY mode, the timer will indicate the actual running time of the Cartridge. When a Secondary (FAST) Cue is detected, or when the Machine is placed into Fast Cue the timer freezes to indicate programme time.

When the Cartridge stops on the Primary (STOP) Cue, the timer will indicate the total Cartridge time from start to finish. This reading is held on the timer until a new Cartridge is inserted.

Studio OnAir Lights
You'll see these at the studios of Capital/Virgin...etc. They are basically a wooden mount with a radio-clock and several lamps - These show Mic Live, Phone, Alert and other messages that are useful to the presenters. I made a small one of these about a year ago, and have decided to make a larger (more sexy!) one... It's made from 18mm MDF which you can pick up at any decent DIY store, some sticky-back plastic (aka: Fablon) - I'd suggest you get the Beech effect as the Tartan pattern doesn't really go well in a radio studio.

The circular hole is made according to the size of your radio clock. I suggest the 300mm TimeGuard from Maplins, it's about £24 - but worth it. Very reliable. I don't recommend the Canford Audio ones as I've seen 2 that have gone a bit loopy - That's not to say they are bobbins, just that I prefer the TimeGuard.

Here is a quick drawing of the unit

Now we come to the lights and switching circuitry - This is best achieved by mounting it in a 1U rack-case. If you are using a broadcast mixer, it should have an "on-air singalling" output (a latching contact when the mic is on). The Track End, Studio On and Phone lights are a little more complex. The "Track End" light is sourced from the EOM pins of your CD/MD machines (Denon DN machines are compatible). This provides a visual warning that the song/item is about to finish.

This works in the same way as your mic-live light. A closing contact will drive a relay, this switches over the mains to the lamp. Depending on how you configure the logic, the "Track End" light can remain static, or flash with the CD/MD machines. If the phone channel has a remote for the "on" LED, you can wire that up to the switching circuit.

txIP - Broadcast audio/data Link
txIP is a software solution for sending high-quality low-latency audio (and signalling data) over a standard ethernet LAN.  Typically, a delay between source and destination on a 256k 44.1KHz MP3 feed is just 1.5 seconds, about the same as your typical satellite link.  Although this may vary due to network traffic - there is an internet clock built into the software which will communicate with each listener (oh yes, txIP can multicast) and display a real-time delay indicator - txIP always shows the delay on-screen down to .1 of a second.

screenshots coming soon

Here's a few of the it's features:

• MP3/PCM Audio Distribution - send your audio using standard MP3 compression (32-320k/bit) or linear PCM.  Sample rates between 11025 - 48000KHz are supported.  Set the link as one-way or bi-directional.  Twin mono feeds are available - Why waste a stereo sound card sending 1 mono feed ?  You can have 2 individual mono links per licence - Great for a station with 2 studios who want to have their own link but can't afford 2 copies of the software.

• Data Stream - send individual blocks of up to 255 characters for remote control of playout/switching systems.  This data appears at your serial port.  If it detects a command-line (such as C:\folder\program.exe), it can run an external application or script - Such as "resume automation".  Data is sync'd with the audio for seamless junctioning into and out of network feeds.

• Re-Connect On Failure - if there's a network failure, txIP will attempt to re-connect and/or re-route to an alternate IP.  It can also ping the original source and, subject to a successful test, re-connect to your default connection.  If required, a local audio file can be played as a backup.  E-Mail alerts can be sent, too!
   
• Scheduled Connections - txIP can automatically connect to various destinations at varying bit-rates.  Ideal for automated link-ups, network feeds, scheduled feeds from a remote-studio or a low-quality cue-feed for an OB.  Sound settings and RS232 control can be unique to each connection - or just use the global settings.

• Real-time Delay Indicator
  The stream delay (usually 1-2 seconds) is constantly shown on the receivers (and the transmitter on a direct link).  This should help with those "clock starts".
   
• Interfacing To CTA Hardware - As well as the RS232 output, txIP can output logic levels to the parallel port to alert you to various problems (such as network failure, dead air etc).

Purchasing Information
txIP is available on a "per-machine" basis.  1 licence works on the machine it's been assigned to (so you can have several instances running on a main server for routing of multiple feeds).  A discount is available for 3 or more licences.

Visual Basic Examples
I am no expert programmer, so some of this code may seen rather simple - However, it's great to learn from if you're just starting out in Visual Basic or need quick and simple way of doing something, ahem...simple.  Here is some example code that I have used in my software.

Button Captions
Button captions/text can be changed simply by using an If code.  If you wish to have a button change it's caption each time you press it - This is how to do it:

Clock Display and "do something" At A Given Time
This is a very simple bit of code to make your software do something at a given time.  Simply place a Timer onto your form, set it's Interval to 100 (100ms) and make sure it's enabled.  Then place a Text Label onto your form, sizing and styling to taste - This will be your clock display.  Then double-click the Timer and place use this code:

Add FileList Items To A ListBox
Here is how you can add files from a FileList into a ListBox:

Add Text To A ListBox
This is how to easily add your own text to a ListBox:

Define A WAV File To Be Played Using MCI
Private Sub Form_Load()
Dim Sound1 As Boolean
Sound1 = LoadMedia("c:\sounds\mysound.wav", "snd1", "waveaudio")
cmdSound1.Enabled = Sound1
End Sub

You could also obtain the sound file from a listbox, define it as a string and call it that way - entirely your choice, but this is a basic "one-off" approach.

FileListBox Extensions
This very simple bit of code will allow you to view files based upon the extension that you enter into a text-box:

Form Sizing
If you wish to have some configuration settings on a Form, but do not want to go to the trouble of using another form - You can simply make your main Form bigger, place your buttons/settings on it and then set the height/width parameters manually:

Serial Port Control
This code allows you to send your DTR/RTS port "high" on your COM port:

Simple Counter
This code will count upwards:

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