Here is the latest New Build designed and supervised by GAE, July 2017.
WRRD 1510 Milwaukee
As of this build I have completed more than 250 station build outs since 1958. We have come a long way since the Gates Yard Console, the George McCurdy boards, RCA 77DX microphones, Gates Cart Machines, ITC Cart Machines, Ampex 440 reel to reel tape machines, RCA BC7 Consoles, Mosley Remote Control systems, Schafer Automation, Joe Woo’s Monitors, Jim Woodworth’s Bipi Automation, Ray McMartin’s Transmitters, and Bernie Wise Transmitters.
Wow! Al Gore really came up with a great idea when he invented the internet??????? Yes, and it is hard to believe I bought my MGA from him in early 1960 in Fort Lauderdale. Now the internet provides the largest transmitter in the world for literally pennies. Our stations are now heard around the world, 24/7 and don’t even think about it. Here is what I used to build out the all NEW WRRD 1510 Milwaukee.
The heart of the Studio is the Axia IQ and Engine. This is the best way to build a station today. Almost all inputs are ethernet connected. You have complete control over all the levels, Mix-Minus and outputs. Plenty of inputs and outputs. They may be assigned to any pot. The install takes no time at all. You can program this board from anywhere in the world. Figure about $10,000 for the console and Engine plus the associated wires and adapters. I use the Radio Systems ethernet to XLR adapters for all the analog inputs. There are 16 analog inputs and 8 analog outputs plus all the digital inputs and outputs. For the analog wiring I purchase XLR snakes and rip the outer rubber sleeve off thereby giving me 8 separate cables to work with in the rack. I buy these snakes for under $50.00. The cost is about $6.50 per cable. There is no way to build professional cables for that price and they are all prenumbered. This makes the install go very fast and NO soldering whatsoever. Truly “Plug and Play”. I personally did my install here in Florida in less than one day. The WRRD Install in housed in one 84 inch rack. In retrospect it should have been two but they were limited for space for the second rack.
This console is only on the air during the Live Programs, morning and afternoon drive. All the other parts of the day the board is used for production. Because the board has 3 program channels the producer of the live shows is also editing and producing on the fly on the second and third channels during the live shows.
The automation is the BSI Simian Pro. We find this system easy to operate, totally stable (Depending on the computer) and fast to install. This system is connected to a Broadcast Tools ACS 8.2 Plus switcher that controls all the audio as well as receiving all the relay triggers for the network programs as well as controlling special recordings and firing the relay triggers for the Nationally Syndicated radio program that is done here at WRRD. We have installed and supervise over 50 of these systems and find them to be a great value for $1,500.00. We also use Natural Grid and Natural Log for the Traffic
We exclusively use the Comrex VIP Stac Digital Telephone system. The Comrex VIP Stac is the super. This system gives us the ability to use inexpensive digital sip lines from Vonage Small Business. Superb HD quality when available from sender and handles the cell calls the BEST! our phone bills are under $200.00 a month for 6 local lines and a toll free line. When our hosts are on the road they can see the callers and if they want to can dump or place the call on hold from their remote location. The system is easy to setup and very easy to use, even for the intern. It is easy to have two callers on the air at the same time, each with their own pot. If necessary you have 6 people on the air at the same time, but it will get a little confusing to the listener. The AGC feature is excellent to keep the calls totally level.
The Eventide Delay BD960 system is perfect for WRRD. The station does many live call in shows. The delay is mandatory for high energy political talk shows if you don’t to get an FCC Fine. The Delay system is actuated by the Simian Automation System at start and end of each segment.
We have provided a special DUMP Button on the Console for easy access, since the Delay system in located in the rack behind the Producer.
Aphex 320A Compellor or the 320D is always in every station we build. We use this to control the station output level of all audio leaving the studio. The Compellor does such a great job that several times management people have suggested over the years, they can’t tell that it is doing anything because they can’t hear it pumping. Right, isn’t that the idea? This product has been on the market for many years. I wouldn’t build a station without two of them. The second Compellor is always on the Production Computer to control the recording levels.
For our STL we like the Barix 500. This unit cost less that $600.00 for each end. It is very reliable because it is built in Switzerland. Barix has sold may thousands of these units. The 500 has balanced inputs and outputs and comes with the XLR Cables. Today many stations have to locate their satellite dishes at the Transmitter site. Once again the Barix can handle the return of 4 relay closures as well as the modulation monitor return. Why don’t we use the New Bric ll? Unless it is a very critical installation where we would use crosslink we sometime have trouble justifying the the cost at $1,500.00 for each end.
Here you see the Barix 500 on the Left and the 100 instreamer and extremer on the right. We use the Instreamer for sending additional Air Audio from the Modulation Monitor to a public static IP for the engineers to listen on their smartphones to troubleshoot.
Now for the Bric ll and and the Portable Access. We always use several Bric ll at the studio to connect to the portable Access as well as Luci Live Lite. The Portable Access is absolutely the BEST for remotes. Add Crosslink to any remote will generally insure it will generally stay connected even in the the worst conditions. Comrex products do come with a price. The Portable Access with mixer is around $4,500.00 and the Bric ll is around $1,500.00. Absolutely worth it for remotes. We did the Republican and Democrat Conventions this past few election cycles with no issues whatsoever. What a pleasure it is to connect and stay connected.
The new Bric ll is worth is weight in gold. This is a wonderful unit. I have been using these since they first came out. Once again perfect to have cell phone guests call in on Licie Live Lite and make them sound like they are in the studio. Luci Live Lite only costs $35.00
Finally for the Studio Microphones we like the Heil PR-40. This is an American made product. If you like the RE-20 than you will love the PR-40. The Price is right as well, under $400.00.
$349 Black with Gold Grill
The Heil PR 40 microphone boasts the widest frequency range of any dynamic mic in the Heil PR series. The PR 40 incorporates Heil’s sage-like understanding of phasing plug placement, along with the use of a very large (1″), low mass diaphragm, and custom magnet metals housed in a specially designed microphone body.
The PR 40 diaphragm is shock mounted such that it is completely de-coupled from the anodized Champagne matte-finished steel body. In addition to dual mesh screens, each made with different diameter screen apertures, there is an internal breath blast filter on the diaphragm element itself, providing superb response for the human voice across the entire vocal range, without “popping” noises. In fact, the PR 40 will provide flawless, smooth, flat response from 28 Hz all the way up to the 18k Hz, making this a great microphone for everything from vocals, to bass drums and tom drums, to guitar and bass cabinet mic’ing and more.
In short, the PR 40 is known by professionals as the “thoroughbred work-horse” of professional sound recording and reinforcement.
The PR 40 is available in champagne, gold plate, or chrome plate. With all PR 40 models you get an adjustable cast metal microphone holder in a padded Leatherette bag with molded foam insert.
Heil Sound, Ltd. warrants all microphones to the original purchaser for a period of three years (parts) and ninety days (labor) from the date of purchase.